Doctor Faustus quotes

Question 1

‘The form of Faustus’ fortunes, good or bad.’ (Prologue - Wagner)

Answer 1

Iambic pentameter and fricatives place focus on central eponymous protagonist. Foregrounds the evil within that tempts him to his fated downfall, like Skilling. Manichean idea that there is good and evil inside everyone.

Question 2

‘Swoll’n with cunning of a self-conceit, his waxen wings did mount above his reach.’ (Prologue - Wagner)

Answer 2

Classical allusion to Icarus’ overambition with hubris and arrogance leading to downfall. Excess/gluttony.

Question 3

‘Necromantic books are heavenly’ and ‘Affords this art no greater miracle?’ (1,1 - Faustus)

Answer 3

Ironic religious imagery in oxymoron and interrogative

Question 4

‘The reward of sin is death. That’s hard.’ (1,1 - Faustus)

Answer 4

Comedic line using litotes, truncated Biblical quote that ends ‘but the gift of God is eternal life through Jesus Christ our Lord.’ Faustus manipulates logic for self-indulgent aims. Faulty syllogism omits Bible’s meaning through ellipsis (problematic for Elizabethans who were fined for giving up divinity). Faustus deceives himself, Skilling deceives others.

Question 5

‘Try thy brains to gain a deity.’ (1,1 - Faustus)

Answer 5

Desire for God-like omnipotence, perhaps appearing blasphemous to an Elizabethan audience. His desire to control the elements perhaps is comparable to Enron trading in weather.

Question 6

‘I’ll have them fly to India for gold, ransack the ocean for orient pearl, and search all corners of the new-found world.’ (1,1 - Faustus)

Answer 6

Postcolonial critics may take umbrage (oppose imperial Elizabethan attitudes during the ‘Age of Discovery’); invasive, aggressive imagery of exploitation.

Question 7

‘I am by nature phlegmatic, slow to wrath, and prone to lecher’ (1,2 - Wagner)

Answer 7

Staged as shouting angrily beforehand, comedically undermining his claim - breaks 4th wall to flirt with audience. Wagner parodies Faustus and academic discourse, criticising his syllogisms and digressions.

Question 8

‘Within this circle is Jehovah’s name, forward and backward anagrammatised.’ (1,3 - Faustus)

Answer 8

Blasphemy, literally inverting the holy symbols/names of the church. Staged at the Globe performing telegrammation while speaking, drawing tetragrams with scholars in cloaks echoing in Latin but with a brief moment of anticlimax before Mephistopheles appears.

Question 9

‘Then fear not, Faustus, but be resolute’ (1,3 - Faustus)

Answer 9

Faustus has a brief moment of doubt when committing immoral actions, unlike Skilling

Question 10

‘I charge thee to return and change thy shape. Thou art too ugly to attend on me.’ (1,3 - Faustus)

Answer 10

Personal pronoun suggests superficial concern with reputation, rather than fear. He only wants to see his dream of necromancy, not the ugly reality. Staged at the Globe with Mephistopheles appearing in the form of a gigantic ram’s skull, before it splits and he appears ironically as a Franciscan Friar.

Question 11

‘No, I came now hither of mine own accord.’ (1,3 - Mephistopheles)

Answer 11

Shows that the act of conjuring does not damn Faustus, but he is in danger of it. Lack of servitude diminishes Faustus’ power and achievements.

Question 12

‘The word ‘damnation’ terrifies not him, for he confounds hell in Elysium’ (1,3 - Faustus)

Answer 12

Illeism shows hubris. Claims ignorance to clear religious dichotomy of heaven and hell as similar, either out of unintelligence or being blindsided by arrogance.

Question 13

‘Why, this is hell, nor am I out of it.’ (1,3 - Mephistopheles)

Answer 13

He sees hell as the absence of God and is in a state of anguish about it. Shows Faustus the torment of being deprived from heaven.

Question 14

‘Learn thou of Faustus manly fortitude!’ (1,3 - Faustus)

Answer 14

Hubristic assertion of machismo through illeism. Faustus ironically recommends manliness to a supernatural being.

Question 15

‘Had I as many souls as there be stars, I’d give them all for Mephistopheles.’ (1,3 - Mephistopheles)

Answer 15

Lusty, homoerotic culture. Mephistopheles is the source of never-ending delight.

