ملخص الدراما

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What is Drama?
Drama is “the writing, acting, and presentation of plays”. Nowadays, the definition of
drama would extend to include motion pictures and television, Drama is based largely on
real life.
What is drama in English literature?
Drama is the portrayal of fictional or non-fictional events through the performance of
written dialogue. It simply means stories being brought to life by actors and events on a
stage.
What is a One-Act Play?
The one-act play is to the full-length play what the short story is to the novel.
Act a major division of a play. Each act must have one or more scenes. A play may
consist of one, two, three, four, or five acts. In the past English plays usually were
divided into five acts while playwrights of the twentieth century prefer the three-act form.
What distinguishes a One-Act Play from a Full-Length Play?
One-act being like a short story, a full-length play is like a novel; it has more characters,
a more complex plot, with perhaps a sub-plot, and is much lengthier.
There are four major types of drama: comedy, tragedy, tragicomedy, and
melodrama.
Comedy
Comedy is a type of drama that aims to make the audience laugh. Its tone is light, and it
mostly has a happy ending.
Tragedy
Tragedy is a type of drama in which the protagonist or hero is brought down by his/her
flaws. Murders, deaths, insanity, and pain are among the most common ideas in tragedies.
Main characters usually have some kind of weakness or defect that causes their downfall.
Tragicomedy
Tragicomedy is a special kind of drama that combines the features of tragedy and
comedy. This means that such play may be sad but will have a happy ending, or it may be
serious with some elements of humour emerging throughout the whole play.
Melodrama
Melodrama is a kind of drama in which everything is hyperbolized. Usually, themes
depicted in melodramas are simple and without any unpredictable plot twists. There are
quite a lot of stereotypes in such dramas.
BY: Miqdam Mahdy 07803346386 1

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The major elements of drama and their functions in a play.
1. The theme of a play refers to its central idea. It can either be clearly stated through
dialogue or action or can be inferred after watching the entire performance. The
theme is the philosophy that forms the base of the story or a moral lesson that the
characters learn.
2. Plot is the chain of events in a play. Essentially, the plot is the story that the play
narrates. It is the sequence of events in the story. The plot usually begins with
exposing the past or background of the main and other characters, and the point of
conflict then proceeds to give the central theme or climax.
3. The characters are the roles that actors play in a play. The main characters of any
play are the protagonist and the antagonist. Characters include people, animals, or
figures represented in a literary work. Depending on character development, a
character can be either dynamic, static, round, or flat.
4. Dialogues are the lines that actors perform in a play. The story is narrated to the
audience through the interaction between the characters.
5. Setting is the time and place where a story is set in one of its important parts. The
era of time in which the incidents in the play take place. Stage design and
costumes are some of the ways the place and time settings of a play are portrayed.
6. Performance is about how actors give life to the characters that are written on
paper. How well actors portray their characters' personalities determines how well
the play will be taken by the audiences.
7. Music includes the use of sounds and rhythm in dialogues. It also includes music
compositions that are used in plays. The background score, songs, and sound
effects are used to complement the scenes and the characters in it. Music also
helps to portray the emotions in a scene to the audience.
8. The visual element of drama, also known as the spectacle, gives a visual appeal to
the stage setup. The costumes and makeup of characters are also parts of visual
elements. Visual elements help scenes to be dramatic enough to hold an
audience's attention.
9. Chorus is a group of singers or dancers who perform together in a show. The
chorus speaks directly to the audience, tells the background history of Faustus,
and explains that the play is to concern his downfall. Chorus is also used to
express the author's views and to remind the audience of the proper moral to be
learned from the play itself.

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The Tragedy of Dr. Faustus
Scene I (1)
Faustus in his study
1. What is the name of the study?

2. Who is the founder of the study?
3. Why does Faustus want to study this study?
4. Why does Faustus leave this study?
Answers:
The first study that Faustus studies is Logic. Logic was found by Aristotle. Faustus wants
to study this subject to make miracles, but he leaves this study because Logic cannot
make miracles, so it is not a great subject for Faustus' wit.
The second study that Faustus studies is physics. Physics was found by Galen. Faustus
wants to study this subject to heap up gold and find wondrous cure, but he leaves this
study because physics cannot make Faustus raise the dead nor make people live eternally.
The third study that Faustus studies is Law. Law was found by Justinian. Faustus wants
to study this subject to show his intelligence, but he leaves this study because Law is for
normal minds that aims nothing more than external trash.
The fourth study that Faustus wants to study is Divinity. Divinity was found by Jerome.
According to Faustus' thinking "The reward of sin is death" and we are all sinners and we
are going to die one day. Why don’t we live our life according what we want, then we are
all going to die, "What will be, shall be".
The fifth study that Faustus wants to study is Necromancy. Because Necromancy is one
of his desires and he wants to gain delight, power, honour and omnipotence. He thinks
that a magician is a mighty god.

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Scene II (2)
Setting:
Place: outside Faustus' house.
Time: at night.
Characters:
1. First scholar
2. Second scholar.
3. Wagner: is Faustus' servant. He is an educated and clever. He tries to imitate Faustus,
he is also a protective servant.
Q. Who are those scholars?
A: They are two of Faustus' friends and scholars. They came to Faustus' house to ask
about him because it has been a while since they saw him last time and to show that
Faustus is respectable and important to the university.
Q. What does the word (Sirrah) mean?
A: It means inferior.
Q. Why does Wagner play with words?
1. To revenge from the two scholar who called him sirrah.
2. To show himself as an educated and clever person.
3. To imitate Faustus.
4. To protect his master (Faustus).
Q. Why does Wagner want to protect his master by playing with words and not telling
the scholars where Faustus is?
A: Because people at that time are divided into two groups either a magician or a scholar.
If a magician meets a scholar that means he may learn from the scholar, if a scholar meets
a magician that means he may learn magic from him.
Renaissance is a French word which means “rebirth”.

The creators of the Renaissance were trying to recreate the classical models of the
Ancient Greek and Rome.
During the Renaissance, thought was expanding, health was returning, and art was
booming.
1. Free thought and more openness toward other religions.

2. Mankind became a miracle instead of lowly.
3. Art focuses more on the positive and beautiful.
4. Hope in recovery and restoration.
Drama refers to stories being brought to life by actors and events on a stage.

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Drama is “the writing, acting, and presentation of plays.
Drama refers to stories being brought to life by actors and events on a stage.
Drama is based largely on real life. There are characters faced with challenges they
must overcome, decisions they must make. Some plays are incredibly realistic, others
are totally fantastical, while others are somewhere in the middle.
Comedy: It is a type of drama that aims at making the audience laugh. Its tone is light,
and it mostly has a happy ending.
Tragedy: It is a type of drama in which the protagonist or hero is brought down by

his/her flaws. Its tone is serious, and it mostly has a sad ending.
Tragicomedy: It is a special kind of drama that combines the features of tragedy and
comedy. Play may be sad, but it will have a happy ending, or it may be serious with
some elements of humour emerging throughout the whole play.
Melodrama: It is a kind of drama in which everything is hyperbolized. The main point

of a melodrama is not to tell a story, but to awaken feelings in the audience.
Melodramas are mostly love stories with beautiful heroines, charming heroes, and
scary villains.

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Christopher Marlowe
Born in Canterbury, England, around February 26, 1564, Christopher Marlowe shares
his birth year with playwright William Shakespeare and one of the forerunners of
modern science, Galileo. While Marlowe's literary career was cut short by his death at
age 29, works such as Tamburlaine the Great (1587), The Jew of Malta (1592), and
Doctor Faustus (1604) firmly established him as one of the finest writing talents from
the golden age of English literature that occurred during the Renaissance. Marlowe
was the eldest son of a shoemaker and was one of nine siblings. Despite the family's
limited income, he received a first-rate education. After receiving a scholarship to
attend the renowned King's School in Canterbury for his last two years of grammar
school, he earned another scholarship to Corpus Christi College at Cambridge
University. There he studied from 1580 to 1587, honing his skills in Latin translation
and poetry and writing his first plays. He gained his bachelor of arts in 1584 and a
master of arts (MA) three years later. Intriguingly, his MA was initially withheld
based on a dangerous rumor.
Repeatedly Marlowe had been absent from the university on occasion to study at the
English Catholic seminary in Reims, France. Politics and religion were inseparable in
English government, and the prevailing religion during Queen Elizabeth's reign
(1558–1603) was Protestantism. Catholics were persecuted, and there were numerous
Catholic plots to assassinate the queen. Study at the Catholic seminary would have
implied Marlowe meant to enter the priesthood, disqualifying him from receiving his
MA and placing him under suspicion of treason. Nevertheless, his MA was awarded
due to government intervention. The university received a letter from Queen
Elizabeth's Privy Council stating that Marlowe had been employed "in matters
touching the benefit of his country" and "had done Her Majesty good service, &
deserved to be rewarded for his faithful dealing." The exact nature of that service
remains unclear.
Literary Career
Marlowe's literary career spanned less than six years. In that short time, writing for the
theater, he emerged as the first great author of blank verse and changed English drama
forever. Blank verse is non-rhyming verse written in a rhythm of stressed and
unstressed syllables. The most commonly chosen rhythm is iambic pentameter, which

