This document provides an analysis of key themes and elements in the play Doctor Faustus by Christopher Marlowe. It discusses Faustus' thirst for knowledge and how it leads him to make a pact with Mephastophilis. It also examines Faustus' pride, arrogance, and lack of self-knowledge as contributing to his downfall. The document analyzes the role of the Good Angel and Evil Angel who appear to Faustus, representing his conscience warring with temptation. Finally, it discusses the appearance of the Old Man later in the play who appeals to Faustus' humanity.

1. DR.FAUSTUS
PRESENTED BY
Samrah Tayyab

2. Contents
Renaissance spirit
Focused on humankind
Comparison of medieval and
renaissance era
Capacity for repentance and sufferrings.
Conscience vs. temptation

3. Contents
Exploring the bounds of knowledge
Contesting for Faustus soul
Faith and Choice

4. Renaissance spirit

5. Cycle Diagram
MAIN THEME
Printing:
Discovery and
exploration
Changing
attitudes RENAISSANCE
Marlowe’s
Development education
s in the
visual arts

6. Exploring the bounds of knowledge
IN many respects, Faustus is representative of this thirst for
knowledge. His long monologues in Scene 1dramatise his
command of - and impatience with - established branches of
knowledge and his desire to move beyond them. On the one hand,
this desire is admirable, representing the highest kind of human
potential. However, the play also represents it as extremely
dangerous, leading, in Faustus’ case, to necromancy and the pact
with Mephastophilis. Furthermore, when Faustus begins to
question Mephastophilis about the secrets of the universe, he is
disappointed because he is told very little that he does not already
know. By the end of the play, he seems to have lost his hunger for
knowledge.

7. Pride, vanity and lack of self-
knowledge
If Faustus’ monologue in Scene 1 demonstrates his knowledge
and intelligence, it also begins to reveals the weaknesses in
his character. His pride, arrogance, vanity and lack of self-
knowledge will ultimately bring about his downfall. Pride and
defiance of God was the sin that brought about the fall of
Satan, but Faustus ignores Mephastophilis’ references to
these events and wilfully pursues his own wishes. The play
contains images of falling, in particular of those who overreach
themselves (See Imagery and symbolism > Flight and falling),
but only gradually does Faustus realise that he has passed the
point at which he could have prevented his own fall.

8. Pride, vanity and lack of self-
knowledge
If Faustus’ monologue in Scene 1 demonstrates his knowledge and
intelligence, it also begins to reveals the weaknesses in his character.
His pride, arrogance, vanity and lack of self-knowledge will
ultimately bring about his downfall. Pride and defiance of God was
the sin that brought about the fall of Satan, but Faustus ignores
Mephastophilis’ references to these events and wilfully pursues his
own wishes. The play contains images of falling, in particular of
those who overreach themselves (See Imagery and symbolism
> Flight and falling), but only gradually does Faustus realise that he
has passed the point at which he could have prevented his own fall.
Faustus’ pride leads him to disregard the likely
limitations on human power and knowledge and his
transgression is appropriately punished at the end of the play.

9. Conscience vs. temptation
The most straightforward way of describing the part
played by the Good and Evil Angels and
appearance of old man in Doctor Faustus is that
they are external, visible embodiments of the two
impulses that are at war within Faustus’ mind

10. Conscience vs. temptation
The most straightforward way of describing the part
played by the Good and Evil Angels and
appearance of old man in Doctor Faustus is that
they are external, visible embodiments of the two
impulses that are at war within Faustus’ mind

11. Contesting for Faustus’ soul
The Angels make only one further
appearance, in the same scene, at the point
where Faustus realises that there are some
questions that Mephastophilis will not
answer and that he has reached the limits of
what he can gain from his devilish bargain.
As on previous occasions, the Angels are
seen at a crucial moment, when Faustus is
wavering:

12. Contesting for Faustus’ soul
The Angels make only one further
appearance, in the same scene, at the point
where Faustus realises that there are some
questions that Mephastophilis will not
answer and that he has reached the limits of
what he can gain from his devilish bargain.
As on previous occasions, the Angels are
seen at a crucial moment, when Faustus is
wavering:

13. EVIL ANGEL
Too late.
GOOD ANGEl
Never too late, if Faustus can repent.
EVIL ANGEL
If thou repent, devils shall tear thee in pieces.
GOOD ANGEL
Repent, and they shall never raise thy skin.
Exeunt [ANGELS]
FAUSTUS
ah Christ my Saviour, seeks to save
Distressed Faustus’ soul.
Scene 7, 75-80

14. EVIL ANGEL
If thou repent, devils shall tear thee in pieces.
GOOD ANGEL
Repent, and they shall never raise thy skin.
Exeunt [ANGELS]
Scene 7, 75-80

15. The Old Man
The Old Man
After Scene 7, the Good and Evil Angels
disappear from the play and their function
is taken over by the Old Man, who appears
only in Scenes 12 and 13. This represents
a very important shift in the play, for
Faustus is not being appealed to by non-
human beings but by afellow human
being and one who has lived his life
according to Christian precepts.