Question 16

‘So hungry that I know he would give his soul to the devil for a shoulder of mutton.’ (1,4 - Wagner)

Answer 16

Low comedy scene parodies Faustus’ deal with Mephistopheles. Use of bathos ridicules Faustus’ deal. Staged at the Glove with a slapstick, farcical comedic sequence of the devil chasing Robin.

Question 17

‘Now, Faustus, must thou needs be damned, and canst thou not be saved.’ (2,1 - Faustus)

Answer 17

Modal verbs demonstrate doubt in Faustus’ first psychomachic struggle of the scene. However, he is reassured and persuaded through a physical sequence of a lascivious lap dance from some devils.

Question 18

‘To him (Beelzebub) I’ll build an altar and a church, and offer lukewarm blood of new-born babes.’ (2,1 - Faustus)

Answer 18

Nomenclature names the devil, inversion of religion with symbols of altar, church and blood (Christ’s sacrifice). The last line is in iambic pentameter with plosives and visceral adjectives to emphasise Biblical allusion to King Herod’s destruction of threats to power and of innocence.

Question 19

‘(Cutting his arm) Lo, Mephistopheles, for love of thee I cut mine arm.’ (2,1 - Faustus)

Answer 19

Blood motif creates a grotesque parody of the sacrifice of Christ. Queer critics may read into this as signing his soul for love of Mephistopheles (perhaps Marlowe exploring his sexuality that would have been demonised). In the Globe version Mephistopheles hesitates when taking Faustus’ bill.

Question 20

‘My blood congeals, and I can write no more.’ (2,1 - Faustus)

Answer 20

Divine intervention if blood signifies the life force of Christianity. Faustus shows doubts and in staging looks up at God. His body does not comply with him commodifying his soul.

Question 21

‘Homo Fuge! Yet shall not Faustus fly.’ (2,1 - Faustus)

Answer 21

The words appear inscribed on his arm. Flying/falling imagery as he will not be able to ‘fly’ to heaven. Or a warning to flee from the necromantic deal.

Question 22

‘Come, I think hell’s a fable.’ (2,1 - Faustus)

Answer 22

Faustus challenges orthodoxy with this metaphor, he is perhaps Marlowe’s mouthpiece for humanist perspectives.

Question 23

‘Marriage is but a ceremonial toy.’ (2,1 - Mephistopheles)

Answer 23

Disparaging of Christian sacrament. Homoerotic reading of Mephistopheles as a jealous lover.

Question 24

‘Nay, let me have one book more.’ (2,1 - Faustus)

Answer 24

Faustus is overreaching and pushing the limits. His desires are unfulfilled as he is hollow and empty. Comparative adverb ‘more’.

Question 25

‘Nan Spit, our kitchen maid, then turn her and wind her (…) at midnight.’ (2,2 - Robin)

Answer 25

Sexual euphemisms with implications from the verb ‘turn’ that she is as easily turned as a cooking spit, perhaps causing a feminist audience to take umbrage. The time of midnight is associated with transgression and echoes Faustus and Mephistopheles’ meeting.

Question 26

‘I will renounce this magic and repent.’ (2,3 - Faustus)

Answer 26

Modal verb ‘will’ suggests certainty as Faustus decides to repent.

Question 27

‘Ah, Christ, my saviour, seek to save distressed Faustus’ soul!’ (2,3 - Faustus)

Answer 27

Direct plea to God, emphasised with sibilance. Instead of Christ, Lucifer appears - staged in the Globe version with each hand on the shoulder of a hog-headed devil.

Question 28

‘Thirty meals a day, and ten bevers - a small trifle to suffice nature.’ (2,3 - Gluttony)

Answer 28

Greed is shown through litotes in the adjective ‘small’.

Question 29

‘I would desire that this house and all the people in it were turned to gold.’ (2,3 - Covetousness)

Answer 29

Malignantly taking and stripping wealth and power from others, perhaps viewed as exploitation through a postcolonial lens.

Question 30

‘Did mount himself to scale Olympus’ top’ (3,1 - Wagner)

Answer 30

Faustus arguably reaches God level as he desired, shown through this classical allusion to the home of the Greek Gods. Motif of height shows gains.