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features 10 syllables to a line, with the stress on every other syllable. In poetry and
prose, blank verse is intended to create a sense of grandeur by producing a formal
rhythmic pattern with a musical flow. Marlowe's skillful use of blank verse in his two-
part play Tamburlaine the Great transformed English poetry and brought a new level
of maturity to Elizabethan theater. Authors such as Shakespeare would build on
Marlowe's literary achievement, using blank verse throughout their plays. Marlowe
himself authored seven plays, including one of the most acclaimed in the English
language, Doctor Faustus.
Untimely Death
The events culminating in Marlowe's untimely death began with an accusation of

atheism, meaning that he did not believe in the existence of God. Marlowe belonged
to a close circle of intellectuals—noblemen, courtiers, and commoners—who called
themselves the Free-Thinkers. They formed an underground club, the School of Night,
which met to discuss a wide range of subjects, many considered dangerous by the
church and crown and therefore forbidden. A serious charge leveled at the Free-
Thinkers was that of atheism, which the church considered heresy, or contrary to the
church's beliefs. The penalty, if convicted, was to be burned at the stake.Ðhether
Marlowe truly subscribed to atheism or not remains open for debate. Multiple
individuals accused him of it, although their motives were questionable. In particular
Thomas Kyd, a fellow playwright, confirmed the accusation, but only under torture
after his own arrest. Marlowe was arrested for atheism on May 20, 1593, but released
with the provision that he report daily to the authorities. On May 27 a formal charge
was presented in writing to the Privy Council. However, Marlowe was killed three
days later—stabbed above the right eye—in what was described as a scuffle over a
food bill as he ate and drank with three men: a high-ranking government agent and
two others with links to espionage, or spying on a foreign government. What was at
the heart of Marlowe's murder is still debated. Whether it was his alleged atheism or
simply a falling out among friends, it ended Marlowe's life suddenly and tragically on
May 30, 1593.Ðarlowe left behind an impressive body of work surpassed in
Elizabethan tragic drama solely by his contemporary Shakespeare. However, with the
exception of the two-part Tamburlaine the Great, published anonymously in 1590,
Marlowe's works came into print only after his death.

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Prologue
An introduction about the play
Chorus is a group of singers and dancers perform together in a show.
Chorus talk directly to the audience.
The general aims of the Chorus are:
1. Tell the audience about the moral lesson of the play.

2. Reveal the historical background of the protagonist of the play.
3. Explain what the play is going to be about.
Sometimes one character might represent the Chorus during the play.
The Chorus in the play of Doctor Faustus:
1. Introduced the audience to the setting of the play during the renaissance.
2. The background history of Doctor Faustus.
3. The moral lesson of the play.
4. What the play is going to be about.
‫مالحظات عن كلمات وعبارات من الكتاب‬
Trasimene: Through this word the Chorus revealed where and when the play is set.
And speak for Faustus in his infancy.

Now is he born, his parents base of stock,
Of riper years to Wittenberg he went,
Whereas his kinsmen chiefly brought him up.
So soon he profits in divinity,
Excelling all those sweet delight disputes
In heavenly matters of theology;
Faustus was born in Germany in a city called Rhodes, then after losing his parents
Faustus moved to another city called Wittenberg where he studied at the university of
Wittenberg till he graced with Doctor name.

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Till swollen with cunning, of a self-conceit,
Due to his intelligent and studies, Faustus became obsessed with knowledge and power.
His waxen wings 6 did mount above his reach
The chorus used similarity to warn the audience about Faustus' end by referring to an old
Greek mythology "Icarus".
And, melting, Heavens conspir'd his overthrow

.)Icarus( ‫هذا النص تابع لقصة‬
He surfeits upon cursed necromancy.
Nothing so sweet as magic is to him,
Which he prefers before his chiefest bliss
The play is going to be about Doctor Faustus downfall.

And this the man that in his study sits!
The play starts with Doctor Faustus in his study room
Who is Icarus?
Icarus is one of the most famous tales from the Greek myth, the story is about a god
whose spiritual ambition exceeds his personality limits leading to his downfall, this story
is famous in literature because it used as a metaphor for man's overreaching of his limits.
The chorus used Icarus to tell the audience that the play is going to be about Doctor
Faustus downfall, because Faustus will lose himself looking for limitless power and
knowledge. Icarus had everything including waxing wings, there was only one forbidden
thing that he cannot fly next to the sun, but Icarus full with self-conceit, he went so close
to the Sun; therefore, the sun melted his waxen wings leading Icarus to his death.
Questions about the introduction of doctor Faustus
1. What is the meaning of each of the following words prologue, chorus, Icarus?
2. Define the chorus then explain their main aims?
3. Clarify the role of the chorus in the play of doctor Faustus?
4. Talk about Faustus’ background history using the speech of the chorus as a
reference?

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5. Explain the speech of the chorus at the begging of the play?

6. The play of doctor Faustus starts with _____
7. Talk about the similarity between Faustus and Icarus?
8. Clarify Faustus is a tragical hero? Or The play called the tragical history of doctor
Faustus Clarify?
9. Talk about the first speech of the chorus in the play of Doctor Faustus?
Scene 1
Summary:
Alone in his study, Faustus contemplates what line of scholarship he will pursue. He
has earned a higher degree in theology but suspects his interests may have changed.
He first considers the study of logic, or reasoning, whose foundation is Greek
philosopher Aristotle's Analytics. Yet the main goal of logic seems to be the art of
debating well. Having mastered the skill already, Faustus impatiently rejects this line
of study.
Next, he looks to medicine, noting a quotation from Aristotle: "Where philosophy

ends, medicine begins." Faustus mentions Galen, a physician of ancient Rome,
considered the most prominent of famous doctors. Faustus knows there is good money
in practicing medicine and fame to be acquired for discovering some wondrous cure.
Yet he is already an accomplished physician and finds no satisfaction in his success—
he is still simply Faustus.
Turning to the field of law, the doctor turns to Roman Emperor Justinian, whose
works form the basis for the study of law during the Renaissance. But Faustus
dismisses this, as well. He decides law is a profession too tedious and narrow in scope,
with only trivial aims. Rejecting it, he arrives full circle, judging that the formal study
of religion best fits his ambitions. Picking up St. Jerome's translation of the Bible, he
reads a line of verse: "The reward of sin is death." It occurs to him that humankind is
fated to sin and so fated to die an everlasting death. In light of this the study of
theology also seems pointless and unable to satisfy his yearnings.
Having eliminated the three main subjects studied at a Renaissance university, Faustus
turns to the "metaphysics of magicians" (the study of what is considered beyond the
known world) and necromancy. This unorthodox line of scholarship promises money,

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pleasure, power, respect, and influence. Faustus notes that an accomplished magician
"is a mighty god," and he dreams he will become omnipotent, or all- powerful, greater
than emperors or kings. Faustus decides in favor of magic and promptly sends his
servant, Wagner, to invite two friends, Valdes and Cornelius, to visit. They can help
him in his studies.
Alone once again, Faustus is confronted by the Good Angel and the Evil Angel. The
Good Angel begs Faustus to put aside his blasphemous book of magic and read the
Bible instead. The Evil Angel urges Faustus on his ambitious course of study. Once
they leave, Faustus argues aloud for all the benefits of pursuing magic, all the splendid
things he will accomplish with its power.
When Valdes and Cornelius arrive, Faustus tells them he has become possessed with
the idea of practicing magic. Valdes assures Faustus that his intelligence guided by
their experience and books will bring them all fame and privilege. Cornelius adds that
once Faustus sees what magic can do, he will want to study nothing else. The two
agree to help Faustus learn the rudiments of the art, expecting that he soon will
outshine them. Though anxious to begin that night, Faustus asks his friends to dine
with him first.
Analysis
The knowledge and wisdom of the past inherited by the Renaissance flowed from men
such as Aristotle (philosophy), Galen (medicine), and Justinian (law) and from the
Bible (theology). Faustus has been "ravished" by the works of Aristotle but is certain
there is more to know. The ancient authorities on medicine and law seem to him
equally limited. Faustus uses faulty logic, based on an incomplete reading of a Bible
verse, to reject continued study of theology.
Romans 6:23 reads, "For the wages of sin is death, but the gift of God is eternal life
through Jesus Christ our Lord." Faustus concentrates only on "the wages of sin is
death," leaving out the rest of the sentence, which focuses on the "gift" of eternal life
through Christ. Instead, Faustus looks only at "everlasting death." This is a most
pessimistic interpretation, devoid of hope. As a master of the subject of theology,
Faustus should have known better. However, he is bent on studying magic and is
willing to engage in self-deception to do so, such as basing his decision on half of a
Bible verse.

