dr faustus introduction essay

Doctor Faustus

Christopher marlowe, ask litcharts ai: the answer to your questions.

Welcome to the LitCharts study guide on Christopher Marlowe's Doctor Faustus . Created by the original team behind SparkNotes, LitCharts are the world's best literature guides.

Doctor Faustus: Introduction

Doctor faustus: plot summary, doctor faustus: detailed summary & analysis, doctor faustus: themes, doctor faustus: quotes, doctor faustus: characters, doctor faustus: symbols, doctor faustus: literary devices, doctor faustus: quizzes, doctor faustus: theme wheel, brief biography of christopher marlowe.

Historical Context of Doctor Faustus

Other books related to doctor faustus.

• Full Title: The Tragical History of the Life and Death of Doctor Faustus
• When Written: Unknown. Possibly around 1592, when the English translation of a German version of the story is known to have surfaced.
• Where Written: Unknown.
• When Published: 1604 (A-text) and 1616 (B-text). Scholars debate the authenticity and relative merits of these two versions of Marlowe's play that survive.
• Literary Period: English Renaissance
• Genre: Elizabethan Tragedy
• Setting: Wittenberg, Germany; Rome, at the pope's court; the court of emperor Charles V.
• Climax: Scene 13. With tension mounting, the hour of Faustus's death and damnation draws near. His cries of regret for having sold his soul to Lucifer and his pleas for more time are unsuccessful, and devils drag him away to Hell.
• Antagonist: As is the case with any good tragic hero, Faustus is arguably his own antagonist. He certainly acts as a bad influence on his friends and acquaintances (like his servant Wagner) and with petty villainy towards his enemies (like the knight at Charles V's court). Ultimately, though, the title of antagonist should probably go to Lucifer. Not only does he claim Faustus' soul, but also, as the devil himself, he is ostensibly everyone's antagonist.

Extra Credit for Doctor Faustus

Fake Beards, Real Fear. The Puritan William Prynne reported that at a 17th century performance of Doctor Faustus , upon the apparition of the devil on the stage, the actors themselves broke character and fell to prayer in fear.

Celeb Gossip. Much of the popularity of Marlowe's play can be attributed to his star actor Edward Alleyn, who performed the title role in three of Marlowe's plays during his lifetime, and for whom the part of Faustus was written. Ben Affleck plays Alleyn in the movie Shakespeare in Love .

“Doctor Faustus” by Christopher Marlowe Essay

• To find inspiration for your paper and overcome writer’s block
• As a source of information (ensure proper referencing)
• As a template for you assignment

Introduction

The discussion.

The British literature of the epoch of Enlightenment is characterized by the prevalence of the poetry and drama as well as by the focus on the themes of morality and Christian values. The play Doctor Faustus by Christopher Marlowe can be referred to the modified genre of the Morality Play, which was popular at that time.

The play Doctor Faustus by Christopher Marlowe can be referred to the genre of the Morality Play because it uncovers the theme of the Seven Deadly Sins. The genre of Morality Play was widely spread in the British literature of the Middle Ages. The focus on the moral qualities of the characters was the main distinctive feature of this genre ( Morality play n.d.).

In particular, we know from the play that Faustus, the main character, sold his soul to devil. He encountered with the Seven Deadly Sins, each of which warned him about the consequences of his choice.

“BEEL. Faustus, we are come from hell in person to show thee

some pastime. Sit down, and thou shalt behold the Seven

Deadly Sins appear to thee in their own proper shapes

and likeness” (Marlowe, 1965, p.70).

Although the play by Christopher Marlowe is not typical for this genre, it has a lot of its features. We can say that the author modified the genre a little bit and, essentially, made a breakthrough in the literature of that period. His literary innovations are considered to be the steps on the path from the traditional literature of the Middle Ages to the literature of the epoch of Enlightenment. Being inspired by the Medieval play Everyman , Marlowe wrote his own work by using the major themes of the play.

However, Doctor Faustus is much more complicated work. The author tried to show that not the external circumstances determine human destiny but rather the inner world of the person does. His play uncovers his ideas and does this in the progressive manner. In particular, Marlowe uses the new literary techniques such as the blank verse. We can see that many lines of the play do not rhyme. In particular,

“ROB. What, Dick, look to the horses there till I come again. I

have gotten one of Doctor Faustus’ conjuring books, and

now we’ll have such knavery as’t passes” (Marlowe, 1965, p.72).

It should be noted that the character of Faustus revealed his complex and contradictory nature. He was tempted by the devil and did not pass the test. Seven Deadly Sins were stronger than his morality. The author of the play tried to show the tragedy of Faustus in his strong ambition and the low morality at the same time. He ruined his soul by himself because he lacked the right moral fiber to withstand the temptation. Faustus was the victim of his own desires.

In order to sum up all above mentioned, it should be said that the play Doctor Faustus by Christopher Marlowe represents the genre of the Morality Play in the British literature. At the same time, it should be emphasized that the author modified the traditions of the genre and introduced his own approach to the Morality Play. The belonging of Doctor Faustus to exactly this genre is proved by the main theme of the work, the spiritual struggle of the man with the Seven Deadly Sins.

Marlowe, Ch. (1965). Doctor Faustus . New York, USA: Routledge.

Morality Play ? (n.d.). Web.

• Deception in "The Tragical History of Doctor Faustus"
• Comparing Dr. Faustus and Hamlet
• Marlowe's "Dr. Faustus" and Wilde's "The Importance of Being Earnest"
• “Waiting for Godot” by Samuel Beckett
• “Hamlet” and “Rosencrantz and Guildenstern are Dead”
• Narrating the Poetry: "The Iliad" by Homer
• Canonical Status of Hamlet by William Shakespeare
• The Play "Julius Caesar" by William Shakespeare
• Chicago (A-D)
• Chicago (N-B)

IvyPanda. (2019, January 17). "Doctor Faustus" by Christopher Marlowe. https://ivypanda.com/essays/doctor-faustus-2/

""Doctor Faustus" by Christopher Marlowe." IvyPanda , 17 Jan. 2019, ivypanda.com/essays/doctor-faustus-2/.

IvyPanda . (2019) '"Doctor Faustus" by Christopher Marlowe'. 17 January.

IvyPanda . 2019. ""Doctor Faustus" by Christopher Marlowe." January 17, 2019. https://ivypanda.com/essays/doctor-faustus-2/.

1. IvyPanda . ""Doctor Faustus" by Christopher Marlowe." January 17, 2019. https://ivypanda.com/essays/doctor-faustus-2/.

Bibliography

IvyPanda . ""Doctor Faustus" by Christopher Marlowe." January 17, 2019. https://ivypanda.com/essays/doctor-faustus-2/.

Doctor Faustus Introduction

This one's got it all, folks: devils, damsels, and dastardly deeds. Doctor Faustus is the story of a great scholar who decides a little magical mojo will cure his ennui . The catch? He has to sign his soul over to the devil in order to get that mojo workin' .

The legend of Faustus was already well-known in Europe by the time Christopher Marlowe turned it into a play in 1594. It had been making the rounds as a folktale in Germany since the early 1500s, and was translated into English and published in England in the 1590s as a chapbook (that's the Renaissance version of a pulp paperback) entitled "The Historie of the Damnable Life, and Deserved Death, of Doctor Iohn Faustus." So Marlowe had all kinds of sources to draw from when it came to bringing the devil to life.

And boy did he ever bring him to life. We know Doctor Faustus was immediately popular with audiences because it was actually published in 1604. That's something that only happened if people were really clamoring for a printed version of their favorite play. Apparently Doctor Faustus struck a chord or two in the hearts and minds of its renaissance audience.

That might have something to do with its uniqueness. Doctor Faustus stood out from the crowd by combining things we associate with medieval drama (like allegory) to explore what we now think of as modern questions: What form should knowledge take? What is the nature of true power? Should we believe in fate or free will?

At the time that Marlowe was writing, a Protestant church reformer named John Calvin had developed a theory about human salvation called Predestination. This theory said that each human being was fated from the beginning of his or her life to be damned or saved. It raised questions about exactly how much control a person had over his or her own salvation.

Faustus grapples with this same question at the beginning of the play, and eventually arrives at the shaky conclusion that he's damned no matter what he does. The way he handles this belief is the subject of the rest of the play. All along characters like the Good Angel and the Old Man try to convince Faustus that he does have a choice; they insist that he can repent and turn to God again. Are they right? That's a question only you can answer, because Marlowe is annoyingly coy.

So dig in to Doctor Faustus , and tackle the big questions. Then get back to Shmoop to give us the skinny.

What is Doctor Faustus About and Why Should I Care?

John Faustus, an elite scholar who has already reached the limits of human knowledge in the traditional academic disciplines, longs to "ransack the ocean for orient pearl, / And search all corners of the new-found world," to probe "strange philosophy" and "the secrets of all foreign kings" (1.1.81-82, 84-85).

That all sounds like a grand ol' time, right? Right. There's just one problem. In order to ransack, search, and discover all that awesome knowledge, Faustus has to make a deal with the devil. And we know those never end well.

Now, a modern person like you might say that knowledge is always a good thing, and that seems to be what Faustus believes, too. But what Marlowe's Doctor Faustus forces us to consider is that knowledge almost always comes at a price.

Sure, we don't usually get (spoiler alert) torn limb from limb (like Faustus does) when we learn something we shouldn't. And we don't get handed a one-way ticket to the underworld like the one the not-so good doctor receives from his buddy Lucifer. So the price of knowledge in Doctor Faustus might seem exaggeratedly steep.

But the price itself might be beside the point. The point of Doctor Faustus seems to be that knowledge can be so seductive, so desirable, that we often don't consider the cost—whatever it may be—until it's too late. So really, it's the question that matters most: how far are you willing to go to know what you want to know?

Tired of ads?

Cite this source, logging out…, logging out....

You've been inactive for a while, logging you out in a few seconds...

W hy's T his F unny?

Want to create or adapt books like this? Learn more about how Pressbooks supports open publishing practices.

74 Christopher Marlowe: Doctor Faustus

Introduction

by Jorden Caudle and Viscette Villalobos

The Tragical History of the Life and Death of Doctor Faustus is derived from the German folktale Faust . Faust is the story of a man who falls into a depression as he becomes bored and unsatisfied with his life as a scholar. In an attempt to end his own life, he seeks out the Devil whom he calls for “further knowledge and magic powers with which to indulge all the pleasure and knowledge of the world” (“Faust”). The Devil decides to make a bargain with Faust allowing the titular character to utilize the abilities of one of his representatives, thus granting him the power of knowledge he so desperately desires. The bargain will last for a set number of years and will end with Faust turning his soul over to the Devil to become eternally enslaved thereafter. Later versions of this tale end with Faust being saved by God through Faust’s consistent pleading as he comes to believe that he can be saved. Earlier versions, however, portray Faust’s resentment of the idea of salvation and ends with him being carried off to Hell.

Christopher Marlowe’s interpretation of this classic folktale, The Tragical History of the Life and Death of Doctor Faustus was first performed in 1592-93 (“Doctor Faustus (Play)”) and has had audiences confused for hundreds of years trying to discern the real meaning beneath the rather straightforward plot (Rasmussen). Marlowe created a story that, at its core, is about good and evil. Doctor Faustus considers the question of whether the pursuit of salvation is worthwhile or better abandoned for the pursuit of pleasures in the here and now. In Marlowe’s time, the play addressed the power of God’s divine will and made people question their own chances at salvation. Are we born destined to be damned, or do our life choices affect our ultimate fate? Marlowe was known for believing that religion was a construct crafted to keep men in line, and he mocked religion and the men who followed a higher power. Marlowe’s clear attitudes toward organized religion and his inclusion of the devil as a main character caused controversy then as now.

Two versions of the play exist, referred to as the “A Text” and “B Text” version. The A text, published in 1604, is what many scholars consider as an abbreviation of the “original” version of Doctor Faustus because this version contains fewer lines than the B text. The B text, published in 1616, is a fuller version as it does not contain 36 of the “original” lines found in the A text but does contain an additional 676 lines. The two versions have a few differences within the text which influence the way the play is perceived. A specific example is found in the line from the A text, “Never too late, if Faustus can repent.” This same sentence is found in the B text written as, “Never too late, if Faustus will repent.” (“Dr. Faustus”). The difference between the two texts influences Faustus’ tale as the text suggests that it is possible for him to reach salvation. However, because Marlowe did not participate in the publication process, debate over which version is truly the original and most authentic version remains.

