Doctor Faustus Study Guide

Doctor Faustus Study Guide

Faust (Latin Faustus) is the protagonist of a popular German tale of a pact with the Devil, assumed to be based on the figure of the German magician and alchemist Dr. Johann Georg Faust (approximately 1480-1540). It has been used as the basis for many different fictional works, most notably by Christopher Marlowe, Johann Wolfgang von Goethe, Thomas Mann, and Mikhail Bulgakov.
The story concerns the fate of a learned gentleman named Faust, who in his quest for forbidden or advanced knowledge of material things, summons the Devil (represented by Mephistopheles, often also referred as Mephisto), who offers to serve him for a period of time, at the cost of his soul.
Some scholars believe an anonymous German author wrote a prose volume Historia von D. Iohan Fausten in 1587 (noting that the word 'historia' is Latin for German Geschichte, and implying a still earlier, independent source in the Latin language), which was then translated into English by a certain "P. F., Gent[leman]" in 1592 as The Historie of the damnable life, and deserved death of Doctor Iohn Faustus (unpreserved). It was this work that Christopher Marlowe used for his somewhat more ambitious play, The Tragical History of Doctor Faustus (published c. 1600).
Along with Jacob Bidermann's Cenodoxus (published c. 1602), Marlowe's version served to inspire the later Faust, Part 1 by Johann Wolfgang von Goethe, which may be considered the more definitive classical work.
Study Questions
Form: Note that while most of the play is written in blank verse, some passages are not. When and under what circumstances is prose used? Do any characters speak in both prose and blank verse? If so, when is each form is used? When and for what does Marlowe choose rhymed verse? What is the effect of this variation in form?
In particular, note the alternation of scenes primarily in prose and scenes primarily in blank verse; also, of prose and blank verse within individual scenes. Is there any pattern to this alternation? (e.g. "high" and "low" scenes or subject matter; "serious" and "comical" characters; interior monologues vs. dialogue with other characters.)
Themes: What is the attitude toward learning in this play? Note the various references to books and learning, e.g. in Dr. Faustus's monologue (Scene I) as he rejects the classical disciplines in turn as unworthy of his further attention. Why does he turn to Necromancy? Note which books Cornelius directs him to use to conjure the devil. What is implied about the power and nature of scripture and of learning in general? Is the setting of the play significant? Remember that Wittenberg is the German town where Luther nailed his ninety-five theses to the church door in 1517, sparking the Reformation. Notice the forms of address used for Faustus (e.g., the Doctor, the conjurer, etc.) When is each used? What is implied? Note also the comments of the scholars in scenes XIII and XIV. Do they change the depiction of learning in the play?
Are there parallels between Dr. Faustus and Lucifer? To what extent is Marlowe's Lucifer typical of Renaissance rather than medieval world views? The Seven Deadly Sins who appear in Scene V confer upon Dr. Faustus a thematic link to the medieval genre known as the morality play, which also used allegorical personification to teach a lesson about the battle of good and evil in one man's soul, or the psychomachia. What sin appears first to Dr. Faustus? What is the significance of that order to the themes of the play? What is the function of the Old Man who urges Faustus to repent in Scene XIII? What about the scholars in Scene XIV? Why doesn't Faustus take their advice?
What is the function of the "low" comedy scenes (Wagner; the "clown"; Ralph and Robin; the Horse-Courser)? Do they provide a dramatic counterpoint to the more serious, "high" scenes of "grand aspiration"? What does the counterpoint suggest? (Note for example the allusions to hunger and appetite in Scenes IV, V, VII, and XI; to conjuring books in V, VI, and VIII; the two stolen cups in VII and IX.) What is the comic effect? Can comedy be serious?
Note the appearance of Helen of Troy in Scene XIII. What role does she play in the drama of Faustus's damnation? What does her presence suggest about Marlowe's attitudes toward women? Consider also the comments on wives and marriage (Scene V) and the role of the Duchess of Vanholt (Scene X).
Note the degradation of Dr. Faustus from scene to scene. What is his relationship with the Holy Roman Emperor and the Duke and Duchess of Vanholt? Is his behavior consistent with his earlier ambitions? What sort of interaction does he have with the horse trader? For what is he now using his magical powers? What do Faustus's various acts of magic have in common? Are his actions what one had expected when he explained his reasons for accepting Lucifer's bargain?
How is Dr. Faustus representative of the spirit of the Renaissance? (Note, in addition to the theme of books and learning, the allusions to the New World throughout the play.) For what qualities can he be admired? How are those qualities linked to his downfall? What is suggested about the link between learning and power? Between learning and pride? Consider the final comments of the scholars (Scenes XIII and XIV) and the Chorus. Do these speeches change somewhat the representation of learning within the play?
To what extent is Dr. Faustus a Renaissance version of a morality play? Consider e.g. the presence of Good and Bad Angels, Lucifer, Mephistophilis, the Seven Deadly Sins; note the comments of Wagner and the Old Man in Scene XIII. To what extent does Dr. Faustus function as a psychomachia? Despite the surface similarities, what is distinctly non-medieval about Dr. Faustus? (Consider e.g. performers, target audience and purpose.)

Possible Identifications:

Morality Plays
Psychomachia
Renaissance Humanism
Blank Verse

Faustus
Mephistophilis
Old Man
Benvolio/Martino/Frederick
Darius
Alexander
Helen
Good/Bad Angel
Valdes / Cornelius
Seven Deadly Sins
Lucifer
Belzebub
Wagner
Robin/Ralph
Dick