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This conveniently allows Faustus to discard religious studies as easily as philosophy,

medicine, and law. He treats the idea of sin lightly, observing, "We must sin, and so
consequently die." It's a rather clinical view of the process, a view detached from the
damning nature of sin. He coolly continues, "Ay, we must die an everlasting death," as
if this has no meaning for him personally. This foreshadows Faustus's fall, when he
will give in to sin and marginalize its spiritual consequences.
The doctor's longing to study magic appears potentially admirable. He yearns to

expand the frontiers of human knowledge and to do great things with his power. His
list of goals is impressive and lends his character an idealistic grandeur. However, he
also fantasizes about the vast wealth and fame he will acquire; the worldly delights he
will explore. These less worthy desires will undermine his more noble goals. In time
he will use his knowledge and power only for self-serving pleasure and profit,
amusing tricks, and petty revenge. For all his scholarship, Faustus has failed to
assimilate the wisdom—a gift he could glean from many works in the past—that
greed for power never ends well. If he had considered this, he might have recognized
and guarded against the corrupting influence of unlimited power. Faustus turns to
Valdes and Cornelius to help him in his studies. Anxious to get started, he is impatient
with the idea of self-conducted study. This indicates that, for Faustus, the pursuit of
knowledge is secondary to the objective of power and wealth. He is willing to take a
shortcut to possess them, just as he is willing to delude himself with his flawed
interpretation of the biblical verse.
The Good Angel and Evil Angel are also introduced in this scene. They appear to be
physical embodiments of true spirits as well as representatives of Faustus's conflicted
conscience. Within the play they establish the universal conflict between good and
evil. They then proceed to work consistently as a pair, speaking in a call-response
pattern. In the beginning the Good Angel is first to speak. However, when they appear
a last time near the end of Act 2, Scene 3, the Evil Angel speaks first, suggesting
Faustus has crossed a line, slipping closer to damnation and further from redemption.
Even so, as in this first scene, the Good Angel stubbornly insists that Faustus may yet
be saved if he rejects magic and repents by expressing his sorrow and remorse for his
sins.
Soliloquy is when the character is alone of the stage thinking loudly, so the audience
hear his thoughts.

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Soliloquy also means that only one character will be on the stage.
During this Scene the audience will be with Faustus in his first soliloquy discussing
his studies before moving to practice Necromancy.
This Scene will start with Faustus in his study thinking loudly about the Renaissance
studies.
Who is Faustus?
He is the main character, the protagonist (the hero) of the play, smart, ambitious,
curious, proud doctor who refused the studies of the sixteenth century and went to
study necromancy aiming for wealth, power, respect, honor, and wisdom. He was
damned by his self-conceit after trading his body and soul with Lucifer for twenty-
four years of unlimited knowledge and worldly pleasures.
And live and die in Aristotle’s works.

Sweet Analytics, 3 ’tis thou hast ravish’d me,
Bene disserere est finis logices.
Is to dispute well logic’s chiefest end?
Affords this art no greater miracle?
Then read no more, thou hast attain’d the end;
A greater subject fitteth Faustus’ wit.
Logic was Faustus' First subject, by mentioning the name of Aristotle who is the
founder of logic Faustus went to study logic in order to make miracles. Faustus decided
to leave the study of logic because logic cannot make miracles, so, logic is not enough
for Faustus’ wit.
Bid [Greek] 5 farewell; Galen come,
Be a physician, Faustus, heap up gold, 15 And be
eternis’d for some wondrous cure. Summum bonum
medicinæ sanitas, 7 “The end of physic is our body’s
health” Why, Faustus, hast thou not attain’d that end!
Is not thy common talk sound Aphorisms? 8 20 Are
not thy bills 9 hung up as monuments, Whereby whole
cities have escap’d the plague, And thousand desperate
maladies been eas’d
Yet art thou still but Faustus and a man. Couldst thou
make men to live eternally, 25 Or, being dead, raise
them to life again
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Faustus' second subject was physic by Galen. Faustus went to study physic to heap up
gold and to have some superpowers that allow him to find the wondrous cures. During his
thinking Faustus told himself and the audience that he already found a cure for the plague
that helped a lot of people so at the end he admit that the end of physic is our body’s
health so even after all his knowledge about this field he is still Faustus the normal man
who cannot raise the dead or make people live eternally and this is why Faustus decided
to leave the study of physics.
Physic, farewell.—Where is Justinian? [Reads.] Si

una eademque res legatur duobus, alter rem, alter
valorem rei, &c. 10 A pretty case of paltry legacies!
[Reads.] 30 Ex hæreditare filium non potest pater nisi,
&c. 11 Such is the subject of the Institute 12 And
universal Body of the Law. 13 His 14 study fits a
mercenary drudge
The third subject for Faustus was law by Justinian. Faustus said that law is for normal
minds who are looking for basic knowledge, so law is enough for Faustus because it is
for those who aim at nothing more than external trash.
When all is done, divinity is best; Jerome’s Bible, 15

Faustus, view it well. [Reads.] Stipendium peccati
mors est. Ha! Stipendium, &c. “The reward of sin is
death.” That’s hard. [Reads.] 40 Si peccasse negamus
fallimur et nulla est in nobis veritas. “If we say that
we have no sin we deceive ourselves, and there’s no
truth in us.” Why then, belike we must sin and so
consequently die. Ay, we must die an everlasting
death. What doctrine call you this, Che sera sera,
“What will be shall be?” Divinity, adieu
The fourth subject for Faustus is divinity, Faustus refused divinity because the Bible
mentioned that the reward of sin is death and all humans have sins so we are all going to

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die at the end, then why not live according to what we desire because “what will be shall
be”.
Wagner: Faustus' faithful servant who is trying to imitate his master by reading his
master’s books.
Valdes and Cornelius: Two friends of Faustus and magicians who are going to teach
Faustus how to practice Necromancy.
G. Ang. O Faustus! lay that damned book aside, 70

And gaze not upon it lest it tempt thy soul, And heap
God’s heavy wrath upon thy head. Read, read the
Scriptures: that is blasphemy.
The good Angel warned Faustus to go back to God and leave the book of magic away.
E. Ang. Go forward, Faustus, in that famous art,

Wherein all Nature’s treasure is contain’d: 75 Be
thou on earth as Jove is in the sky, Lord and
commander of these elements. [Exeunt Angels.]
The evil angel encouraged Faustus to move Forward with Necromancy.
Faust. How am I glutted with conceit 18 of this!

Shall I make spirits fetch me what I please, Resolve
me of all ambiguities, 80 Perform what desperate
enterprise I will? I’ll have them fly to India for gold,
Ransack the ocean for orient pearl, And search all
corners of the new-found world
Faustus decided to follow his evil part and go forward with Necromancy.
Know that your words have won me at the last To
practise magic and concealed arts: Yet not your
words only, but mine own fantasy
Faustus said this to Valdes and Cornelius while welcoming them into his house, he told
the two magicians that he made up his mind to practice Necromancy and want them to

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teach him how to conjure a spirit emphasizing that he wants to practice magic because he
wishes to not because of them.
This night I’ll conjure though I die therefore

Faustus to Valdes and Cornelius telling them that he will conjure this night even though
he may lose his life.
Scene 2
Summary:
Two nosey scholars come looking for Faustus at his residence. Wagner engages them in a
bit of verbal sparring before telling them his master is at dinner with Valdes and
Cornelius. The scholars take this as bad news, knowing the doctor's guests are infamous
practitioners of "that damned art." They fear that Faustus may be practicing magic as
well. Gloomily, they go off to inform the head of the university, faintly hoping he will be
able to rescue Faustus from this grave mistake before it is too late.
Analysis
The concern of the two scholars illustrates Faustus's respected status at the university,
where knowledge and mental agility are prized. They seem to miss his presence most
keenly at debates, introducing his arguments with the familiar scholarly phrase sic
probo—meaning "Here is my proof."
The two scholars reveal a personal sense of intellectual superiority by addressing