Christopher Marlowe’s most well-known play, Doctor Faustus, follows a knowledge-thirsty doctor who seeks a new interest in magic, more specifically necromancy. Faustus, seeking some excitement in his life and bored with all other subjects, calls his servant Wagner to invite his two acquaintances over for a conference: Valdes and Cornelius. These men know a thing or two about back magic and how to connect with the dead. Doctor Faustus allows his new interest in magic and his natural curiosity to lead him into conjuring a demon named Mephistophilis who listens to Doctor Faustus’ wants and wishes. Faustus becomes aware of Mephistophilis’ seemingly expansive knowledge of the universe and wants Mephistophilis to share his insights. Mephistophilis operates under the power of Lucifer, the fallen angel now the leader of the devils, and consults him to form an agreement with Faustus. Lucifer agrees to give the doctor all of the knowledge he desires for the next twenty-four years. However, after the allotted time, Faustus will be expected to pay Lucifer back by giving up his soul and continuing to live the rest of his life in eternal damnation. Before signing his contract with Lucifer in his own blood, Faustus becomes hesitant and sees signs from the universe alerting him of how reckless this decision is. After the conversation with the devil, a good angel and an evil angel appear to talk to Doctor Faustus. The good angel warns him not to sign his life over because he needs to think of heavenly things and the evil angel convinces him that he needs to sign his soul and his body over because of honour, wealth and all the good things in life. Faustus ignores all signs and formally makes a deal with the devil. Faustus seeks the truths of the universe but remains blinded by his own belief that he is destined to inevitable damnation. He asks Mephistophilis questions concerning the universe, creation, and higher powers and all of Mephistophilis’ answers are very evasive which serve to alert Faustus that he might have made a mistake in making a deal with Lucifer. Faustus spends the next 24 years using his powers to impress others, never using his power for anything truly meaningful. Faustus realizes this and comes to regret ever offering his soul for something so frivolous. In the end, he is he dragged to hell by Mephistophilis while attempting to repent.

Historical Context

The English Reformation, among many other effects, prompts a turn toward individualism. This sense of individuality and independence from the church allowed people to make their own judgements regarding religion. Whether the beliefs Marlowe possessed were original or a product of religious conflicts at the time is important to note. Cultural movements such as humanism serve as historical context for the story of Doctor Faustus . Humanism is a philosophy that began in ancient Greece which disregards any supernatural influences on the actions of humans and instead believes that the power of choice is vested in each human. With this idea in mind, humanism emphasizes the importance of the potential each human being holds that allows them to make their lives better for themselves. This philosophy can be applied to the idea of salvation and supports the idea that individuals determine their own fate, it is not something predetermined by the universe. Calvinist theory stands as the contrast to humanism. John Calvin was a protestant leader during the reformation in the 16th century. Calvinist theory suggests that salvation is a reward from God rather than a reward for human effort.

This story has many themes, but one of the more obvious themes is power. Doctor Faustus wants all the power and if he thinks he has it he will be happy and do all these great things for society. When he actually signs a contract with the devil and has the power he is using it for nothing more than just fun and games it seems. While everything becomes possible to Doctor Faustus, he never uses his power for good; he becomes selfish, rude, and inconsiderate of why he wanted the power in the first place.

Works Cited

“Doctor Faustus (Play).” Wikipedia, 31 May 2019, en.wikipedia.org/wiki/Doctor_Faustus_(play). Accessed 23 Oct. 2020.

“Faust.” Wikipedia , 27 June 2019, en.wikipedia.org/wiki/Faust. Accessed 23 Oct. 2020.

“Marlowe’s Doctor Faustus.” British Library, 16 June 2019. bl.uk/collection-items/marlowes-doctor-faustus-1631

Rasmussen, Eric. “An Introduction to Doctor Faustus: Morality and Sin.” British Library, 31 March 2017. bl.uk/shakespeare/articles/an-introduction-to-doctor-faustus-morality-and-sin. Accessed 16 June 2019.

Discussion Questions

• Does Faustus feel greater power from Satan or God? How does this power shift throughout the story?
• Had Faustus began to repent sooner do you believe he would have been able to escape damnation?
• In the variations of the Faustian tale, the main character is either redeemed or damned to hell. Which is the more impactful ending?
• Are we the masters of our own fate? What is the connection between this play and the concept of free will?
• Is Doctor Faustus a disgrace to the Christian faith or more of a hero?

Further Resources

• A short and to the point background of Christopher Marlowe and the play
• A site to get a little more understanding of the play
• A great video that reveals the plot and summary regarding the play

Reading: The Tragical History of Doctor Faustus

Dramatis personae..

THE POPE. CARDINAL OF LORRAIN. THE EMPEROR OF GERMANY. DUKE OF VANHOLT. FAUSTUS. VALDES, ] friends to FAUSTUS. CORNELIUS, ] WAGNER, servant to FAUSTUS. Clown. ROBIN. RALPH. Vintner. Horse-courser. A Knight. An Old Man. Scholars, Friars, and Attendants.

DUCHESS OF VANHOLT

LUCIFER. BELZEBUB. MEPHISTOPHILIS. Good Angel. Evil Angel. The Seven Deadly Sins. Devils. Spirits in the shapes of ALEXANDER THE GREAT, of his Paramour and of HELEN.

THE TRAGICAL HISTORY OF DOCTOR FAUSTUS

FROM THE QUARTO OF 1604.

Enter CHORUS.

CHORUS. Not marching now in fields of Thrasymene, Where Mars did mate[1] the Carthaginians; Nor sporting in the dalliance of love, In courts of kings where state is overturn’d; Nor in the pomp of proud audacious deeds, Intends our Muse to vaunt[2] her[3] heavenly verse: Only this, gentlemen,–we must perform The form of Faustus’ fortunes, good or bad: To patient judgments we appeal our plaud, And speak for Faustus in his infancy. Now is he born, his parents base of stock, In Germany, within a town call’d Rhodes: Of riper years, to Wertenberg he went, Whereas[4] his kinsmen chiefly brought him up. So soon he profits in divinity, The fruitful plot of scholarism grac’d, That shortly he was grac’d with doctor’s name, Excelling all whose sweet delight disputes In heavenly matters of theology; Till swoln with cunning,[5] of a self-conceit, His waxen wings did mount above his reach, And, melting, heavens conspir’d his overthrow; For, falling to a devilish exercise, And glutted now[6] with learning’s golden gifts, He surfeits upon cursed necromancy; Nothing so sweet as magic is to him, Which he prefers before his chiefest bliss: And this the man that in his study sits. [Exit.]

FAUSTUS discovered in his study.[7]

FAUSTUS. Settle thy studies, Faustus, and begin To sound the depth of that thou wilt profess: Having commenc’d, be a divine in shew, Yet level at the end of every art, And live and die in Aristotle’s works. Sweet Analytics, ’tis thou[8] 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 that[9] end: A greater subject fitteth Faustus’ wit: Bid Economy[10] farewell, and[11] Galen come, Seeing, Ubi desinit philosophus, ibi incipit medicus: Be a physician, Faustus; heap up gold, And be eterniz’d for some wondrous cure: Summum bonum medicinae sanitas, The end of physic is our body’s health. Why, Faustus, hast thou not attain’d that end? Is not thy common talk found aphorisms? Are not thy bills 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[12] thou make men[13] to live eternally, Or, being dead, raise them to life again, Then this profession were to be esteem’d. Physic, farewell! Where is Justinian?

[Reads.] Si una eademque res legatur[14] duobus, alter rem, alter valorem rei, &c.

A pretty case of paltry legacies!

[Reads.] Exhoereditare filium non potest pater, nisi, &c.[15]

Such is the subject of the institute, And universal body of the law:[16] This[17] study fits a mercenary drudge, Who aims at nothing but external trash; Too servile[18] and illiberal for me. When all is done, divinity is best: Jerome’s Bible, Faustus; view it well.

[Reads.] Stipendium peccati mors est. Ha! Stipendium, &c.

The reward of sin is death: that’s hard.

[Reads.] 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,[19] What will be, shall be? Divinity, adieu! These metaphysics of magicians, And necromantic books are heavenly; Lines, circles, scenes,[20] letters, and characters; Ay, these are those that Faustus most desires. O, what a world of profit and delight, Of power, of honour, of omnipotence, Is promis’d to the studious artizan! All things that move between the quiet poles Shall be at my command: emperors and kings Are but obeyed in their several provinces, Nor can they raise the wind, or rend the clouds; But his dominion that exceeds in this, Stretcheth as far as doth the mind of man; A sound magician is a mighty god: Here, Faustus, tire[21] thy brains to gain a deity.

Enter WAGNER.[22]

Wagner, commend me to my dearest friends, The German Valdes and Cornelius; Request them earnestly to visit me.

WAGNER . I will, sir. [Exit.]

FAUSTUS. Their conference will be a greater help to me Than all my labours, plod I ne’er so fast.

Enter GOOD ANGEL and EVIL ANGEL.

GOOD ANGEL. O, Faustus, lay that damned book aside, And gaze not on it, lest it tempt thy soul, And heap God’s heavy wrath upon thy head! Read, read the Scriptures:–that is blasphemy.

EVIL ANGEL. Go forward, Faustus, in that famous art Wherein all Nature’s treasure[23] is contain’d: Be thou on earth as Jove[24] is in the sky, Lord and commander of these elements.[25] [Exeunt Angels.]

FAUSTUS . How am I glutted with conceit of this! Shall I make spirits fetch me what I please, Resolve[26] me of all ambiguities, 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 For pleasant fruits and princely delicates; I’ll have them read me strange philosophy, And tell the secrets of all foreign kings; I’ll have them wall all Germany with brass, And make swift Rhine circle fair Wertenberg; I’ll have them fill the public schools with silk,[27] Wherewith the students shall be bravely clad; I’ll levy soldiers with the coin they bring, And chase the Prince of Parma from our land, And reign sole king of all the[28] provinces; Yea, stranger engines for the brunt of war, Than was the fiery keel at Antwerp’s bridge,[29] I’ll make my servile spirits to invent.

Enter VALDES and CORNELIUS.

Come, German Valdes, and Cornelius, And make me blest with your sage conference. Valdes, sweet Valdes, and Cornelius, Know that your words have won me at the last To practice magic and concealed arts: Yet not your words only,[30] but mine own fantasy, That will receive no object; for my head But ruminates on necromantic skill. Philosophy is odious and obscure; Both law and physic are for petty wits; Divinity is basest of the three, Unpleasant, harsh, contemptible, and vile:[31] ‘Tis magic, magic, that hath ravish’d me. Then, gentle friends, aid me in this attempt; And I, that have with concise syllogisms[32] Gravell’d the pastors of the German church, And made the flowering pride of Wertenberg Swarm to my problems, as the infernal spirits On sweet Musaeus when he came to hell, Will be as cunning[33] as Agrippa[34] was, Whose shadow[35] made all Europe honour him.

VALDES. Faustus, these books, thy wit, and our experience, Shall make all nations to canonize us. As Indian Moors obey their Spanish lords, So shall the spirits[36] of every element Be always serviceable to us three; Like lions shall they guard us when we please; Like Almain rutters[37] with their horsemen’s staves, Or Lapland giants, trotting by our sides; Sometimes like women, or unwedded maids, Shadowing more beauty in their airy brows Than have the[38] white breasts of the queen of love: From[39] Venice shall they drag huge argosies, And from America the golden fleece That yearly stuffs old Philip’s treasury; If learned Faustus will be resolute.

FAUSTUS. Valdes, as resolute am I in this As thou to live: therefore object it not.

CORNELIUS. The miracles that magic will perform Will make thee vow to study nothing else. He that is grounded in astrology, Enrich’d with tongues, well seen in[40] minerals, Hath all the principles magic doth require: Then doubt not, Faustus, but to be renowm’d,[41] And more frequented for this mystery Than heretofore the Delphian oracle. The spirits tell me they can dry the sea, And fetch the treasure of all foreign wrecks, Ay, all the wealth that our forefathers hid Within the massy entrails of the earth: Then tell me, Faustus, what shall we three want?

FAUSTUS. Nothing, Cornelius. O, this cheers my soul! Come, shew me some demonstrations magical, That I may conjure in some lusty grove, And have these joys in full possession.