Question 31

‘Being seated in a chariot burning bright drawn by the strength of yoky dragons’ necks.’ (3,1 - Wagner)

Answer 31

The awesome/awe-inspiring shows Faustus’ materialistic gains. In the Globe version the spectacular mise-en-scene includes skeletal dragons with red wings. Ability for travel in the Renaissance is wonderful, postcolonial critics may take umbrage due to the exploitation during the Age of Discovery.

Question 32

‘(Snatching the dish) You say true, I’ll ha’t.’ (3,1 - Faustus)

Answer 32

Slapstick paralinguistics almost degenerate into low comedy. Faustus snatches the Pope’s dish that was sent from the Bishop of Milan, perhaps reflecting the opulence that Marlowe condemns. Condemns Catholicism, the key institution of the time. Element of comedy in the Globe version as Faustus is invisible but the audience can see him - the friars’ table is filled with fruit and a white tablecloth and there is auditory imagery of cymbals smashing as the cup is snatched.

Question 33

‘Maledicat Dominus!’ (3,1 - Friars)

Answer 33

Sung by the friars and repeated, latinate lexis meaning ‘May the Lord curse him!’. Globe version stages this excommunication with the friars having their hoods up in white cloaks and ringing bells while one holds the Bible.

Question 34

‘Faustus and Mephistopheles beat the friars, and fling fireworks among them.’ (3,1 - stage direction)

Answer 34

Disruptive, aggressive verbs as they disrupt the religious order and the gravitas of St Peter’s day.

Question 35

‘You may be ashamed to burden honest men with a matter of truth.’ (3,2 - Rafe)

Answer 35

Questions truth and strengthens lie, causing deception to run much deeper. In globe staged with comedic sequence of passing the cup between himself and Robin, parodying Faustus stealing from the Pope.

Question 36

‘How, into an ape? That’s brave.’ (3,2 - Rafe)

Answer 36

Mephistopheles turns Rafe into an ape and Robin into a dog. Their happiness parodies Faustus; delight at becoming a spirit despite it being a poor deal. In Globe version they are transformed as devils surround each of them and stamp canes.

Question 37

‘I am content to do whatsoever your Majesty shall command me.’ (4,1 - Faustus)

Answer 37

Faustus adopts a manner of servility to the Emperor, his social superior by order of the Great Chain of Being, although he has arguably usurped this as is shown when the Emperor (a symbol of the aristocracy) kneels to kiss Faustus’ hand at the end.

Question 38

‘What are thou, Faustus, but a man condemned to die? Thy fatal time doth draw to final end. Despair doth drive distrust unto my thoughts.’ (4,1 - Faustus)

Answer 38

Existential crisis, loss of clarity/identity. Plosives amplify sense of despair in this memento mori.

Question 39

‘I’ll tell thee he has not slept these eight nights.’ (4,1 - Mephistopheles)

Answer 39

Faustus’ insomnia may arguably be a curse of success.

Question 40

‘Well, this trick shall cost him forty dollars more.’ (4,1 - Faustus)

Answer 40

Exploitation of the serving class. Like Rafe and Robin, Faustus profits from corrupt and crooked dealings. The staging of the comic dismemberment as the horse-courser pulls off Faustus’ leg is comic and grotesque and may prefigure Faustus’ fate.

Question 41

‘The dead time of the winter. I would desire no better meat than a dish of ripe grapes.’ (4,2 - Duchess)

Answer 41

Grapes used to make wine, connote hedonism and perhaps a symbol of immediate gratification. Transgressive against nature due to the season, perhaps links grapes to the forbidden fruit in the Biblical story of the Fall and positions her as a mirror of Eve, the fallen woman. In the Globe version, this remark is directed to the Duke, perhaps suggesting a lack of sexual fulfilment. Faustus produces the grapes in the Globe’s staging from underneath the Duchess’ dress before licking them and sharing them with her erotically.

Question 42

‘Come, Master Doctor, follow us and receive your reward.’ (4,2 - Duke)

Answer 42

Parallels Emperor’s approval and shows Faustus’ higher position on the hierarchy. In the Globe version, the reward is implicitly sexual, which feminist audiences might take umbrage to as the Duke commodifies his wife.

Question 43

‘Ah, stay, good Faustus, stay thy desperate steps! I see an angel hover o’er thy head.’ (5,1 - Old man)

Answer 43

Imperatives and epithet shows that there is still potential for salvation and mercy.