Faustus's servant Wagner as "sirrah," an address reserved for inferiors. When they
demand Wagner tell them where Faustus is, he challenges their right to insist that he
knows. The ensuing exchange provides a closer look at Wagner's character.
Wagner has the intellect and education to engage the scholars in a dispute using logic. He
does not appreciate being treated as an inferior and impudently plays the scholars for
fools, using wordplay to obscure the truth of where Faustus is at the moment. His
impatience with these two representatives of traditional learning mirrors Faustus's
impatience in this arena, as expressed in the previous scene. Wagner's logic is flawed but
clever enough to confuse the scholars. He is not only having some fun, but also

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protecting Faustus. He knows that the scholars will not approve of his master's guests.
This establishes Wagner's role as a rather clever, very loyal, and protective servant to
Faustus. In some respects he acts as a double for Faustus, albeit in the form of a servant.
His outlook and actions will often reflect those of his master, as they do in this scene. He
will also step into the role of the chorus on occasion.
This Scene will be mainly about Wagner and to show Faustus reputation between his
colleagues.
This Scene opens with two scholars who came to ask about Faustus but instead they will
have a logical conversation with his servant Wagner that will reveal a lot of information
about Wagner’s character and Faustus' reputation.
The two Scholars are Faustus' friend who came to ask about him by visiting his house to
show their admiration.
Before Faustus' House = Outside of Faustus' House.
Sirrah: The two scholars said this to Wagner to minimize him.
2nd Schol. Why, didst thou not say thou knew’st?

Wag. Have you any witness on’t? 1st Schol. Yes,
sirrah, I heard you. Wag. Ask my fellow if I be a thief.
Clarify Wagner played with words while talking to the two scholars?
1. to revenge for calling him “sirrah".

2. to show himself as a clever person.
3. to protect his master.
4. to imitate Faustus by using logic.
Thus having triumph’d over you, I will set my
countenance like a precisian, 3 and begin to speak
thus:—Truly, my dear brethren, my master is within
at dinner, with Valdes and Cornelius, as this wine
Wagner to the two scholars after using logic to show himself as a clever person, he
decides to tell them that Faustus is at dinner with Valdes and Cornelius.

18
Scene 3
Summary
Faustus has sufficiently mastered the art of conjuring to call up a devil one winter's
evening. Consulting a book of spells, he draws circles, signs, and symbols. He writes
Jehovah's name backward and forward and then rearranges it to form different words. He
shortens the names of the saints. Then chanting in Latin, he invokes the powers of heaven
and hell, calling upon the devils of Hades, the Holy Trinity, the spirits of fire, air, water,
and Earth, Belzebub, and Demogorgon (a demon). He commands that Mephistophilis
appear.
When a devil shows up, Faustus judges him "too ugly to attend on me" and sends him off
to change his shape into something more pleasing. He sarcastically suggests that the guise
of an old Franciscan friar would be appropriate. He's delighted when the devil
immediately departs, and he anticipates that "this Mephistophilis" will be an obedient,
humble servant.
Mephistophilis appears and asks Faustus what he wants of him. When Faustus demands
that the devil serve him, Mephistophilis explains that he cannot without permission from
his master, Lucifer. He has not come in response to Faustus's summons but on his own.
He is intrigued to assess the condition of Faustus's soul, which he hopes to obtain. The
doctor's conjuring is a sure sign of a man in danger of being damned.
In answer to Faustus's questions, Mephistophilis describes the nature of Lucifer as a

fallen angel, his status as prince of devils, and how God threw him out of heaven for
pride and insolence. Mephistophilis explains that he, being one of Lucifer's followers,
was damned with him. Reflecting on the everlasting torment he endures being separated
from God, Mephistophilis warns Faustus to turn back from the course he has chosen.
Dismissively, Faustus tells him to return to his master, Lucifer, and offer his (Faustus's)
soul in exchange for 24 years of service from Mephistophilis, who must do whatever he
asks. Faustus also notes that during this time he wishes to live a life of "voluptuousness,"
one filled with pleasure and luxury. He wants an answer by midnight. Once the devil
departs, Faustus contemplates all that he will do with his anticipated power. He will be

19
emperor of the world, capable of great feats, such as joining the continental coastline of
Africa to that of Spain.
Analysis
Some time has passed, and Faustus has been diligently studying the art of conjuring. The
spell he cites in Latin begins by calling on the gods of Acheron (Hades) and the threefold
spirit of Jehovah (the Holy Trinity) to aid him. This blasphemy is all the more shocking
coming from a theologian. Once again, Faustus's bold use of it calls into question the
depth of his former religious convictions. The doctor ends his incantation with more
blasphemy by sprinkling around holy water ("consecratam aquam") and making the sign
of the cross. Holy water, which has been blessed by a priest, is used in Catholic religious
ceremonies, such as baptism and last rites, and is considered a powerful spiritual weapon.
In response to the incantation, Mephistophilis materializes, and his shocking appearance

leaves no doubt that he is a devil and a product of hell. As such, he establishes for the
audience that hell is real and a terrible place. When Faustus sends Mephistophilis off to
assume a more pleasing form, he takes a cheap shot at Catholicism, suggesting that the
devil return as an old Franciscan friar—a shape that suits a devil best. Franciscans are a
Catholic Christian religious order founded by St. Francis of Assisi. They advocate a life
of preaching, penance, and poverty. The unpopularity of all things Catholic made this
mockery of the Franciscans delightful to English audiences of the Renaissance. It also
reveals Faustus's low opinion of a religious order whose values and practices are in
opposition to his own. While members of the order share knowledge with others, Faustus
gathers it for himself. While they seek to redeem their souls through penance, Faustus
seeks to damn his soul through sinfulness. While they are content to live in poverty,
Faustus desires to acquire vast wealth.
Mephistophilis quickly clarifies that he answered Faustus's summons not as a servant, but
as a collector of souls. This establishes Mephistophilis as powerful in his own right,
though he is also in service to Lucifer. As a collector of souls, Mephistophilis fits the
traditional religious idea of devils and demons employed in corrupting goodness and
luring souls into hell. However, this traditional perception is given a twist when
Mephistophilis describes himself as one of the "unhappy spirits that fell with Lucifer." He
declares that he is tormented by his separation from God. This capacity for suffering is
unexpected. So terrible is his hellish existence that he warns Faustus to give up pursuit of

20
magic. This impulse to do a damned soul a good turn is equally surprising in a devil. The
result is a complex character, both powerful and tortured, full of evil intentions yet
capable of fleeting compassion.
Blinded by pride and ambition, Faustus cannot or will not accept that he is in danger.
Until Mephistophilis corrects him, he mistakenly believes that his abilities as a conjurer
were so powerful, they brought the demon to him. It is not Faustus's power but the
vulnerability of his soul that has caused Mephistophilis to appear. Faustus accepts the
idea of demons and hell, but only in a most objective, detached way. Once he sends off
Mephistophilis with his message for Lucifer, Faustus claims that he would sacrifice "as
many souls as there are stars" to get the knowledge and power he desires. He continues to
indulge his fantasy of being a "great emperor of the world," so powerful he can shift
Earth's geography as he wishes.
I charge thee to return and change thy shape; Thou

art too ugly to attend on me. 20 Go, and return an
old Franciscan friar; That holy shape becomes a
devil best.
Faustus to Mephistophilis asking him to change his ugly shape because Mephistopheles
real shape is too ugly so Faustus could not bear seeing it, thus, Faustus used his wicked
mind to have a devil in a holly shape “Franciscan Friar” shape.
Faust. I charge thee wait upon me whilst I live, To

do whatever Faustus shall command, Be it to make
the moon drop from her sphere, 35 Or the ocean to
overwhelm the world.
Faustus to Mephistophilis asking Mephistophilis to be his servant and do whatever

Faustus desire.
Tell me what is that Lucifer thy lord? 60 Meph.