VALDES. Then haste thee to some solitary grove, And bear wise Bacon’s and Albertus'[42] works, The Hebrew Psalter, and New Testament; And whatsoever else is requisite We will inform thee ere our conference cease.

CORNELIUS. Valdes, first let him know the words of art; And then, all other ceremonies learn’d, Faustus may try his cunning[43] by himself.

VALDES. First I’ll instruct thee in the rudiments, And then wilt thou be perfecter than I.

FAUSTUS. Then come and dine with me, and, after meat, We’ll canvass every quiddity thereof; For, ere I sleep, I’ll try what I can do: This night I’ll conjure, though I die therefore. [Exeunt.]

Enter two SCHOLARS.[44]

FIRST SCHOLAR. I wonder what’s become of Faustus, that was wont to make our schools ring with sic probo.

SECOND SCHOLAR. That shall we know, for see, here comes his boy.

Enter WAGNER.

FIRST SCHOLAR. How now, sirrah! where’s thy master?

WAGNER. God in heaven knows.

SECOND SCHOLAR. Why, dost not thou know?

WAGNER. Yes, I know; but that follows not.

FIRST SCHOLAR. Go to, sirrah! leave your jesting, and tell us where he is.

WAGNER. That follows not necessary by force of argument, that you, being licentiates, should stand upon:[45] therefore acknowledge your error, and be attentive.

SECOND SCHOLAR. Why, didst thou not say thou knewest?

WAGNER. Have you any witness on’t?

FIRST SCHOLAR. Yes, sirrah, I heard you.

WAGNER. Ask my fellow if I be a thief.

SECOND SCHOLAR. Well, you will not tell us?

WAGNER. Yes, sir, I will tell you: yet, if you were not dunces, you would never ask me such a question; for is not he corpus naturale? and is not that mobile? then wherefore should you ask me such a question? But that I am by nature phlegmatic, slow to wrath, and prone to lechery (to love, I would say), it were not for you to come within forty foot of the place of execution, although I do not doubt to see you both hanged the next sessions. Thus having triumphed over you, I will set my countenance like a precisian, and begin to speak thus:– Truly, my dear brethren, my master is within at dinner, with Valdes and Cornelius, as this wine, if it could speak, would[46] inform your worships: and so, the Lord bless you, preserve you, and keep you, my dear brethren, my dear brethren![47] [Exit.]

FIRST SCHOLAR. Nay, then, I fear he is fallen into that damned art for which they two are infamous through the world.

SECOND SCHOLAR. Were he a stranger, and not allied to me, yet should I grieve for him. But, come, let us go and inform the Rector, and see if he by his grave counsel can reclaim him.

FIRST SCHOLAR. O, but I fear me nothing can reclaim him!

SECOND SCHOLAR. Yet let us try what we can do. [Exeunt.]

Enter FAUSTUS to conjure.[48]

FAUSTUS. Now that the gloomy shadow of the earth, Longing to view Orion’s drizzling look, Leaps from th’ antartic world unto the sky, And dims the welkin with her pitchy breath, Faustus, begin thine incantations, And try if devils will obey thy hest, Seeing thou hast pray’d and sacrific’d to them. Within this circle is Jehovah’s name, Forward and backward anagrammatiz’d,[49] Th’ abbreviated[50] names of holy saints, Figures of every adjunct to the heavens, And characters of signs and erring[51] stars, By which the spirits are enforc’d to rise: Then fear not, Faustus, but be resolute, And try the uttermost magic can perform.– Sint mihi dei Acherontis propitii! Valeat numen triplex Jehovoe! Ignei, aerii, aquatani spiritus, salvete! Orientis princeps Belzebub, inferni ardentis monarcha, et Demogorgon, propitiamus vos, ut appareat et surgat Mephistophilis, quod tumeraris:[52] per Jehovam, Gehennam, et consecratam aquam quam nunc spargo, signumque crucis quod nunc facio, et per vota nostra, ipse nunc surgat nobis dicatus[53] Mephistophilis!

Enter MEPHISTOPHILIS.

I charge thee to return, and change thy shape; Thou art too ugly to attend on me: Go, and return an old Franciscan friar; That holy shape becomes a devil best. [Exit MEPHISTOPHILIS.]

I see there’s virtue in my heavenly words: Who would not be proficient in this art? How pliant is this Mephistophilis, Full of obedience and humility! Such is the force of magic and my spells: No, Faustus, thou art conjuror laureat, That canst command great Mephistophilis: Quin regis Mephistophilis fratris imagine.

Re-enter MEPHISTOPHILIS like a Franciscan friar.[54]

MEPHIST. Now, Faustus, what wouldst thou have me do?

FAUSTUS. 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, Or the ocean to overwhelm the world.

MEPHIST. I am a servant to great Lucifer, And may not follow thee without his leave: No more than he commands must we perform.

FAUSTUS. Did not he charge thee to appear to me?

MEPHIST. No, I came hither[55] of mine own accord.

FAUSTUS. Did not my conjuring speeches raise thee? speak.

MEPHIST. That was the cause, but yet per accidens;[56] For, when we hear one rack the name of God, Abjure the Scriptures and his Saviour Christ, We fly, in hope to get his glorious soul; Nor will we come, unless he use such means Whereby he is in danger to be damn’d. Therefore the shortest cut for conjuring Is stoutly to abjure the Trinity, And pray devoutly to the prince of hell.

FAUSTUS. So Faustus hath Already done; and holds this principle, There is no chief but only Belzebub; To whom Faustus doth dedicate himself. This word “damnation” terrifies not him, For he confounds hell in Elysium: His ghost be with the old philosophers! But, leaving these vain trifles of men’s souls, Tell me what is that Lucifer thy lord?

MEPHIST. Arch-regent and commander of all spirits.

FAUSTUS. Was not that Lucifer an angel once?

MEPHIST. Yes, Faustus, and most dearly lov’d of God.

FAUSTUS. How comes it, then, that he is prince of devils?

MEPHIST. O, by aspiring pride and insolence; For which God threw him from the face of heaven.

FAUSTUS. And what are you that live with Lucifer?

MEPHIST. Unhappy spirits that fell with Lucifer, Conspir’d against our God with Lucifer, And are for ever damn’d with Lucifer.

FAUSTUS. Where are you damn’d?

MEPHIST. In hell.

FAUSTUS. How comes it, then, that thou art out of hell?

MEPHIST. Why, this is hell, nor am I out of it:[57] Think’st thou that I, who saw the face of God, And tasted the eternal joys of heaven, Am not tormented with ten thousand hells, In being depriv’d of everlasting bliss? O, Faustus, leave these frivolous demands, Which strike a terror to my fainting soul!

FAUSTUS. What, is great Mephistophilis so passionate For being deprived of the joys of heaven? Learn thou of Faustus manly fortitude, And scorn those joys thou never shalt possess. Go bear these[58] tidings to great Lucifer: Seeing Faustus hath incurr’d eternal death By desperate thoughts against Jove’s[59] deity, Say, he surrenders up to him his soul, So he will spare him four and twenty[60] years, Letting him live in all voluptuousness; Having thee ever to attend on me, To give me whatsoever I shall ask, To tell me whatsoever I demand, To slay mine enemies, and aid my friends, And always be obedient to my will. Go and return to mighty Lucifer, And meet me in my study at midnight, And then resolve[61] me of thy master’s mind.

MEPHIST. I will, Faustus. [Exit.]

FAUSTUS. Had I as many souls as there be stars, I’d give them all for Mephistophilis. By him I’ll be great emperor of the world, And make a bridge thorough[62] the moving air, To pass the ocean with a band of men; I’ll join the hills that bind the Afric shore, And make that country[63] continent to Spain, And both contributory to my crown: The Emperor shall not live but by my leave, Nor any potentate of Germany. Now that I have obtain’d what I desir’d,[64] I’ll live in speculation of this art, Till Mephistophilis return again. [Exit.]

Enter WAGNER[65] and CLOWN.

WAGNER. Sirrah boy, come hither.

CLOWN. How, boy! swowns, boy! I hope you have seen many boys with such pickadevaunts[66] as I have: boy, quotha!

WAGNER. Tell me, sirrah, hast thou any comings in?

CLOWN. Ay, and goings out too; you may see else.

WAGNER. Alas, poor slave! see how poverty jesteth in his nakedness! the villain is bare and out of service, and so hungry, that I know he would give his soul to the devil for a shoulder of mutton, though it were blood-raw.

CLOWN. How! my soul to the devil for a shoulder of mutton, though ’twere blood-raw! not so, good friend: by’r lady,[67] I had need have it well roasted, and good sauce to it, if I pay so dear.

WAGNER. Well, wilt thou serve me, and I’ll make thee go like Qui mihi discipulus?[68]

CLOWN. How, in verse?

WAGNER. No, sirrah; in beaten silk and staves-acre.[69]

CLOWN. How, how, knaves-acre! ay, I thought that was all the land his father left him. Do you hear? I would be sorry to rob you of your living.

WAGNER. Sirrah, I say in staves-acre.

CLOWN. Oho, oho, staves-acre! why, then, belike, if I were your man, I should be full of vermin.[70]

WAGNER. So thou shalt, whether thou beest with me or no. But, sirrah, leave your jesting, and bind yourself presently unto me for seven years, or I’ll turn all the lice about thee into familiars,[71] and they shall tear thee in pieces.

CLOWN. Do you hear, sir? you may save that labour; they are too familiar with me already: swowns, they are as bold with my flesh as if they had paid for their[72] meat and drink.

WAGNER. Well, do you hear, sirrah? hold, take these guilders. [Gives money.]

CLOWN. Gridirons! what be they?

WAGNER. Why, French crowns.

CLOWN. Mass, but for the name of French crowns, a man were as good have as many English counters. And what should I do with these?

WAGNER . Why, now, sirrah, thou art at an hour’s warning, whensoever or wheresoever the devil shall fetch thee.

CLOWN. No, no; here, take your gridirons again.

WAGNER. Truly, I’ll none of them.

CLOWN. Truly, but you shall.

WAGNER . Bear witness I gave them him.

CLOWN. Bear witness I give them you again.

WAGNER. Well, I will cause two devils presently to fetch thee away.–Baliol and Belcher!

CLOWN. Let your Baliol and your Belcher come here, and I’ll knock them, they were never so knocked since they were devils: say I should kill one of them, what would folks say? “Do ye see yonder tall fellow in the round slop?[73] he has killed the devil.” So I should be called Kill-devil all the parish over.

Enter two DEVILS; and the CLOWN runs up and down crying.

WAGNER . Baliol and Belcher,–spirits, away! [Exeunt DEVILS.]

CLOWN. What, are they gone? a vengeance on them! they have vile[74] long nails. There was a he-devil and a she-devil: I’ll tell you how you shall know them; all he-devils has horns, and all she-devils has clifts and cloven feet.

WAGNER. Well, sirrah, follow me.

CLOWN. But, do you hear? if I should serve you, would you teach me to raise up Banios and Belcheos?

WAGNER. I will teach thee to turn thyself to any thing, to a dog, or a cat, or a mouse, or a rat, or any thing.

CLOWN. How! a Christian fellow to a dog, or a cat, a mouse, or a rat! no, no, sir; if you turn me into any thing, let it be in the likeness of a little pretty frisking flea, that I may be here and there and every where: O, I’ll tickle the pretty wenches’ plackets! I’ll be amongst them, i’faith.

WAGNER. Well, sirrah, come.

CLOWN. But, do you hear, Wagner?

WAGNER. How!–Baliol and Belcher!

CLOWN. O Lord! I pray, sir, let Banio and Belcher go sleep.

WAGNER. Villain, call me Master Wagner, and let thy left eye be diametarily fixed upon my right heel, with quasi vestigiis nostris[75] insistere. [Exit.]

CLOWN. God forgive me, he speaks Dutch fustian. Well, I’ll follow him; I’ll serve him, that’s flat. [Exit.]

FAUSTUS discovered in his study.

FAUSTUS. Now, Faustus, must Thou needs be damn’d, and canst thou not be sav’d: What boots it, then, to think of God or heaven? Away with such vain fancies, and despair; Despair in God, and trust in Belzebub: Now go not backward; no, Faustus, be resolute: Why waver’st thou? O, something soundeth in mine ears, “Abjure this magic, turn to God again!” Ay, and Faustus will turn to God again. To God? he loves thee not; The god thou serv’st is thine own appetite, Wherein is fix’d the love of Belzebub: To him I’ll build an altar and a church, And offer lukewarm blood of new-born babes.