Question 44

‘I do repent, and yet I do despair.’ (5,1 - Faustus)

Answer 44

Syntactic parallelism shows doubt and uncertainty. Perhaps he would repent if he truly believed in salvation from religion. However, after being threatened with dismemberment by Mephistopheles, Faustus calls on Lucifer to torment the Old man.

Question 45

‘Damned art thou, Faustus, damned! Despair and die!’ (5,1 - Faustus)

Answer 45

Plosives show true despair as Faustus now believes he is past the point of no return and has to suffer eternal damnation. In the Globe version, he cries and falls to the floor delivering this line.

Question 46

‘Sweet Helen, make me immortal with a kiss.’ (5,1 - Faustus)

Answer 46

Imperative ironically has literally made him immortal.

Question 47

‘Her lips suck forth my soul. See where it flies!’ (5,1 - Faustus)

Answer 47

Flight motif. Sibilance and sensual verb intermingle with unwholesome imagery. Ironic abstract noun since this sin of lust arguably damns Faustus and pushes him beyond forgiveness or salvation. Imperatives and caesura connote lust and eros. Helen is seen as dangerous by the old man as she is a succubus.

Question 48

‘The serpent that tempted Eve may be saved, but not Faustus.’ (5,1 - Faustus)

Answer 48

Negatives emphasise his loss of heaven. Biblical allusion suggests that he has committed a sin worse than the original sin.

Question 49

‘I would lift up my hands, but see they hold them, they hold them.’ (5,2 - Faustus)

Answer 49

Imagery of incarceration, perhaps suggesting that this was not his own choice but he was under the influence of others (Valdes and Cornelius/Mephistopheles). Repetition shows despair and repentance.

Question 50

‘God forbade it indeed, but Faustus hath done it.’ (5,2 - Faustus)

Answer 50

Recognition in wrongdoing. Syntactic parallelism in response to the scholars saying ‘God forbid!’

Question 51

‘The clock strikes eleven (…) The clock strikes twelve.’ (5,2 - Stage directions)

Answer 51

Ominous auditory imagery, a memento mori. Furthered by the ‘thunder and lightning’ as Faustus is dragged to hell.

Question 52

‘Curst be the parents that engendered me! No, Faustus, curse thyself. Curse Lucifer, that hath deprived thee of the joys of heaven.’ (5,2 - Faustus)

Answer 52

Tripartite structure of ‘curse’ as Faustus has a moment of anagnorisis, albeit transient.

Question 53

‘O soul, be changed into little waterdrops and fall into the ocean, ne’er be found!’ (5,2 - Faustus)

Answer 53

Requests for transformation in a pattern (also in ‘turn to air’ or ‘some brutish beast’). The imagery of water is pure, cleansing and a symbol of Christianity as he wishes to escape damnation and hell.

Question 54

‘Ah, Mephistopheles!’ (5,2 - Faustus)

Answer 54

Faustus’ last line in the play with many possible interpretations. Emotive vowel sound signifies emotion and may be a plea for help, an anger about Mephistopheles’ betrayal, gratitude, or a pseudosexual erotic pleasure. In the Globe version, dismembered and bloody devils who are bloody with swords run forward and surround Faustus to physically carry him out, upside down and reaching out to the audience.

Question 55

‘Cut is the branch that might have grown full straight.’ (Epilogue - Wagner)

Answer 55

A metaphor for Faustus’ unfulfilled potential. Condemns sin but perhaps implicitly celebrates human potential from a humanist perspective. Delivered by Wagner in the Globe version, with Lucifer and the two devils remaining on stage behind singing hymn-like and delivering a pair of white wings to him.

Question 56

‘Regard his hellish fall, whose fiendful fortune may exhort the wise only to wonder at unlawful things.’ (Epilogue - Wagner)

Answer 56

Mentions legality and is in the tone of warning, with the imperative verb ‘regard’. Plosives highlight the depravity of sin.

Question 57

‘Whose deepness doth entice such forward wits to practise more than heavenly power permits.’ (Epilogue - Wagner)

Answer 57

Audiences are warned, the ultimate moral lesson of the play is that redemption should be chosen over sin. Part of rhyming couplet to mirror opening chorus giving the play a cyclical structure. Delivered by Wagner in Globe version holding a book open that begins to flame at the end before he closes it sharply.