Arch-regent and commander of all spirits. Faust.
Was not that Lucifer an angel once? Meph. Yes,
Faustus, and most dearly lov’d of God. Faust. How
comes it then that he is Prince of devils? Meph. O,
by aspiring pride and insolence; 65 For which God
threw him from the face of Heaven. Faust. And what
are you that you live with Lucifer?
21
Meph. Unhappy spirits that fell with Lucifer,

Conspir’d against our God with Lucifer, And are for
ever damn’d with Lucifer.
Faust. Where are you damn’d? Meph. In hell. Faust.
How comes it then that thou art out of hell?
Mephistophilis to Faustus telling him that those who conspire with Lucifer against God
they will be damned in hell forever.
Scene 4
Summary
Wagner engages in some banter with a clown, or peasant, by calling him "boy." Insulted,
the fellow asks how many "boys" he has seen with beards like his. Wagner then asserts
that the fellow looks unemployed and hungry enough to sell his soul to the devil for some
meat to eat. He tries to recruit him to become his servant, but the clown seems unwilling.
So, Wagner threatens him with magic—to turn all the clown's lice into evil spirits that
will tear him to pieces. When this fails, he forces money on the fellow that the man tries
to return. In frustration Wagner calls up two devils, Baliol and Belcher, who chase the
terrified clown. After a few moments, Wagner sends the devils away. Now the clown,
impressed by Wagner's demonstration, consents to serve Wagner if he will teach him to
summon devils, too, and other feats of magic.
Analysis
As the play progresses, an alternating pattern of serious and comic scenes becomes
apparent, with the comic scenes offering a parody by providing a mocking imitation of
the preceding serious scene. These scenes serve to ridicule the presumed greatness of
Faustus's achievements as he masters black magic at the price of his soul. In this scene
Wagner demonstrates that even the unschooled can summon devils.

22
In a bit of comic relief, Wagner's actions once again reflect the previous events involving
Faustus. Mimicking his master, Wagner engages a clown (meaning a rustic fellow or
peasant) to be his servant. Determined to convince the fellow to serve him, Wagner
employs insults, crude logic, and bribery. Traditional means of persuasion prove too
weak to be effective. Like his master, Wagner decides that the only way to get what he
wants is through magic.
In the previous scene (Scene 3), Faustus conjured a devil. In this scene Wagner conjures
Baliol and Belcher to frighten the clown. Just as Faustus hopes to engage the services of
Mephistophilis through magic, Wagner hopes to engage the services of the clown through
intimidation by magic. Wagner also mimics the two scholars, the intellectual snobs from
Scene 2. While he objected to the pompousness of the two nosey scholars, he now
assumes a superior attitude and talks down to the clown, again recalling Faustus's
arrogance and sense of entitled superiority.
A Street
WAGNER and CLOWN
Wag. Sirrah, boy, come hither.
Wagner to the clown imitating the two scholars by minimizing the clown and imitating
Faustus with his magic practice to persuade the clown to be his servant.
Wag. Well, I will cause two devils presently

to fetch thee away—Baliol and Belcher.
Two devils were summoned by Wagner to terrify the down.
Summary
Faustus waits in his study for Mephistophilis' return. He is troubled by doubts about the
choice he has made. On the one hand, he knows he will be damned for delving into
magic. One the other, it may be too late to turn to God again—it seems impossible that
God could love him. Abruptly, he realizes he would rather fulfill his own ambitious
desires anyway, so he may as well continue serving Belzebub. The Good Angel and Evil
Angel appear once more to argue for and against repentance. The Good Angel asserts it is
not too late for Faustus to renounce magic, repent, and attain heaven. The Evil Angel

23
argues this is an illusion, not to be trusted. He urges Faustus to keep in mind the honor
and wealth he will gain through his use of magic.
The angels depart, and Faustus resolves to continue his pursuits, believing that no god
can hurt him as long as Mephastophilis is beside him. At that moment the devil returns
with the news that Lucifer has agreed to Faustus's proposal: he may buy 24 years of
service from Mephistophilis and a life of luxury and pleasure for the price of his soul.
There is one provision. To demonstrate his commitment to the agreement, Faustus must
write and sign the contract in his own blood. When Faustus asks what value his soul has
for Lucifer, Mephistophilis replies that it will add to Lucifer's growing kingdom. Asked if
he, as a devil who tortures damned souls, suffers pain, Mephistophilis admits that he
suffers as much as those human souls. Then to distract Faustus from any misgivings, the
devil reminds him of the great rewards tied to a pact with Lucifer.
Slashing his arm, Faustus proceeds to write the contract in blood, but soon the blood
congeals, making it impossible for him to continue. Briefly he wonders what this
portends. Then Mephistophilis brings hot coals to liquefy the blood again, and Faustus
can complete the contract. Signing it, he announces in Latin, "It is finished." Instantly,
the words Homo fuge! (Fly, O man!) appear, etched on his arm. Though it seems a dire
warning, Faustus cannot think of anywhere to go. Certainly, God would not offer him a
safe haven.
As a diversion, Mephistophilis lavishes crowns and fine clothing on Faustus and swears
"by hell and Lucifer" that the doctor shall have everything he desires. As hoped, Faustus
confirms the contract, and Mephistophilis accepts it on behalf of Lucifer. Then, at
Faustus's first command, Mephistophilis describes the dreadful nature of hell.
Nevertheless, Faustus says, "I think hell's a fable," and asserts that he has no fear of
damnation.
Changing the subject, Faustus commands that Mephistophilis "fetch" him a wife. The
devil returns with another devil dressed as a frightful woman. When Faustus rejects her,
Mephistophilis begs him to give up all thoughts of marriage. Instead, he can have the
most beautiful mistresses, whomever he desires. Then, to gratify Faustus's thirst for
learning, the devil gives him an all-inclusive book of knowledge to study about spells and
incantations, astronomy and astrology, and the natural sciences.
Analysis

24
In his opening soliloquy, Faustus reveals the corruption that already taints his soul. The
doctor is having second thoughts about the path he intends to follow. His initial impulse
to turn back to God is overshadowed by despair. Surely God cannot love him. In a
moment of self-awareness, he admits that he is ruled by his appetite for the things dark
magic can offer. This is the "god" he wants to follow. For the love of Belzebub, he would
build "an altar and a church" and ritually murder newborn babies in tribute to him.
Turning his back on God in this way, Faustus embraces evil and rejects the divine
goodness and mercy he once accepted as a theologian. The battle for Faustus's soul
resumes when the Good Angel and Evil Angel return. Faustus joins in their call-and-
response but refuses to be persuaded in favor of repentance and redemption. He
stubbornly prefers to exchange the spiritual gifts of heaven for earthly honor and wealth.
By the time Mephistophilis shows up, Faustus is mentally and spiritually prepared to
enter into the pact with Lucifer.
Lucifer takes no chances that a scholar such as Faustus will find a loophole in their
agreement when the time comes to forfeit his soul. He insists that the pact be written and
signed in Faustus's blood. Blood, the body's source of life, represents the soul. Used in a
blood oath, it becomes a link between Faustus and Lucifer and binds Faustus's soul to
hell. As his soul's representative, the doctor's blood seems determined to prevent him
from completing the contract. It congeals so he cannot write. So intent is Faustus on
making the dark deal that he only fleetingly worries that this is a bad sign worth heeding.
His blood is wiser than he, in another instance of Faustus failing to interpret the
information before him correctly if it challenges his desires.
The doctor's final words upon signing the pact echo those spoken by Jesus Christ as he
died when crucified on the cross. Consummatum est is Latin for "It is finished." From
Christ's lips, the phrase meant that he had fulfilled ancient prophesy and the work God,
his father, had sent him to do; salvation was assured to those who believed. From the lips
of Faustus, however, the phrase means something completely different—his salvation is
now firmly in jeopardy and his damnation assured.
Once the pact is finalized, Faustus engages Mephistophilis in a round of questions. The
topic is hell, just as it was during their first encounter. Faustus appears fascinated by the
subject though skeptical that hell is real. In Act 1 Mephistophilis explained that, because
he is damned, hell is all around him. It is wherever he is. This time, instead of describing
hell as a psychological state, Mephistophilis provides a more traditional description of a

25
place "under the heavens ... where we are tortured and remain forever." Surprisingly,
since he is talking to a devil and has signed his soul over to Lucifer, Faustus says, "I think
hell's a fable." This statement from a scholar who has studied the nature of God and
religious belief raises questions: Did Faustus ever believe, or did he lose his faith along
the way? Is his lust for power so extreme that it has possessed him to the point of shutting
out everything else? As the play progresses, Faustus will struggle to deny the reality of
hell and the peril to his soul. As the certainty of hell grows, he will fight a desperate but
losing battle to find or rekindle his faith and save himself through repentance.
Scene 5
FAUSTUS [discovered] in his Study
Enter GOOD ANGEL and EVIL ANGEL G.