GOOD ANGEL. Sweet Faustus, leave that execrable art.

FAUSTUS. Contrition, prayer, repentance–what of them?

GOOD ANGEL. O, they are means to bring thee unto heaven!

EVIL ANGEL. Rather illusions, fruits of lunacy, That make men foolish that do trust them most.

GOOD ANGEL. Sweet Faustus, think of heaven and heavenly things.

EVIL ANGEL. No, Faustus; think of honour and of[76] wealth. [Exeunt ANGELS.]

FAUSTUS. Of wealth! Why, the signiory of Embden shall be mine. When Mephistophilis shall stand by me, What god can hurt thee, Faustus? thou art safe Cast no more doubts.–Come, Mephistophilis, And bring glad tidings from great Lucifer;– Is’t not midnight?–come, Mephistophilis, Veni, veni, Mephistophile!

Now tell me[77] what says Lucifer, thy lord?

MEPHIST. That I shall wait on Faustus whilst he lives,[78] So he will buy my service with his soul.

FAUSTUS. Already Faustus hath hazarded that for thee.

MEPHIST. But, Faustus, thou must bequeath it solemnly, And write a deed of gift with thine own blood; For that security craves great Lucifer. If thou deny it, I will back to hell.

FAUSTUS. Stay, Mephistophilis, and tell me, what good will my soul do thy lord?

MEPHIST. Enlarge his kingdom.

FAUSTUS. Is that the reason why[79] he tempts us thus?

MEPHIST. Solamen miseris socios habuisse doloris.[80]

FAUSTUS. Why,[81] have you any pain that torture[82] others!

MEPHIST. As great as have the human souls of men. But, tell me, Faustus, shall I have thy soul? And I will be thy slave, and wait on thee, And give thee more than thou hast wit to ask.

FAUSTUS. Ay, Mephistophilis, I give it thee.

MEPHIST. Then, Faustus,[83] stab thine arm courageously, And bind thy soul, that at some certain day Great Lucifer may claim it as his own; And then be thou as great as Lucifer.

FAUSTUS. [Stabbing his arm] Lo, Mephistophilis, for love of thee, I cut mine arm, and with my proper blood Assure my soul to be great Lucifer’s, Chief lord and regent of perpetual night! View here the blood that trickles from mine arm, And let it be propitious for my wish.

MEPHIST. But, Faustus, thou must Write it in manner of a deed of gift.

FAUSTUS. Ay, so I will [Writes]. But, Mephistophilis, My blood congeals, and I can write no more.

MEPHIST. I’ll fetch thee fire to dissolve it straight. [Exit.]

FAUSTUS. What might the staying of my blood portend? Is it unwilling I should write this bill?[84] Why streams it not, that I may write afresh? FAUSTUS GIVES TO THEE HIS SOUL: ah, there it stay’d! Why shouldst thou not? is not thy soul shine own? Then write again, FAUSTUS GIVES TO THEE HIS SOUL.

Re-enter MEPHISTOPHILIS with a chafer of coals.

MEPHIST. Here’s fire; come, Faustus, set it on.[85]

FAUSTUS. So, now the blood begins to clear again; Now will I make an end immediately. [Writes.]

MEPHIST. O, what will not I do to obtain his soul? [Aside.]

FAUSTUS. Consummatum est; this bill is ended, And Faustus hath bequeath’d his soul to Lucifer. But what is this inscription[86] on mine arm? Homo, fuge: whither should I fly? If unto God, he’ll throw me[87] down to hell. My senses are deceiv’d; here’s nothing writ:– I see it plain; here in this place is writ, Homo, fuge: yet shall not Faustus fly.

MEPHIST. I’ll fetch him somewhat to delight his mind. [Aside, and then exit.]

Re-enter MEPHISTOPHILIS with DEVILS, who give crowns and rich apparel to FAUSTUS, dance, and then depart.

FAUSTUS. Speak, Mephistophilis, what means this show?

MEPHIST. Nothing, Faustus, but to delight thy mind withal, And to shew thee what magic can perform.

FAUSTUS. But may I raise up spirits when I please?

MEPHIST. Ay, Faustus, and do greater things than these.

FAUSTUS. Then there’s enough for a thousand souls. Here, Mephistophilis, receive this scroll, A deed of gift of body and of soul: But yet conditionally that thou perform All articles prescrib’d between us both.

MEPHIST. Faustus, I swear by hell and Lucifer To effect all promises between us made!

FAUSTUS. Then hear me read them. [Reads] 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.[88] FOURTHLY, THAT HE SHALL BE IN HIS CHAMBER OR HOUSE INVISIBLE. LASTLY, THAT HE SHALL APPEAR TO THE SAID JOHN FAUSTUS, AT ALL TIMES, IN WHAT FORM OR SHAPE SOEVER HE PLEASE. I, JOHN FAUSTUS, OF WERTENBERG, 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,[89] 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.

MEPHIST. Speak, Faustus, do you deliver this as your deed?

FAUSTUS. Ay, take it, and the devil give thee good on’t!

MEPHIST. Now, Faustus, ask what thou wilt.

FAUSTUS. First will I question with thee about hell. Tell me, where is the place that men call hell?

MEPHIST. Under the heavens.

FAUSTUS. Ay, but whereabout?

MEPHIST. Within the bowels of these[90] elements, Where we are tortur’d and remain for ever: Hell hath no limits, nor is circumscrib’d In one self place; for where we are is hell, And where hell is, there[91] must we ever be: And, to conclude, when all the world dissolves, And every creature shall be purified, All places shall be hell that are[92] not heaven.

FAUSTUS. Come, I think hell’s a fable.

MEPHIST. Ay, think so still, till experience change thy mind.

FAUSTUS. Why, think’st thou, then, that Faustus shall be damn’d?

MEPHIST. Ay, of necessity, for here’s the scroll Wherein thou hast given thy soul to Lucifer.

FAUSTUS. Ay, and body too: but what of that? Think’st thou that Faustus is so fond[93] to imagine That, after this life, there is any pain? Tush, these are trifles and mere old wives’ tales.

MEPHIST. But, Faustus, I am an instance to prove the contrary, For I am damn’d, and am now in hell.

FAUSTUS. How! now in hell! Nay, an this be hell, I’ll willingly be damn’d here: What! walking, disputing, &c.[94] But, leaving off this, let me have a wife,[95] The fairest maid in Germany; For I am wanton and lascivious, And cannot live without a wife.

MEPHIST. How! a wife! I prithee, Faustus, talk not of a wife.

FAUSTUS. Nay, sweet Mephistophilis, fetch me one, for I will have one.

MEPHIST. Well, thou wilt have one? Sit there till I come: I’ll fetch thee a wife in the devil’s name. [Exit.]

Re-enter MEPHISTOPHILIS with a DEVIL drest like a WOMAN, with fire-works.

MEPHIST. Tell me,[96] Faustus, how dost thou like thy wife?

FAUSTUS. A plague on her for a hot whore!

MEPHIST. Tut, Faustus, Marriage is but a ceremonial toy; If thou lovest me, think no[97] more of it. I’ll cull thee out the fairest courtezans, And bring them every morning to thy bed: She whom thine eye shall like, thy heart shall have, Be she as chaste as was Penelope, As wise as Saba,[98] or as beautiful As was bright Lucifer before his fall. Hold, take this book, peruse it thoroughly: [Gives book.]

The iterating[99] of these lines brings gold; The framing of this circle on the ground Brings whirlwinds, tempests, thunder, and lightning; Pronounce this thrice devoutly to thyself, And men in armour shall appear to thee, Ready to execute what thou desir’st.

FAUSTUS. 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.

MEPHIST. Here they are in this book. [Turns to them.]

FAUSTUS. 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.

MEPHIST. Here they are too. [Turns to them.]

FAUSTUS. Nay, let me have one book more,–and then I have done,– wherein I might see all plants, herbs, and trees, that grow upon the earth.

MEPHIST. Here they be.

FAUSTUS. O, thou art deceived.

MEPHIST. Tut, I warrant thee. [Turns to them.]

FAUSTUS. When I behold the heavens, then I repent, And curse thee, wicked Mephistophilis, Because thou hast depriv’d me of those joys.

MEPHIST. Why, Faustus, Thinkest thou heaven is such a glorious thing? I tell thee, ’tis not half so fair as thou, Or any man that breathes on earth.

FAUSTUS. How prov’st thou that?

MEPHIST. ‘Twas made for man, therefore is man more excellent.

FAUSTUS. If it were made for man, ’twas made for me: I will renounce this magic and repent.

GOOD ANGEL. Faustus, repent; yet God will pity thee.

EVIL ANGEL. Thou art a spirit; God cannot pity thee.

FAUSTUS. Who buzzeth in mine ears I am a spirit? Be I a devil, yet God may pity me; Ay, God will pity me, if I repent.

EVIL ANGEL. Ay, but Faustus never shall repent. [Exeunt ANGELS.]

FAUSTUS. My heart’s so harden’d, I cannot repent: Scarce can I name salvation, faith, or heaven, But fearful echoes thunder in mine ears, “Faustus, thou art damn’d!” then swords, and knives, Poison, guns, halters, and envenom’d steel Are laid before me to despatch myself; And long ere this I should have slain myself, Had not sweet pleasure conquer’d deep despair. Have not I made blind Homer sing to me Of Alexander’s love and Oenon’s death? And hath not he, that built the walls of Thebes With ravishing sound of his melodious harp, Made music with my Mephistophilis? Why should I die, then, or basely despair? I am resolv’d; Faustus shall ne’er repent.– Come, Mephistophilis, let us dispute again, And argue of divine astrology.[100] Tell me, are there many heavens above the moon Are all celestial bodies but one globe, As is the substance of this centric earth?

MEPHIST. As are the elements, such are the spheres, Mutually folded in each other’s orb, And, Faustus, All jointly move upon one axletree, Whose terminine is term’d the world’s wide pole; Nor are the names of Saturn, Mars, or Jupiter Feign’d, but are erring[101] stars.

FAUSTUS. But, tell me, have they all one motion, both situ et tempore?

MEPHIST. All jointly move from east to west in twenty-four hours upon the poles of the world; but differ in their motion upon the poles of the zodiac.

FAUSTUS. Tush, These slender trifles Wagner can decide: Hath Mephistophilis no greater skill? Who knows not the double motion of the planets? The first is finish’d in a natural day; The second thus; as Saturn in thirty years; Jupiter in twelve; Mars in four; the Sun, Venus, and Mercury in a year; the Moon in twenty-eight days. Tush, these are freshmen’s[102] suppositions. But, tell me, hath every sphere a dominion or intelligentia?

MEPHIST. Ay.

FAUSTUS. How many heavens or spheres are there?

MEPHIST. Nine; the seven planets, the firmament, and the empyreal heaven.

FAUSTUS. Well, resolve[103] me in this question; why have we not conjunctions, oppositions, aspects, eclipses, all at one time, but in some years we have more, in some less?

MEPHIST. Per inoequalem motum respectu totius.

FAUSTUS. Well, I am answered. Tell me who made the world?

MEPHIST. I will not.

FAUSTUS. Sweet Mephistophilis, tell me.

MEPHIST. Move me not, for I will not tell thee.

FAUSTUS. Villain, have I not bound thee to tell me any thing?

MEPHIST. Ay, that is not against our kingdom; but this is. Think thou on hell, Faustus, for thou art damned.

FAUSTUS. Think, Faustus, upon God that made the world.

MEPHIST. Remember this. [Exit.]

FAUSTUS. Ay, go, accursed spirit, to ugly hell! ‘Tis thou hast damn’d distressed Faustus’ soul. Is’t not too late?

Re-enter GOOD ANGEL and EVIL ANGEL.

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 raze thy skin. [Exeunt ANGELS.]

FAUSTUS. Ah, Christ, my Saviour, Seek to save[104] distressed Faustus’ soul!

Enter LUCIFER, BELZEBUB, and MEPHISTOPHILIS.

LUCIFER. Christ cannot save thy soul, for he is just: There’s none but I have interest in the same.

FAUSTUS. O, who art thou that look’st so terrible?

LUCIFER. I am Lucifer, And this is my companion-prince in hell.