Ang. Sweet Faustus, leave that execrable art.
The good angel appeared again to warn Faustus to go back to God and to let.
E. Ang. No, Faustus, think of honour and of
wealth. [Exeunt ANGELS.
The evil angel encouraging Faustus to more on with Necromancy by mentioning the
wealth that Faustus may got from magic.
Meph. But, Faustus, thou must bequeath it solemnly,

And write a deed of gift with thine own blood,
Mephistophilis telling Faustus that if he wants to make a contract with Lucifer, he must
sign it with his own blood and write it as a gift.
Meph. But, Faustus, thou must
Write it in manner of a deed of gift.
What Faustus supposed to know is that humans cannot sign contracts with devils but they
can gift themselves to hell by following devils.
Mephistophilis reminding Faustus that he must write his contract with Lucifer as a gift.
My blood congeals, and I can write no more.

26
Faustus to Mephistophilis telling him that his blood congeals (solidify). This was the first
sign from Faustus’ body to warn him from signing the contract with Lucifer and the
second sign from God to him.
Meph. O what will not I do to obtain his soul. [Aside.]
Mephistophilis aside from Faustus ‘after melting Faustus' blood with a chafer of coals to
make him finish his contract with Lucifer’ announcing to the audience that he cannot wait
to persuade Faustus in order to obtain Faustus’ soul.
Homo fuge!
The second warning from Faustus' body about signing the contract with Lucifer and the
third from God.
Meph. Nothing, Faustus, but to delight thy mind

withal, 90 And to show thee what magic can perform.
Mephistophilis using Faustus’ ambition to persuade him away from the signs of God by
fetching a group of spirits showing him crowns and money.
Faust. Then hear me read them: On these conditions following. First, that
Faustus may be a spirit in form and substance. Secondly, that Mephistophilis
shall be his servant, and at his command. Thirdly, that Mephistophilis shall do
for him and bring him whatsoever [he desires]. Fourthly, that he shall be in his
chamber or house invisible. Lastly, that he shall appear to the said John Faustus,
at all times, and in what form or shape soever he pleases. I, John Faustus, of
Wittenberg, Doctor, by these presents do give both body and soul to Lucifer,
Prince of the East, and his minister, Mephistophilis; and furthermore, grant unto
them, that twenty-four years being expired, the articles above written inviolate,
full power to fetch or carry the said John Faustus, body and soul, flesh, blood, or
goods, into their habitation wheresoever. By me, John Faustus.
Faustus' conditions to sign the contract with Lucifer.
Faust. Let me have a wife,

27
Faustus' first wish, he asked for a wife forgetting that marriage is a blessing thing
Mephistophilis cannot do because Mephistophilis is a devil and devils cannot mention the
name of God, also getting a wife does not require ones to sell his soul to devils.
Faust. Thanks, Mephistophilis; yet fain would I have a book wherein I might behold all
spells and incantations, that I might raise up spirits when I please. Meph. Here they are, in
this book. Turns to them. 160 Faust. Now would I have a book where I might see all
characters and planets of the heavens, that I might know their motions and dispositions.
Meph. Here they are too. Turns to them. Faust. Nay, let me have one book more,—and
then I havedone,—wherein I might see all plants, herbs, and trees that grow upon the earth.
Scene 6
‫شرح األستاذة‬
Faustus begins to repent that he has made a contract with the devil. Mephistophilis tries
to console Faustus by telling him that heaven is not such a glorious place and that humans
are more wonderful than anything in heaven.
Deep down in his heart, Faustus begins to regret making the deal and accuses
Mephistophilis of depriving him of the joys of heaven. Mephistophilis tells him that man
is more glorious than heaven because it was made for man. It follows then, argues
Faustus, that if heaven was made for man, if was made for him. He wants to turn away
from magic and repent.
Note again that the Good Angel and the Evil Angel appear to Faustus at this point — that
is, when he is once again in doubt about his decision. As previously,
In this line but Faustus never shall repent This line foreshadows the end of the play,
suggesting that Faustus' fate is inevitable. Although at this point there may well be
suspense regarding Faustus' decision, the Evil Angel makes a very different prediction.
Rather than hope that overcomes Faustus' despair. For believers, the antidote to despair
was the hope of salvation. However, According to the traditional Christian view, Faustus
is now tempted by another sin — that of suicide. Faustus' first sin had been to deny God.

28
Then he also fell into the sin of despair, wherein he lost hope for redemption. In this
scene, he considers suicide, which is another cardinal sin.
Here we see a cynical scene, Faustus does not want to repent but wants to kill himself.
Faustus tries to distract his mind from repentance and return to worldly pleasures And
Reminds himself of some legends to suport his soul in some power
Homer: The great poet of Ancient Greece, author of the Iliad and the Odyssey.
Alexander's love: and This refers to the legend of Paris (Alexander's other name), who
fell in love with Oenone. He later fell in love with and kidnapped the famously beautiful
Helen of Troy, thus initiating the Trojan War. Oenone killed herself when Paris died.
This tale is mentioned as an example of love and constancy on the part of Oenone.
According to legend, the gifted harpist Amphion's music made the stones jump into place
to build the walls of Thebes.
Here we see the cynical scene, Faustus used these legends and tales to keep him out of
doubt and continue to practice black magic
According to mythology, Oenon was a nymph with healing powers who became Paris'
first wife. After Paris left her for Helen of Troy, Oenon became vengeful and angry.
When Paris was wounded during the Trojan War, Oenon refused to heal him and he died.
She then committed suicide out of grief.
As Faustus begins to demand deeper knowledge from Mephistophilis, he desires to know

about the primary cause of the world, but Mephistophilis is unable to answer him. At
every point when Faustus begins to question the universe or whenever Faustus begins to
think about heavenly things, Mephistophilis tells him to "think on hell." Originally,
Faustus made the pact in order to learn about the primal causes of the world; therefore,
Mephistophilis is unable to fulfill his part of the bargain. Second, whenever Faustus
brings up these questions, Mephistophilis tries to convert him because he possibly knows
that thoughts of heaven would allow Faustus to break his contract with Lucifer.
Faustus then challenges Mephistophilis by asking who made the world. Mephistophilis
refuses to answer because he is not allowed to talk about God, the Creator.

29
The Good Angel and Evil Angel again appear. The Evil Angel claims it is too late to
repent, that if he repents, devils will come and kill Faustus. The Good Angel claims it is
never too late to repent, that if Faustus repents, no devil can harm him.
Faustus calls on the name of Christ to save his soul. This is proof of Faustus' doubts in
black magic and fear of God.
they have come only because Faustus has broken his promise by calling on Christ.
Lucifer tells Faustus to think of the devil, not God. Faustus promises not to think of
heaven, or call on the name of God. He even vows to burn the Scriptures.
O, Faustus … thy soul This is Faustus' first moment of real terror, and foreshadows the
conclusion of the play.
Lucifer uses a just word to his advantage to make Faustus think that if he repents, Christ
will not accept His repentance, but Christ is not only fair but also accepts repentance
because God loves the repentant person.
It is a highly dramatic moment when Lucifer himself appears on the stage. Faustus
maintains that Lucifer looks extremely ugly, and again the implication is that hell is ugly.
Note
Amid all these signs, Faustus repeatedly considers repenting but each time decides
against it. Sometimes it is the lure of knowledge and riches that prevents him from
turning to God, but other times it seems to be his conviction—encouraged by the bad
angel and Mephastophilis—that it is already too late for him, a conviction that persists
throughout the play. He believes that God does not love him and that if he were to fly
away to God, as the inscription on his arm seems to advise him to do, God would cast
him down to hell. When Faustus appeals to Christ to save his soul, Lucifer declares that
“Christ cannot save thy soul, for he is just,” and orders Faustus to cease thinking about
God and think only of the devil (5.260). Faustus’s sense that he is already damned can be
traced back to his earlier misreading of the New Testament to say that (anyone who sins
will be damned eternally)—but he ignoring the verses that offer the hope of repentance.
Lucifer and his companions are doing all they can to divert Faustus and prevent him from
repentance.
This is evidence of Lucifer's fear of repentance. He says to Faustus, "Think of Satan."