FAUSTUS. O, Faustus, they are come to fetch away thy soul!

LUCIFER. We come to tell thee thou dost injure us; Thou talk’st of Christ, contrary to thy promise: Thou shouldst not think of God: think of the devil, And of his dam too.

FAUSTUS. Nor will I henceforth: pardon me in this, And Faustus vows never to look to heaven, Never to name God, or to pray to him, To burn his Scriptures, slay his ministers, And make my spirits pull his churches down.

LUCIFER. Do so, and we will highly gratify thee. Faustus, we are come from hell to shew thee some pastime: sit down, and thou shalt see all the Seven Deadly Sins appear in their proper shapes.

FAUSTUS. That sight will be as pleasing unto me, As Paradise was to Adam, the first day Of his creation.

LUCIFER. Talk not of Paradise nor creation; but mark this show: talk of the devil, and nothing else.–Come away!

Enter the SEVEN DEADLY SINS.[105]

Now, Faustus, examine them of their several names and dispositions.

FAUSTUS. What art thou, the first?

PRIDE. I am Pride. I disdain to have any parents. I am like to Ovid’s flea; I can creep into every corner of a wench; sometimes, like a perriwig, I sit upon her brow; or, like a fan of feathers, I kiss her lips; indeed, I do–what do I not? But, fie, what a scent is here! I’ll not speak another word, except the ground were perfumed, and covered with cloth of arras.

FAUSTUS. What art thou, the second?

COVETOUSNESS. I am Covetousness, begotten of an old churl, in an old leathern bag: 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!

FAUSTUS. What art thou, the third?

WRATH. I am Wrath. I 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[106] of rapiers, wounding myself when I had nobody to fight withal. I was born in hell; and look to it, for some of you shall be my father.

FAUSTUS. What art thou, the fourth?

ENVY. I am Envy, begotten of a chimney-sweeper and an oyster-wife. I cannot read, and therefore wish all books were burnt. I am lean with seeing others eat. O, that there would come a famine through all the world, that all might die, and I live alone! then thou shouldst see how fat I would be. But must thou sit, and I stand? come down, with a vengeance!

FAUSTUS. Away, envious rascal!–What art thou, the fifth?

GLUTTONY. Who I, sir? I am Gluttony. My parents are all dead, and the devil a penny they have left me, but a bare pension, and that is thirty meals a-day and ten bevers,[107]–a small trifle to suffice nature. O, I come of a royal parentage! my grandfather was a Gammon of Bacon, my grandmother a Hogshead of Claret-wine; my godfathers were these, Peter Pickle-herring and Martin Martlemas-beef; O, but my godmother, she was a jolly gentlewoman, and well-beloved in every good town and city; her name was Mistress Margery March-beer. Now, Faustus, thou hast heard all my progeny; wilt thou bid me to supper?

FAUSTUS. No, I’ll see thee hanged: thou wilt eat up all my victuals.

GLUTTONY. Then the devil choke thee!

FAUSTUS. Choke thyself, glutton!–What art thou, the sixth?

SLOTH. I am Sloth. I was begotten on a sunny bank, where I have lain ever since; and you have done me great injury to bring me from thence: let me be carried thither again by Gluttony and Lechery. I’ll not speak another word for a king’s ransom.

FAUSTUS. What are you, Mistress Minx, the seventh and last?

LECHERY. Who I, sir? I am one that loves an inch of raw mutton better than an ell of fried stock-fish; and the first letter of my name begins with L.[108]

FAUSTUS. Away, to hell, to hell![109] [Exeunt the SINS.]

LUCIFER. Now, Faustus, how dost thou like this?

FAUSTUS. O, this feeds my soul!

LUCIFER. Tut, Faustus, in hell is all manner of delight.

FAUSTUS. O, might I see hell, and return again, How happy were I then!

LUCIFER. Thou shalt; I will send for thee at midnight.[110] In meantime take this book; peruse it throughly, And thou shalt turn thyself into what shape thou wilt.

FAUSTUS. Great thanks, mighty Lucifer! This will I keep as chary as my life.

LUCIFER. Farewell, Faustus, and think on the devil.

FAUSTUS. Farewell, great Lucifer. [Exeunt LUCIFER and BELZEBUB.]

Come, Mephistophilis. [Exeunt.]

Enter ROBIN[123] the Ostler, with a book in his hand.

ROBIN. O, this is admirable! here I ha’ stolen one of Doctor Faustus’ conjuring-books, and, i’faith, I mean to search some circles for my own use. Now will I make all the maidens in our parish dance at my pleasure, stark naked, before me; and so by that means I shall see more than e’er I felt or saw yet.

Enter RALPH, calling ROBIN.

RALPH. Robin, prithee, come away; there’s a gentleman tarries to have his horse, and he would have his things rubbed and made clean: he keeps such a chafing with my mistress about it; and she has sent me to look thee out; prithee, come away.

ROBIN. Keep out, keep out, or else you are blown up, you are dismembered, Ralph: keep out, for I am about a roaring piece of work.

RALPH. Come, what doest thou with that same book? thou canst not read?

ROBIN. Yes, my master and mistress shall find that I can read, he for his forehead, she for her private study; she’s born to bear with me, or else my art fails.

RALPH. Why, Robin, what book is that?

ROBIN. What book! why, the most intolerable book for conjuring that e’er was invented by any brimstone devil.

RALPH. Canst thou conjure with it?

ROBIN. I can do all these things easily with it; first, I can make thee drunk with ippocras[124] at any tabern[125] in Europe for nothing; that’s one of my conjuring works.

RALPH. Our Master Parson says that’s nothing.

ROBIN. True, Ralph: and more, Ralph, if thou hast any mind to Nan Spit, our kitchen-maid, then turn her and wind her to thy own use, as often as thou wilt, and at midnight.

RALPH. O, brave, Robin! shall I have Nan Spit, and to mine own use? On that condition I’ll feed thy devil with horse-bread as long as he lives, of free cost.

ROBIN. No more, sweet Ralph: let’s go and make clean our boots, which lie foul upon our hands, and then to our conjuring in the devil’s name. [Exeunt.]

Enter CHORUS.[111]

CHORUS. Learned Faustus, To know the secrets of astronomy[112] Graven in the book of Jove’s high firmament, Did mount himself to scale Olympus’ top, Being seated in a chariot burning bright, Drawn by the strength of yoky dragons’ necks. He now is gone to prove cosmography, And, as I guess, will first arrive at Rome, To see the Pope and manner of his court, And take some part of holy Peter’s feast, That to this day is highly solemniz’d. [Exit.]

Enter FAUSTUS and MEPHISTOPHILIS.[113]

FAUSTUS. Having now, my good Mephistophilis, Pass’d with delight the stately town of Trier,[114] Environ’d round with airy mountain-tops, With walls of flint, and deep-entrenched lakes, Not to be won by any conquering prince; From Paris next,[115] coasting the realm of France, We saw the river Maine fall into Rhine, Whose banks are set with groves of fruitful vines; Then up to Naples, rich Campania, Whose buildings fair and gorgeous to the eye, The streets straight forth, and pav’d with finest brick, Quarter the town in four equivalents: There saw we learned Maro’s golden tomb, The way he cut,[116] an English mile in length, Thorough a rock of stone, in one night’s space; From thence to Venice, Padua, and the rest, In one of which a sumptuous temple stands,[117] That threats the stars with her aspiring top. Thus hitherto hath Faustus spent his time: But tell me now what resting-place is this? Hast thou, as erst I did command, Conducted me within the walls of Rome?

MEPHIST. Faustus, I have; and, because we will not be unprovided, I have taken up his Holiness’ privy-chamber for our use.

FAUSTUS. I hope his Holiness will bid us welcome.

MEPHIST. Tut, ’tis no matter; man; we’ll be bold with his good cheer. And now, my Faustus, that thou mayst perceive What Rome containeth to delight thee with, Know that this city stands upon seven hills That underprop the groundwork of the same: Just through the midst[118] runs flowing Tiber’s stream With winding banks that cut it in two parts; Over the which four stately bridges lean, That make safe passage to each part of Rome: Upon the bridge call’d Ponte[119] Angelo Erected is a castle passing strong, Within whose walls such store of ordnance are, And double cannons fram’d of carved brass, As match the days within one complete year; Besides the gates, and high pyramides, Which Julius Caesar brought from Africa.

FAUSTUS. Now, by the kingdoms of infernal rule, Of Styx, of[120] Acheron, and the fiery lake Of ever-burning Phlegethon, I swear That I do long to see the monuments And situation of bright-splendent Rome: Come, therefore, let’s away.

MEPHIST. Nay, Faustus, stay: I know you’d fain see the Pope, And take some part of holy Peter’s feast, Where thou shalt see a troop of bald-pate friars, Whose summum bonum is in belly-cheer.

FAUSTUS. Well, I’m content to compass then some sport, And by their folly make us merriment. Then charm me, that I[121] May be invisible, to do what I please, Unseen of any whilst I stay in Rome. [Mephistophilis charms him.]

MEPHIST. So, Faustus; now Do what thou wilt, thou shalt not be discern’d.

Sound a Sonnet.[122] Enter the POPE and the CARDINAL OF LORRAIN to the banquet, with FRIARS attending.

POPE. My Lord of Lorrain, will’t please you draw near?

FAUSTUS. Fall to, and the devil choke you, an you spare!

POPE. How now! who’s that which spake?–Friars, look about.

FIRST FRIAR. Here’s nobody, if it like your Holiness.

POPE. My lord, here is a dainty dish was sent me from the Bishop of Milan.

FAUSTUS. I thank you, sir. [Snatches the dish.]

POPE. How now! who’s that which snatched the meat from me? will no man look?–My lord, this dish was sent me from the Cardinal of Florence.

FAUSTUS. You say true; I’ll ha’t. [Snatches the dish.]

POPE. What, again!–My lord, I’ll drink to your grace.

FAUSTUS. I’ll pledge your grace. [Snatches the cup.]

C. OF LOR. My lord, it may be some ghost, newly crept out of Purgatory, come to beg a pardon of your Holiness.

POPE. It may be so.–Friars, prepare a dirge to lay the fury of this ghost.–Once again, my lord, fall to. [The POPE crosses himself.]

FAUSTUS. What, are you crossing of yourself? Well, use that trick no more, I would advise you. [The POPE crosses himself again.]

Well, there’s the second time. Aware the third; I give you fair warning. [The POPE crosses himself again, and FAUSTUS hits him a box of the ear; and they all run away.]

Come on, Mephistophilis; what shall we do?

MEPHIST. Nay, I know not: we shall be cursed with bell, book, and candle.

FAUSTUS. How! bell, book, and candle,–candle, book, and bell,– Forward and backward, to curse Faustus to hell! Anon you shall hear a hog grunt, a calf bleat, and an ass bray, Because it is Saint Peter’s holiday.

Re-enter all the FRIARS to sing the Dirge.

FIRST FRIAR. Come, brethren, let’s about our business with good devotion.

CURSED BE HE THAT STOLE AWAY HIS HOLINESS’ MEAT FROM THE TABLE! maledicat Dominus! CURSED BE HE THAT STRUCK HIS HOLINESS A BLOW ON THE FACE! maledicat Dominus! CURSED BE HE THAT TOOK FRIAR SANDELO A BLOW ON THE PATE! maledicat Dominus! CURSED BE HE THAT DISTURBETH OUR HOLY DIRGE! maledicat Dominus! CURSED BE HE THAT TOOK AWAY HIS HOLINESS’ WINE! maledicat Dominus? [‘?’ sic] Et omnes Sancti! Amen!

[MEPHISTOPHILIS and FAUSTUS beat the FRIARS, and fling fire-works among them; and so exeunt.]

Enter ROBIN and RALPH[126] with a silver goblet.

ROBIN. Come, Ralph: did not I tell thee, we were for ever made by this Doctor Faustus’ book? ecce, signum! here’s a simple purchase[127] for horse-keepers: our horses shall eat no hay as long as this lasts.

RALPH. But, Robin, here comes the Vintner.

ROBIN. Hush! I’ll gull him supernaturally.

Enter VINTNER.

Drawer,[128] I hope all is paid; God be with you!–Come, Ralph.

VINTNER. Soft, sir; a word with you. I must yet have a goblet paid from you, ere you go.

ROBIN. I a goblet, Ralph, I a goblet!–I scorn you; and you are but a, &c. I a goblet! search me.

VINTNER. I mean so, sir, with your favour. [Searches ROBIN.]

ROBIN. How say you now?

VINTNER. I must say somewhat to your fellow.–You, sir!

RALPH. Me, sir! me, sir! search your fill. [VINTNER searches him.] Now, sir, you may be ashamed to burden honest men with a matter of truth.

VINTNER. Well, tone[129] of you hath this goblet about you.

ROBIN. You lie, drawer, ’tis afore me [Aside].–Sirrah you, I’ll teach you to impeach honest men;–stand by;–I’ll scour you for a goblet;–stand aside you had best, I charge you in the name of Belzebub.–Look to the goblet, Ralph [Aside to RALPH].

VINTNER. What mean you, sirrah?

ROBIN. I’ll tell you what I mean. [Reads from a book] Sanctobulorum Periphrasticon–nay, I’ll tickle you, Vintner.–Look to the goblet, Ralph [Aside to RALPH].–[Reads] Polypragmos Belseborams framanto pacostiphos tostu, Mephistophilis, &c.

Enter MEPHISTOPHILIS, sets squibs at their backs, and then exit. They run about.

VINTNER. O, nomine Domini! what meanest thou, Robin? thou hast no goblet.

RALPH. Peccatum peccatorum!–Here’s thy goblet, good Vintner. [Gives the goblet to VINTNER, who exit.]

ROBIN. Misericordia pro nobis! what shall I do? Good devil, forgive me now, and I’ll never rob thy library more.

Re-enter MEPHISTOPHILIS.

MEPHIST. Monarch of Hell,[130] under whose black survey Great potentates do kneel with awful fear, Upon whose altars thousand souls do lie, How am I vexed with these villains’ charms? From Constantinople am I hither come, Only for pleasure of these damned slaves.

ROBIN. How, from Constantinople! you have had a great journey: will you take sixpence in your purse to pay for your supper, and be gone?

MEPHIST. Well, villains, for your presumption, I transform thee into an ape, and thee into a dog; and so be gone! [Exit.]

ROBIN. How, into an ape! that’s brave: I’ll have fine sport with the boys; I’ll get nuts and apples enow.

RALPH. And I must be a dog.

ROBIN. I’faith, thy head will never be out of the pottage-pot. [Exeunt.]

CHORUS. When Faustus had with pleasure ta’en the view Of rarest things, and royal courts of kings, He stay’d his course, and so returned home; Where such as bear his absence but with grief, I mean his friends and near’st companions, Did gratulate his safety with kind words, And in their conference of what befell, Touching his journey through the world and air, They put forth questions of astrology, Which Faustus answer’d with such learned skill As they admir’d and wonder’d at his wit. Now is his fame spread forth in every land: Amongst the rest the Emperor is one, Carolus the Fifth, at whose palace now Faustus is feasted ‘mongst his noblemen. What there he did, in trial of his art, I leave untold; your eyes shall see[‘t] perform’d. [Exit.]

Enter EMPEROR,[131] FAUSTUS, and a KNIGHT, with ATTENDANTS.

EMPEROR. Master Doctor Faustus,[132] I have heard strange report of thy knowledge in the black art, how that none in my empire nor in the whole world can compare with thee for the rare effects of magic: they say thou hast a familiar spirit, by whom thou canst accomplish what thou list. This, therefore, is my request, that thou let me see some proof of thy skill, that mine eyes may be witnesses to confirm what mine ears have heard reported: and here I swear to thee, by the honour of mine imperial crown, that, whatever thou doest, thou shalt be no ways prejudiced or endamaged.

KNIGHT. I’faith, he looks much like a conjurer. [Aside.]

FAUSTUS. My gracious sovereign, though I must confess myself far inferior to the report men have published, and nothing answerable to the honour of your imperial majesty, yet, for that love and duty binds me thereunto, I am content to do whatsoever your majesty shall command me.

EMPEROR. Then, Doctor Faustus, mark what I shall say. As I was sometime solitary set Within my closet, sundry thoughts arose About the honour of mine ancestors, How they had won[133] by prowess such exploits, Got such riches, subdu’d so many kingdoms, As we that do succeed,[134] or they that shall Hereafter possess our throne, shall (I fear me) ne’er attain to that degree Of high renown and great authority: Amongst which kings is Alexander the Great, Chief spectacle of the world’s pre-eminence, The bright[135] shining of whose glorious acts Lightens the world with his reflecting beams, As when I hear but motion made of him, It grieves my soul I never saw the man: If, therefore, thou, by cunning of thine art, Canst raise this man from hollow vaults below, Where lies entomb’d this famous conqueror, And bring with him his beauteous paramour, Both in their right shapes, gesture, and attire They us’d to wear during their time of life, Thou shalt both satisfy my just desire, And give me cause to praise thee whilst I live.

FAUSTUS. My gracious lord, I am ready to accomplish your request, so far forth as by art and power of my spirit I am able to perform.

KNIGHT. I’faith, that’s just nothing at all. [Aside.]

FAUSTUS. But, if it like your grace, it is not in my ability[136] to present before your eyes the true substantial bodies of those two deceased princes, which long since are consumed to dust.

KNIGHT. Ay, marry, Master Doctor, now there’s a sign of grace in you, when you will confess the truth. [Aside.]

FAUSTUS. But such spirits as can lively resemble Alexander and his paramour shall appear before your grace, in that manner that they both[137] lived in, in their most flourishing estate; which I doubt not shall sufficiently content your imperial majesty.

EMPEROR. Go to, Master Doctor; let me see them presently.

KNIGHT. Do you hear, Master Doctor? you bring Alexander and his paramour before the Emperor!

FAUSTUS. How then, sir?

KNIGHT. I’faith, that’s as true as Diana turned me to a stag.

FAUSTUS. No, sir; but, when Actaeon died, he left the horns for you.–Mephistophilis, be gone. [Exit MEPHISTOPHILIS.]

KNIGHT. Nay, an you go to conjuring, I’ll be gone. [Exit.]

FAUSTUS. I’ll meet with you anon for interrupting me so. –Here they are, my gracious lord.

Re-enter MEPHISTOPHILIS with SPIRITS in the shapes of ALEXANDER and his PARAMOUR.

EMPEROR. Master Doctor, I heard this lady, while she lived, had a wart or mole in her neck: how shall I know whether it be so or no?

FAUSTUS. Your highness may boldly go and see.

EMPEROR. Sure, these are no spirits, but the true substantial bodies of those two deceased princes. [Exeunt Spirits.]

FAUSTUS. Wilt please your highness now to send for the knight that was so pleasant with me here of late?

EMPEROR. One of you call him forth. [Exit ATTENDANT.]

Re-enter the KNIGHT with a pair of horns on his head.

How now, sir knight! why, I had thought thou hadst been a bachelor, but now I see thou hast a wife, that not only gives thee horns, but makes thee wear them. Feel on thy head.

KNIGHT. Thou damned wretch and execrable dog, Bred in the concave of some monstrous rock, How dar’st thou thus abuse a gentleman? Villain, I say, undo what thou hast done!

FAUSTUS. O, not so fast, sir! there’s no haste: but, good, are you remembered how you crossed me in my conference with the Emperor? I think I have met with you for it.

EMPEROR. Good Master Doctor, at my entreaty release him: he hath done penance sufficient.

FAUSTUS. My gracious lord, not so much for the injury he offered me here in your presence, as to delight you with some mirth, hath Faustus worthily requited this injurious knight; which being all I desire, I am content to release him of his horns:–and, sir knight, hereafter speak well of scholars.–Mephistophilis, transform him straight.[138] [MEPHISTOPHILIS removes the horns.] –Now, my good lord, having done my duty, I humbly take my leave.

EMPEROR. Farewell, Master Doctor: yet, ere you go, Expect from me a bounteous reward. [Exeunt EMPEROR, KNIGHT, and ATTENDANTS.]

FAUSTUS. Now, Mephistophilis,[139] the restless course That time doth run with calm and silent foot, Shortening my days and thread of vital life, Calls for the payment of my latest years: Therefore, sweet Mephistophilis, let us Make haste to Wertenberg.

MEPHIST. What, will you go on horse-back or on foot[?]

FAUSTUS. Nay, till I’m past this fair and pleasant green, I’ll walk on foot.

Enter a HORSE-COURSER.[140]

HORSE-COURSER. I have been all this day seeking one Master Fustian: mass, see where he is!–God save you, Master Doctor!

FAUSTUS. What, horse-courser! you are well met.

HORSE-COURSER. Do you hear, sir? I have brought you forty dollars for your horse.

FAUSTUS. I cannot sell him so: if thou likest him for fifty, take him.

HORSE-COURSER. Alas, sir, I have no more!–I pray you, speak for me.

MEPHIST. I pray you, let him have him: he is an honest fellow, and he has a great charge, neither wife nor child.

FAUSTUS. Well, come, give me your money [HORSE-COURSER gives FAUSTUS the money]: my boy will deliver him to you. But I must tell you one thing before you have him; ride him not into the water, at any hand.

HORSE-COURSER. Why, sir, will he not drink of all waters?

FAUSTUS. O, yes, he will drink of all waters; but ride him not into the water: ride him over hedge or ditch, or where thou wilt, but not into the water.

HORSE-COURSER. Well, sir.–Now am I made man for ever: I’ll not leave my horse for forty:[141] if he had but the quality of hey-ding-ding, hey-ding-ding, I’d make a brave living on him: he has a buttock as slick as an eel [Aside].–Well, God b’wi’ye, sir: your boy will deliver him me: but, hark you, sir; if my horse be sick or ill at ease, if I bring his water to you, you’ll tell me what it is?

FAUSTUS. Away, you villain! what, dost think I am a horse-doctor? [Exit HORSE-COURSER.]

What art thou, Faustus, but a man condemn’d to die? Thy fatal time doth draw to final end; Despair doth drive distrust into[142] my thoughts: Confound these passions with a quiet sleep: Tush, Christ did call the thief upon the Cross; Then rest thee, Faustus, quiet in conceit. [Sleeps in his chair.]

Re-enter HORSE-COURSER, all wet, crying.

HORSE-COURSER. Alas, alas! Doctor Fustian, quoth a? mass, Doctor Lopus[143] was never such a doctor: has given me a purgation, has purged me of forty dollars; I shall never see them more. But yet, like an ass as I was, I would not be ruled by him, for he bade me I should ride him into no water: now I, thinking my horse had had some rare quality that he would not have had me know of,[144] I, like a venturous youth, rid him into the deep pond at the town’s end. I was no sooner in the middle of the pond, but my horse vanished away, and I sat upon a bottle of hay, never so near drowning in my life. But I’ll seek out my doctor, and have my forty dollars again, or I’ll make it the dearest horse!–O, yonder is his snipper-snapper.–Do you hear? you, hey-pass,[145] where’s your master?

MEPHIST. Why, sir, what would you? you cannot speak with him.

HORSE-COURSER. But I will speak with him.

MEPHIST. Why, he’s fast asleep: come some other time.

HORSE-COURSER. I’ll speak with him now, or I’ll break his glass-windows about his ears.

MEPHIST. I tell thee, he has not slept this eight nights.

HORSE-COURSER. An he have not slept this eight weeks, I’ll speak with him.

MEPHIST. See, where he is, fast asleep.

HORSE-COURSER. Ay, this is he.–God save you, Master Doctor, Master Doctor, Master Doctor Fustian! forty dollars, forty dollars for a bottle of hay!

MEPHIST. Why, thou seest he hears thee not.

HORSE-COURSER. So-ho, ho! so-ho, ho! [Hollows in his ear.] No, will you not wake? I’ll make you wake ere I go. [Pulls FAUSTUS by the leg, and pulls it away.] Alas, I am undone! what shall I do?

FAUSTUS. O, my leg, my leg!–Help, Mephistophilis! call the officers.–My leg, my leg!

MEPHIST. Come, villain, to the constable.

HORSE-COURSER. O Lord, sir, let me go, and I’ll give you forty dollars more!

MEPHIST. Where be they?

HORSE-COURSER. I have none about me: come to my ostry,[146] and I’ll give them you.

MEPHIST. Be gone quickly. [HORSE-COURSER runs away.]

FAUSTUS. What, is he gone? farewell he! Faustus has his leg again, and the Horse-courser, I take it, a bottle of hay for his labour: well, this trick shall cost him forty dollars more.