30
Faustus calls on the name of Christ to save his soul. Just then, Lucifer, Belzebub, and
Mephistophilis enter. Lucifer explains that Christ cannot save his soul. Faustus asks about
his identity, and Lucifer introduces himself and his companion, Belzebub, as princes of
hell. Faustus thinks they have come to take away his soul. Lucifer claims they have come
only because Faustus has broken his promise by calling on Christ. Lucifer tells Faustus to
think of the devil, not God.
We see the fear of Faustus of Lucifer and this indicates that Faustus does not have any
will
1. Faustus promises not to think of heaven……
2. or call on the name of Allah …….
3. He even vows to burn the Scriptures….
4. and destroy the churches ……
We know that Lucifer raised against God because he hated Adam and because of his
arrogance, he was disturbed by Faustus' saying that the scene of the seven sins would be
similar to the days of Adam
This cynical scene, we know that the seven sins coming from Hell, but Faustus says it is a
delightful scene, but we know hell is ugly.
1. Pride claims to be like a flea, able to climb all over a wench. Then complaining of
a smell, he vows to speak no more.
2. Covetousness wishes the house and all in it were turned to gold so he can keep it
locked up in his bag.
3. Wrath tells Faustus that after having leapt out of a lion's mouth (he was born in
hell) he has been all over the world, wielding a pair of rapiers.
4. Envy wishes all books were burnt because he cannot read and that there would be
famine so he can live alone and be fat. He complains that others are sitting, while
he is standing.
5. Gluttony complains that he has only enough money for thirty meals a day. He
speaks of his ancestors-all having some name synonymous with food.

31
6. Sloth gripes about having been called away from his life of lying on a sunny bank.
7. Finally, Lechery (apparently a female characterization) she is a suggestive

comment about being full of lust.
Lucifer quickly sends them away to hell and the Sins exit.
Notice that Faustus in all his work commits a sin like suicide or arrogance and trespass
upon God's limits and lust when he summoned Helen and other events.
‫الملخص الخاص بي‬
Scene 6
A room in Faustus' house
Enter Faustus and Mephistophilis
Faustus talks with Mephistophilis telling him when he (Faustus) beholds the heavens, he
repents and curses him (Mephistophilis) because Mephistophilis deprived him of those
joys. Mephistophilis replies by telling Faustus that decision was made by Faustus, and
heaven is not as half so fair as Faustus or any man breathes on earth. Mephistophilis adds
that heaven was made for man when humans were excellent. “So, if it were made for
man, it was made for me. I will renounce this magic, and repent,” said Faustus.
After this conversation between Faustus and Mephistophilis enter the good angel and the
evil angel. The good angel advises Faustus to repent and God will pity him, but the evil
angel tells Faustus that he is a spirit and God cannot pity him. Faustus says “Even if I am
a devil, God will pity me. I repent”. Before they leave, the evil angel deceives Faustus
again telling him that he will never repent. The evil angel's words affect Faustus, then
Faustus says “My heart is so hard and I cannot repent”.
The good angel and the evil angel enter again and this time the evil angel starts speaking
telling Faustus it is too late to repent. But the good angel says it is not too late and
Faustus can repent. The evil angel threatens Faustus if he repents, devils will tear him
into pieces. The good angel encourages him to repent and devils will not hurt him. The
words of the good angel make Faustus pray saying “O Christ, my saviour, seek to save
distressed Faustus' soul”.

32
After Faustus' prayers, enter Lucifer, Belzebub and Mephistophilis. Lucifer tells Faustus
that Christ cannot save him because Christ is just. No one has interest in your soul, but
me. Faustus doesn’t know these devils. After asking them, Lucifer tells Faustus about
him and his companion-prince in Hell, Belzebub. Lucifer tells Faustus that he is hurting
them by talking to Christ and this is against the contract that Faustus signed. Faustus tells
them he will not look to heaven, pray and talk to Christ again and he will not think of
God, but devils as the devils asked him to do so.Then Lucifer tells Faustus that they came
from hell to entertain him and he asks Faustus to sit and watch the Seven Deadly Sins.
Lucifer asks Faustus to ask them about their names. Faustus asks them one by one and
they answer him.
1. I am Pride ‫الكبرياء‬. I disdain to have any parents. I am like Ovid's flea; I can creep
into every corner. Sometimes, like a perriwig, I sit upon a wench's brow; or, like a
fan of feathers, I kiss her lips. What scent is here? I'll not speak another word
except the ground is perfumed, and covered with cloth of arras.
2. I am Covetousness ‫الطمع‬, I was born of an old churl: and, might I have my wish, I
would desire that this house and all the people in it were turned to gold, that I
might lock you up in my good chest. O, my sweet gold!
3. I am Wrath ‫ الغضب‬/ ‫ ;الغيظ‬I had neither father nor mother: I leapt out of a lion's
mouth when I was scarce half-an hour old; and ever since I have run up and down
the world with this case of rapiers, wounding myself when I had nobody to fight
with me. I was born in hell; and look to it, because one of you will be my father.
4. I am Envy ‫الحسد‬, I was born of a chimney-sweeper and oyster-wife. I cannot read,
and therefore wish all books were burnt. I am lean with seeing others eat. I wish
that would come a famine through all the world and all die and I live alone. Then
you would see how fat I would be.
5. I am Gluttony ‫ النهم‬/ ‫الشراهة‬. My parents are all dead, they didn't leave the devil for
me, but a little money that is not enough to buy thirty meals and tens bevers. It is
small to surface nature. O, I come of a royal parentage. And now Faustus will you
invite me to supper?
6. I am Sloth ‫الكسل‬. I was born on sunny bank, where I have lain ever since, and you
have done me great injury to bring me. Let me carried again by Gluttony and
Lechery.
7. Lechery. Who I sir? The first letter of my name begins with L.
Then Lucifer commands the Seven Deadly Sins to return to hell and they leave. “This
feeds my soul”, Faustus says. Lucifer tells Faustus that all manner of delight is in hell.

33
Faustus says to Lucifer that he would be so happy if he could see hell and return
again. Lucifer tells Faustus that he will see hell at midnight and Lucifer will send for
him. In meantime, Lucifer gives Faustus a book and he requests him to peruse this
book so that you can shape yourself whatever you want. Faustus takes the book
thanking Lucifer. I will keep this book as I keep my life. They say goodbye to each
other and Lucifer leaves.
Notes:
Lucifer this time appears in his real shape to terrify Faustus and to persuade (convince
) Faustus ….
Scene 7
‫شرح األستاذة‬
Faustus is in Rome now. He wants to attend the Pope's parties and celebrations. Faustus
requests Mephistophilis to be invisible in order to use his black magic on people and
scare them. Faustus and Mephistophilis decide to use their powers to play tricks on the
pope.
Faustus plays tricks on them by snatching plates and cups from them. The pope becomes
upset. The churchmens think that there is a ghost in the room to ask Mercy or forgiveness
from the pope.
When the Pope makes a sign of the cross, Faustus warns him not to do it again. After the
Pope does it three times, Faustus hits him on the head.
The friars enter to sing the dirge. While they are singing, Mephistophilis and Faustus hit
them and throw fireworks at them.
‫الملخص الخاص بي‬
Scene 7
Rome: the Pope's Privy Chamber
Enter Faustus and Mephistophilis
Faustus is in Rome now. Faustus addresses Mephistophilis describing his

delightedness after visiting several towns and places like the walls of Rome, town of
Trier, some mountains, Paris, the river Maine falling into Rhine, Naples and rich
Campania, Maro's golden tomb, Venice and other places.

34
They arrive the Pope's privy-chamber and Faustus hopes to be welcomed by the Pope,
but Mephistophilis thinks it doesn’t matter because they'll be bold with his good
cheer. Mephistophilis talks to Faustus telling him to wait and he knows that Faustus
wants to attend the Pope's parties and celebrations. Faustus requests Mephistophilis to
be invisible in order to use his black magic on people and scare them. Faustus and
Mephistophilis decide to use their powers to play tricks on the pope.
Faustus plays tricks on them by snatching plates and cups from them. The pope
becomes upset. The churchmen think that there is a ghost in the room came to ask
forgiveness or Mercy from the Pope.
The Pope makes a sign of the cross and Faustus warns him not to do it again. After the
Pope does it three times, Faustus hits him on the head.
The friars enter to sing the dirge. While they are singing, Mephistophilis and Faustus
hit them and throw fireworks at them.
Notes:
This scene shows us that Mephistophilis is not Faustus' servant. Mephistophilis wants
to take Faustus to hell.
Scene 8
An Inn-yard
Robin, an ostler enters with a book in his hand. He steals one of Doctor Faustus'
conjuring-books A fellow ostler named Ralph comes to inform him that a gentleman
requires their services, but Robin asks him to go away warning him that he is about to
do something risky. Seeing the book, Ralph notices that Robin cannot read. Robin
replies that, with luck, he can read well enough to seduce his mistress. Ralph now
knows that Robin is using a powerful book of spells and has been practicing some
simple magic. Robin promises him a spell for beguiling the kitchen maid, Nan Spit,
anytime he wishes. Ralph agrees to assist Robin in his conjuring.
Scene 9
The Inn-yard