How now, Wagner! what’s the news with thee?

WAGNER. Sir, the Duke of Vanholt doth earnestly entreat your company.

FAUSTUS. The Duke of Vanholt! an honourable gentleman, to whom I must be no niggard of my cunning.[147]–Come, Mephistophilis, let’s away to him. [Exeunt.]

Enter the DUKE OF VANHOLT, the DUCHESS, and FAUSTUS.[148]

DUKE. Believe me, Master Doctor, this merriment hath much pleased me.

FAUSTUS. My gracious lord, I am glad it contents you so well. –But it may be, madam, you take no delight in this. I have heard that great-bellied women do long for some dainties or other: what is it, madam? tell me, and you shall have it.

DUCHESS. Thanks, good Master Doctor: and, for I see your courteous intent to pleasure me, I will not hide from you the thing my heart desires; and, were it now summer, as it is January and the dead time of the winter, I would desire no better meat than a dish of ripe grapes.

FAUSTUS. Alas, madam, that’s nothing!–Mephistophilis, be gone. [Exit MEPHISTOPHILIS.] Were it a greater thing than this, so it would content you, you should have it.

Re-enter MEPHISTOPHILIS with grapes.

Here they be, madam: wilt please you taste on them?

DUKE. Believe me, Master Doctor, this makes me wonder above the rest, that being in the dead time of winter and in the month of January, how you should come by these grapes.

FAUSTUS. If it like your grace, the year is divided into two circles over the whole world, that, when it is here winter with us, in the contrary circle it is summer with them, as in India, Saba,[149] and farther countries in the east; and by means of a swift spirit that I have, I had them brought hither, as you see. –How do you like them, madam? be they good?

DUCHESS. Believe me, Master Doctor, they be the best grapes that e’er I tasted in my life before.

FAUSTUS. I am glad they content you so, madam.

DUKE. Come, madam, let us in, where you must well reward this learned man for the great kindness he hath shewed to you.

DUCHESS. And so I will, my lord; and, whilst I live, rest beholding[150] for this courtesy.

FAUSTUS. I humbly thank your grace.

DUKE. Come, Master Doctor, follow us, and receive your reward. [Exeunt.]

Enter WAGNER.[151]

WAGNER. I think my master means to die shortly, For he hath given to me all his goods:[152] And yet, methinks, if that death were near, He would not banquet, and carouse, and swill Amongst the students, as even now he doth, Who are at supper with such belly-cheer As Wagner ne’er beheld in all his life. See, where they come! belike the feast is ended. [Exit.]

Enter FAUSTUS with two or three SCHOLARS, and MEPHISTOPHILIS.

FIRST SCHOLAR. Master Doctor Faustus, since our conference about fair ladies, which was the beautifulest in all the world, we have determined with ourselves that Helen of Greece was the admirablest lady that ever lived: therefore, Master Doctor, if you will do us that favour, as to let us see that peerless dame of Greece, whom all the world admires for majesty, we should think ourselves much beholding unto you.

FAUSTUS. Gentlemen, For that I know your friendship is unfeign’d, And Faustus’ custom is not to deny The just requests of those that wish him well, You shall behold that peerless dame of Greece, No otherways for pomp and majesty Than when Sir Paris cross’d the seas with her, And brought the spoils to rich Dardania. Be silent, then, for danger is in words. [Music sounds, and HELEN passeth over the stage.[153]]

SECOND SCHOLAR. Too simple is my wit to tell her praise, Whom all the world admires for majesty.

THIRD SCHOLAR. No marvel though the angry Greeks pursu’d With ten years’ war the rape of such a queen, Whose heavenly beauty passeth all compare.

FIRST SCHOLAR. Since we have seen the pride of Nature’s works, And only paragon of excellence, Let us depart; and for this glorious deed Happy and blest be Faustus evermore!

FAUSTUS. Gentlemen, farewell: the same I wish to you. [Exeunt SCHOLARS.]

Enter an OLD MAN.[154]

OLD MAN. Ah, Doctor Faustus, that I might prevail To guide thy steps unto the way of life, By which sweet path thou mayst attain the goal That shall conduct thee to celestial rest! Break heart, drop blood, and mingle it with tears, Tears falling from repentant heaviness Of thy most vile[155] and loathsome filthiness, The stench whereof corrupts the inward soul With such flagitious crimes of heinous sin[156] As no commiseration may expel, But mercy, Faustus, of thy Saviour sweet, Whose blood alone must wash away thy guilt.

FAUSTUS. Where art thou, Faustus? wretch, what hast thou done? Damn’d art thou, Faustus, damn’d; despair and die! Hell calls for right, and with a roaring voice Says, “Faustus, come; thine hour is almost[157] come;” And Faustus now[158] will come to do thee right. [MEPHISTOPHILIS gives him a dagger.]

OLD MAN. Ah, stay, good Faustus, stay thy desperate steps! I see an angel hovers o’er thy head, And, with a vial full of precious grace, Offers to pour the same into thy soul: Then call for mercy, and avoid despair.

FAUSTUS. Ah, my sweet friend, I feel Thy words to comfort my distressed soul! Leave me a while to ponder on my sins.

OLD MAN. I go, sweet Faustus; but with heavy cheer, Fearing the ruin of thy hopeless soul. [Exit.]

FAUSTUS. Accursed Faustus, where is mercy now? I do repent; and yet I do despair: Hell strives with grace for conquest in my breast: What shall I do to shun the snares of death?

MEPHIST. Thou traitor, Faustus, I arrest thy soul For disobedience to my sovereign lord: Revolt, or I’ll in piece-meal tear thy flesh.

FAUSTUS. Sweet Mephistophilis, entreat thy lord To pardon my unjust presumption, And with my blood again I will confirm My former vow I made to Lucifer.

MEPHIST. Do it, then, quickly,[159] with unfeigned heart, Lest greater danger do attend thy drift.

FAUSTUS. Torment, sweet friend, that base and crooked age, That durst dissuade me from thy Lucifer, With greatest torments that our hell affords.

MEPHIST. His faith is great; I cannot touch his soul; But what I may afflict his body with I will attempt, which is but little worth.

FAUSTUS. One thing, good servant,[160] let me crave of thee, To glut the longing of my heart’s desire,– That I might have unto my paramour That heavenly Helen which I saw of late, Whose sweet embracings may extinguish clean Those[161] thoughts that do dissuade me from my vow, And keep mine oath I made to Lucifer.

MEPHIST. Faustus, this,[162] or what else thou shalt desire, Shall be perform’d in twinkling of an eye.

Re-enter HELEN.

FAUSTUS. Was this the face that launch’d a thousand ships, And burnt the topless[163] towers of Ilium– Sweet Helen, make me immortal with a kiss.– [Kisses her.] Her lips suck forth my soul: see, where it flies!– Come, Helen, come, give me my soul again. Here will I dwell, for heaven is[164] in these lips, And all is dross that is not Helena. I will be Paris, and for love of thee, Instead of Troy, shall Wertenberg be sack’d; And I will combat with weak Menelaus, And wear thy colours on my plumed crest; Yea, I will wound Achilles in the heel, And then return to Helen for a kiss. O, thou art fairer than the evening air Clad in the beauty of a thousand stars; Brighter art thou than flaming Jupiter When he appear’d to hapless Semele; More lovely than the monarch of the sky In wanton Arethusa’s azur’d arms; And none but thou shalt[165] be my paramour! [Exeunt.]

Enter the OLD MAN.[166]

OLD MAN. Accursed Faustus, miserable man, That from thy soul exclud’st the grace of heaven, And fly’st the throne of his tribunal-seat!

Enter DEVILS.

Satan begins to sift me with his pride: As in this furnace God shall try my faith, My faith, vile hell, shall triumph over thee. Ambitious fiends, see how the heavens smile At your repulse, and laugh your state to scorn! Hence, hell! for hence I fly unto my God. [Exeunt,–on one side, DEVILS, on the other, OLD MAN.]

Enter FAUSTUS,[167] with SCHOLARS.

FAUSTUS. Ah, gentlemen!

FIRST SCHOLAR. What ails Faustus?

FAUSTUS. Ah, my sweet chamber-fellow, had I lived with thee, then had I lived still! but now I die eternally. Look, comes he not? comes he not?

SECOND SCHOLAR. What means Faustus?

THIRD SCHOLAR. Belike he is grown into some sickness by being over-solitary.

FIRST SCHOLAR. If it be so, we’ll have physicians to cure him. –‘Tis but a surfeit; never fear, man.

FAUSTUS. A surfeit of deadly sin, that hath damned both body and soul.

SECOND SCHOLAR. Yet, Faustus, look up to heaven; remember God’s mercies are infinite.

FAUSTUS. But Faustus’ offence can ne’er be pardoned: the serpent that tempted Eve may be saved, but not Faustus. Ah, gentlemen, hear me with patience, and tremble not at my speeches! Though my heart pants and quivers to remember that I have been a student here these thirty years, O, would I had never seen Wertenberg, never read book! and what wonders I have done, all Germany can witness, yea, all the world; for which Faustus hath lost both Germany and the world, yea, heaven itself, heaven, the seat of God, the throne of the blessed, the kingdom of joy; and must remain in hell for ever, hell, ah, hell, for ever! Sweet friends, what shall become of Faustus, being in hell for ever?

THIRD SCHOLAR. Yet, Faustus, call on God.

FAUSTUS. On God, whom Faustus hath abjured! on God, whom Faustus hath blasphemed! Ah, my God, I would weep! but the devil draws in my tears. Gush forth blood, instead of tears! yea, life and soul! O, he stays my tongue! I would lift up my hands; but see, they hold them, they hold them!

ALL. Who, Faustus?

FAUSTUS. Lucifer and Mephistophilis. Ah, gentlemen, I gave them my soul for my cunning![168]

ALL. God forbid!

FAUSTUS. God forbade it, indeed; but Faustus hath done it: for vain pleasure of twenty-four years hath Faustus lost eternal joy and felicity. I writ them a bill with mine own blood: the date is expired; the time will come, and he will fetch me.

FIRST SCHOLAR. Why did not Faustus tell us of this before,[169] that divines might have prayed for thee?

FAUSTUS. Oft have I thought to have done so; but the devil threatened to tear me in pieces, if I named God, to fetch both body and soul, if I once gave ear to divinity: and now ’tis too late. Gentlemen, away, lest you perish with me.

SECOND SCHOLAR. O, what shall we do to save[170] Faustus?

FAUSTUS. Talk not of me, but save yourselves, and depart.

THIRD SCHOLAR. God will strengthen me; I will stay with Faustus.

FIRST SCHOLAR. Tempt not God, sweet friend; but let us into the next room, and there pray for him.

FAUSTUS. Ay, pray for me, pray for me; and what noise soever ye hear,[171] come not unto me, for nothing can rescue me.

SECOND SCHOLAR. Pray thou, and we will pray that God may have mercy upon thee.

FAUSTUS. Gentlemen, farewell: if I live till morning, I’ll visit you; if not, Faustus is gone to hell.

ALL. Faustus, farewell. [Exeunt SCHOLARS.–The clock strikes eleven.]

FAUSTUS. Ah, Faustus, Now hast thou but one bare hour to live, And then thou must be damn’d perpetually! Stand still, you ever-moving spheres of heaven, That time may cease, and midnight never come; Fair Nature’s eye, rise, rise again, and make Perpetual day; or let this hour be but A year, a month, a week, a natural day, That Faustus may repent and save his soul! O lente,[172] lente currite, noctis equi! The stars move still, time runs, the clock will strike, The devil will come, and Faustus must be damn’d. O, I’ll leap up to my God!–Who pulls me down?– See, see, where Christ’s blood streams in the firmament! One drop would save my soul, half a drop: ah, my Christ!– Ah, rend not my heart for naming of my Christ! Yet will I call on him: O, spare me, Lucifer!– Where is it now? ’tis gone: and see, where God Stretcheth out his arm, and bends his ireful brows! Mountains and hills, come, come, and fall on me, And hide me from the heavy wrath of God! No, no! Then will I headlong run into the earth: Earth, gape! O, no, it will not harbour me! You stars that reign’d at my nativity, Whose influence hath allotted death and hell, Now draw up Faustus, like a foggy mist. Into the entrails of yon labouring cloud[s], That, when you[173] vomit forth into the air, My limbs may issue from your smoky mouths, So that my soul may but ascend to heaven! [The clock strikes the half-hour.] Ah, half the hour is past! ’twill all be past anon O God, If thou wilt not have mercy on my soul, Yet for Christ’s sake, whose blood hath ransom’d me, Impose some end to my incessant pain; Let Faustus live in hell a thousand years, A hundred thousand, and at last be sav’d! O, no end is limited to damned souls! Why wert thou not a creature wanting soul? Or why is this immortal that thou hast? Ah, Pythagoras’ metempsychosis, were that true, This soul should fly from me, and I be chang’d Unto some brutish beast![174] all beasts are happy, For, when they die, Their souls are soon dissolv’d in elements; But mine must live still to be plagu’d in hell. Curs’d be the parents that engender’d me! No, Faustus, curse thyself, curse Lucifer That hath depriv’d thee of the joys of heaven. [The clock strikes twelve.] O, it strikes, it strikes! Now, body, turn to air, Or Lucifer will bear thee quick to hell! [Thunder and lightning.] O soul, be chang’d into little water-drops, And fall into the ocean, ne’er be found!