35
Robin and Ralph have been using Doctor Faustus's book to do some conjuring. Robin
holds up the proof of their success: a stolen silver goblet. Just then a vintner (wine
merchant) approaches, demanding payment for the goblet. Robin and Ralph deny
having the item and secretly pass it back and forth while the vintner searches each of
them. Then Robin insists on searching the vintner, uttering an incantation while he
does so. The result is the appearance of a disgruntled Mephistophilis, who has traveled
all the way from Constantinople to answer the summons. Finding that the call came
from these two lowly villains, the devil angrily turns Robin into an ape and Ralph into
a dog.
Scene 10
Summary
At the court of Carolus, the Fifth, the emperor challenges Faustus to prove his
celebrated knowledge of conjuring. He promises Faustus will not be harmed in any
way for performing magic. Faustus agrees, and the emperor requests that the doctor
raise Alexander the Great and his paramour from their tombs. Faustus explains that he
cannot raise their physical bodies, which have long since turned to dust, but will make
them appear as spirits. Throughout this exchange between Faustus and the emperor, a
knight has interjected snide, skeptical comments. Now he mocks Faustus openly and
leaves, having no desire to witness Faustus's conjuring. The doctor promises to get
even with him soon.
Mephastophilis ushers in Alexander the Great and his paramour. To the emperor, the
two beings appear alive and tangible. Once they leave, Faustus asks that the
unpleasant knight be called back. The man returns, unaware that a pair of horns has
sprouted from his head. The emperor points them out, saying they are a sure sign the
man is married and has been cheated on by his wife. Furious, the knight demands
Faustus undo this magic. After savoring his revenge, Faustus does so and leaves the
court.

36
Faustus returns to Wertenberg, Germany. Once home, he is approached by a horse-

courser (horse trader) who asks to buy his horse. With a little persuasion, Faustus
finally agrees but adds slyly that the horse-courser must not ride the horse into water.
After the man departs, Faustus frets over the waning days of his life and the doom that
is pending. He draws some comfort from the New Testament story of a thief's last-
minute redemption as he hung on a cross next to the crucified Jesus Christ. So
thinking, the doctor falls asleep in his chair.
Some while later, the horse-courser returns, wet and crying, to Faustus's home. He
tells Mephastophilis that he wants back his 40 dollars. Thinking Faustus's horse had
magical qualities that water would reveal, the man had defied the doctor's warning and
ridden the animal into a pond. The horse had promptly disappeared. Mephastophilis
shows the man where Faustus lies fast asleep. When the man's shouts do not rouse the
doctor, the horse-courser grabs Faustus's leg and pulls. To his horror, the leg comes
off, and the terrified man runs away. Faustus and Mephastophilis are enjoying the
results of this latest prank when Wagner enters. He announces that the duke of
Vanholt wishes Faustus to visit. The doctor and devil immediately depart.
Analysis
The emperor promises Faustus that he will not be harmed in any way if he
demonstrates his "knowledge of the black art." His protection is necessary during this
time in Europe where people believed in and feared witches and burned them at the
stake. Any suggestion of being in a league with the devil invited punishment. Emperor
Carolus the Fifth is a man of enormous power and authority. Yet Faustus has been
invited to his court to perform parlor tricks. This is the reputation the doctor has
earned—far from the exalted status he once imagined.
The emperor expects nothing less, and Faustus meets his expectations. The emperor's
request to see Alexander the Great serves no purpose but to feed his royal vanity.
Nevertheless, Faustus, with the help of Mephastophilis, proudly conjures the
conqueror and his paramour and basks in the emperor's praise.
However, suggestions by a knight that Faustus is little more than a fraud touch a
nerve. Faustus has acquired wealth and fame, but he has wasted his power and sold
out his lofty goals for pleasure and self-aggrandizement. His great ambition has
withered. The doctor's petty revenge on the knight—making horns spring from the

37
man's head—reveals that, on some level, Faustus recognizes this truth and resents
having it pointed out.
Faustus next strikes a devious bargain with the horse-courser. Like other comic
scenes, this parodies more serious action in the play. Faustus tells the horse trader
honestly and clearly that he must not ride the horse into water. But in doing so, he
deliberately sets an irresistible trap. Faustus understands human nature and knows that
the man will ignore his warning simply because he has been warned. Faustus again
abuses his power with the "fake leg" joke he plays on the horse-courser. The doctor
has much more power and intelligence than the man he deceives, and as a result, the
practical joke feels like a cheap trick—more pathetic than clever.
Despite the price he is paying for access to dark knowledge, the forbidden study of
black magic, he seems unwilling or unable to put it to any good use. What Faustus
fails to understand is that he has similarly fallen into a trap set by Mephastophilis.
Early on, the devil just as honestly and clearly explains the truth about hell and the
horror of eternal torment. Faustus, enraptured by his own outsized ambitions, ignores
the advice. This allows Mephastophilis to help Faustus make his deal with Lucifer.
The demon entraps the doctor's soul and works very hard to keep Faustus ensnared.
At this point in the play, the A- and B-Texts begin to differ. The B-Text expands its
account of Faustus's practical joking into four additional scenes. The story lines
converge once more with events in the A-Text's next scene (in the B-Text, Act 4,
Scene 6). The B-Text's additional scenes were most likely authored by playwrights
other than Marlowe.

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1

BY: Miqdam Mahdy 07803346386 1

The major elements of drama and their functions in a play.

BY: Miqdam Mahdy 07803346386 2

The Tragedy of Dr. Faustus

Faustus in his study

1. What is the name of the study?

BY: Miqdam Mahdy 07803346386 3

Renaissance is a French word which means “rebirth”.

1. Free thought and more openness toward other religions.

BY: Miqdam Mahdy 07803346386 4

Drama is “the writing, acting, and presentation of plays.

Tragedy: It is a type of drama in which the protagonist or hero is brought down by

Melodrama: It is a kind of drama in which everything is hyperbolized. The main point

BY: Miqdam Mahdy 07803346386 5

BY: Miqdam Mahdy 07803346386 6

The events culminating in Marlowe's untimely death began with an accusation of

BY: Miqdam Mahdy 07803346386 7

An introduction about the play

Chorus is a group of singers and dancers perform together in a show.

Chorus talk directly to the audience.

The general aims of the Chorus are:

1. Tell the audience about the moral lesson of the play.

The Chorus in the play of Doctor Faustus:

‫مالحظات عن كلمات وعبارات من الكتاب‬

And speak for Faustus in his infancy.

BY: Miqdam Mahdy 07803346386 8

Till swollen with cunning, of a self-conceit,

And, melting, Heavens conspir'd his overthrow

The play is going to be about Doctor Faustus downfall.

Questions about the introduction of doctor Faustus

BY: Miqdam Mahdy 07803346386 9

5. Explain the speech of the chorus at the begging of the play?

Next, he looks to medicine, noting a quotation from Aristotle: "Where philosophy

BY: Miqdam Mahdy 07803346386 10

BY: Miqdam Mahdy 07803346386 11

This conveniently allows Faustus to discard religious studies as easily as philosophy,

The doctor's longing to study magic appears potentially admirable. He yearns to

BY: Miqdam Mahdy 07803346386 12

And live and die in Aristotle’s works.

Physic, farewell.—Where is Justinian? [Reads.] Si

When all is done, divinity is best; Jerome’s Bible, 15

BY: Miqdam Mahdy 07803346386 14

G. Ang. O Faustus! lay that damned book aside, 70

E. Ang. Go forward, Faustus, in that famous art,

The evil angel encouraged Faustus to move Forward with Necromancy.

Faust. How am I glutted with conceit 18 of this!

BY: Miqdam Mahdy 07803346386 15

This night I’ll conjure though I die therefore

The two scholars reveal a personal sense of intellectual superiority by addressing

BY: Miqdam Mahdy 07803346386 16

Before Faustus' House = Outside of Faustus' House.

Sirrah: The two scholars said this to Wagner to minimize him.

2nd Schol. Why, didst thou not say thou knew’st?

1. to revenge for calling him “sirrah".

BY: Miqdam Mahdy 07803346386 17

In answer to Faustus's questions, Mephistophilis describes the nature of Lucifer as a

BY: Miqdam Mahdy 07803346386 18

In response to the incantation, Mephistophilis materializes, and his shocking appearance

BY: Miqdam Mahdy 07803346386 19

I charge thee to return and change thy shape; Thou

Faust. I charge thee wait upon me whilst I live, To

Faustus to Mephistophilis asking Mephistophilis to be his servant and do whatever

Tell me what is that Lucifer thy lord? 60 Meph.