My God, my god, look not so fierce on me! Adders and serpents, let me breathe a while! Ugly hell, gape not! come not, Lucifer! I’ll burn my books!–Ah, Mephistophilis! [Exeunt DEVILS with FAUSTUS.] [175]

CHORUS. Cut is the branch that might have grown full straight, And burned is Apollo’s laurel-bough, That sometime grew within this learned man. Faustus is gone: regard his hellish fall, Whose fiendful fortune may exhort the wise, Only to wonder at unlawful things, Whose deepness doth entice such forward wits To practice more than heavenly power permits. [Exit.]

Source Text

Marlowe, Christopher. The Tragical History of Dr. Faustus , Project Gutenberg , 2006, is licensed under no known copyright.

An Open Companion to Early British Literature Copyright © 2019 by Allegra Villarreal is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License , except where otherwise noted.

Share This Book

Sample essay 1 ' Dr. Faustus is a morality play without a moral.' Discuss. This first year undergraduate essay was classified as being on the borderline between lower-second class (2ii) and upper-second class (2i).

• First class - 70% and above
• Upper-second class - 60-69%
• Lower second class - 50-59%
• Third class - 40-49%
• Fail - less than 40%

' Dr. Faustus is a morality play without a moral.' Discuss. In forming an answer to this question there are two aspects which must be considered. Firstly we must decide whether Dr Faustus is a morality play; I will do this by discussing the play's form, content and subject matter in an attempt to categorise the play. I will also offer an alternative argument by saying that the play is in fact a tragedy. Secondly we must decide whether or not it has a moral; to do this I will consider the tone of certain parts of the play, in particular the Chorus' speeches as well as the speech of other characters. Let us first deal with the categorisation of the play. To determine if Dr Faustus is a morality play or not we must first know what a morality play is. Morality plays are essentially dramatised sermons usually based on the subject of repentance; typically an Everyman figure will begin in innocence, be led into temptation by others, to be finally redeemed. In Dr Faustus Marlowe uses the structure of the morality play intensively, most noticeably in the characters he uses as many of them are representations of type rather than being individuals. For example, the characters of Valdes and Cornelius are known as 'the tempters', thus fitting the morality definition as the characters who tempt the main character into sin (although they are not alone in this ). The Good and Bad Angels can also be seen as morality play characters, although this depends on whether or not we see them as real characters from another world or as externalisations of Faustus' own thoughts and conscience. There is nothing in the text which precisely determines which view is correct. However Faustus' speech in Act II scene i, implies they are externalisations of his conscience; Why waver'st thou? O something soundeth in mine ear, 'Abjure this magic, turn to God again.' Ay, and Faustus will turn to God again. To God? He loves thee not. (II.ii.7-10)

The struggle that Faustus is voicing here is identical to the arguments typical of the Good and Bad Angels. It is significant that immediately after this struggle of conscience the Good and Bad angels enter, as they do when Faustus seems in most trouble or is doubting his decision. This indicates that they are in fact externalisations of Faustus' conscience and therefore not really part of the morality play structure. There is also ambiguity concerning Mephistopheles and the other Devils. Although the lesser devils who appear, such as Banio and Belcher and to a certain extent Lucifer, can be seen as representational, Mephistopheles certainly seems to be more of an individual. We see more of him in comparison with the other Devils because he is Faustus' companion; by consequence we learn something of his character. His speech about the joys of heaven is highly passionate and makes Mephistopheles appear somehow more real,

Think'st thou that I who saw the face of God And tasted the eternal joys of heaven Am not tormented with ten thousand hells In being deprived of everlasting bliss? (I.iii.74-77)

However, as this is the only time Mephistopheles speaks so rapturously about heaven, it would seem these were his true thoughts, yet he manages to control them throughout the rest of the play in order to obtain Faustus' soul. Despite this though even Mephistopheles can be seen as an aspect of the morality play as he tempts the protagonist into sin and subsequent damnation. As he himself admits,

Twas I, that when thou wert I' the way heaven Damned up thy passage. (V.ii.92-93)

This speech from Mephistopheles can be used as further evidence of the morality aspects in Dr Faustus as it shows that Faustus was a man led into damnation, in fitting with the tradition of the morality plot. Again, though, there is ambiguity as Faustus is not merely an innocent victim, for example his view that 'necromantic books are heavenly' (I.i.46) and his obvious refusal to accept human limitations, both serve to contribute to his damnation.

The comic scenes in the play are another example of Marlowe's use of the morality structure. Bawdy comic scenes were a common aspect of morality plays, and the scenes in Dr Faustus which feature characters such as the Horse-Courser and the Hostess are typical of this low humour. For example, there is farcical humour when Faustus cons the Horse-Courser into riding the horse into the water, 'O what a cozening doctor was this! I riding my horse into the water, thinking some hidden mystery had been in the horse, I had nothing under me but a little straw and had much ado to escape drowning.' (IV.v.28-31)

The characters in these comic scenes are also an aspect of the morality play as, like the 'tempters', they are representations of a type. For example, we see the Hostess, a Servant and the Horse-Courser; these are obviously not individuals. The Seven Deadly Sins also provide some light entertainment for the audience, Faustus himself finds great pleasure in the display, 'O how this sight doth delight my soul!' (II.ii.164). The Seven Deadly Sins are typical of the Vice characters in morality plays.

However, although it is clear that there are several aspects of the morality play in Dr Faustus there is also much evidence to support the argument that it should be seen as a tragedy rather than a morality play. It is worth noting that the full title of the play actually contains a reference to tragedy, implying that Marlowe himself saw the play as such. Faustus himself is not a character typical of a morality play and as he is the protagonist this should hold much weight. He is not a typical Everyman, but an aspiring renaissance man. He is very much an individual with extremely strong characteristics of his own, for example his arrogance, his pride and aspiring nature which all culrninate to play a part in the man's downfall. He is different to a typical Everyman because his character is seen to develop throughout the play. For example, we see a somewhat naive and immature Faustus in the comic scenes; the pranks played on the Pope and the minor characters. However, after these childish pranks we receive a sense of Faustus having matured and aged somewhat. For example when Faustus is telling the scholars of his fate, and they offer their help Faustus says, 'Talk not of me but save yourselves and depart.' (V.ii.75) This selfless comment is of great contrast to the Faustus of before who is greatly concerned with himself only. It also implies that he is more resigned to his fate than before and realises no-one can help him. This is reinforced a little later in the same scene when Faustus says, 'Ay, Faustus now thou hast no hope of heaven. Therefore despair!' (V.ii.86) Nevertheless it is this maturity in thought, the acceptance of his fate, which leads to his definite downfall as he despairs and cannot repent and look to God for salvation. Throughout the play the audience learns a great deal about Faustus as his character is discussed and developed, which would not be the case if Faustus were an Everyman character. It can be argued then that Faustus is a tragic hero, as he has a tragic flaw which leads to his downfall; his pride. The idea of Faustus as tragic hero is also developed in the fact that he falls from an elevated position. We know from Faustus' first speech that he is a man of great intelligence who has been highly successful. For example he has clearly been a successful doctor,

The end of physic is our body's health. Why Faustus hast thou not attained that end? Are not thy bills hung up as monuments Whereby whole cities have escaped the plague. (I.i.16-19)

It is in this speech however that we also see the over-reaching nature of Faustus' character,

Could'st thou make men to live eternally Or being dead raise them to life again, Then this profession were to be esteemed. (I.i.22-24)

This shows the huge scope of Faustus' ambition, and the end of the speech shows the true super-human, almost God-like, nature of Faustus' aspirations,

All things that move between the quiet poles Shall be at my command. (I.i.52-53)

Again this is also further evidence of the fact that Faustus is an individual character. If Faustus is a tragic hero then his tale must be a tragic one. Dr Faustus certainly fits into the definition of a tragedy as cited in The Oxford English Dictionary ,

A play or other literary work of a serious or sorrowful character with a fatal or disastrous conclusion.

It is this 'disastrous conclusion' which sets Faustus apart from a traditional morality play, in that he cannot repent and therefore is not ultimately saved and redeemed by God - as Steane states in his book Marlowe , 'Mankind and Everyman crawl up to their God; Faustus even in his last hour still aspires to leap, and it can't be done.' (Steane, 1965, p.157). This quote shows Faustus' inability to repent and proves that his pride is in control. It also emphasises the fact that Faustus is not an Everyman character as their actions are exactly opposite. However, although not a typical morality play ending, there were some which ended in the protagonist being damned to Hell and they were normally Protestant plays. Although there are many aspects of the morality play to be found in Dr Faustus I believe that the tragic nature of the play, a man damned to hell due to his own characteristics, unable to repent and find salvation and the seriousness of much of the content of the play outweighs the morality aspects. It would seem that, to quote from Steane in Marlowe again,

The moral of Dr Faustus would initially seem to be very simple; do not aspire to what humans cannot achieve and believe in the power of God over evil and the Devil. Mephistopheles himself gives a warning to Faustus about over-reaching when he tells of Lucifer's fall from heaven, Faustus: How comes it then that he is prince of devils? Mephistopheles: O, by aspiring pride and influence, For which God threw him from the face of heaven. (I.iii.63-65)

Faustus' pride and arrogance, though, ensure that he ignores this warning.

The tone of both the opening and closing Choruses is moralising, as they both offer a warning about overreaching. The prologue initially appears not to be offering any judgement:

Only this gentles - we must now perform The form of Faustus' fortunes, good or bad And now to patient judgements we appeal (Prologue, 7-9)

However, the language used later in the prologue is clearly condemning of Faustus,

Till swoll'n with cunning, of a self-conceit, His waxen wings did mount above his reach.... ...For falling to a devilish exercise And glutted now with learning's golden gifts (Prologue, 19-23)

Words like 'swoll'n' ,'glutted' ,and later, 'surfeits' and 'cursed' are clearly criticising Faustus' actions. The epilogue offers the audience a moral more clearly,

Faustus is gone: regard his hellish fall, Whose fiendful fortune may exhort the wise Only to wonder at unlawful things. (Epilogue, 23-25)

In regards to a moral concerning God and repentance, it is the Old Man who is used to give the message. He appears late in the play, indicating at once that it is never too late to ask for God's forgiveness, obviously a moral in itself. Even as late in the play as Act V Scene i, when Faustus' damnation seems inevitable, the Old Man believes there is hope for Faustus,

I see an angel hover o'er thy head, And with a vial full of precious grace Offers to pour the same into thy soul: Then call for mercy and avoid despair. (V.i.55-58)

This is directed towards Faustus but the audience may see the message as well; nevertheless, Faustus cannot adhere to the Old Man's advice, as the moral is lost on him once more.

By damning Faustus Marlowe makes it clear his moral failure is being unable to repent and having a lack of faith in God. In this way the play can be seen as a religious discussion commenting on what a lack of faith in God can do. This is reinforced by the strength of the Old Man and the devil's inability to harm him in the way Faustus has been harmed, 'His faith is great. I cannot touch his soul.' (V.i.81). Religious debate also comes into the play in the comic scenes concerning the Pope. There is a great deal of anti-clericalism in these scenes (an idea brought forward with the development of Protestantism), with the Pope portrayed as being gluttonous, foolish and generally un-Christian,

False prelates, for this hateful treachery Cursed be your souls to hellish misery. (III.ii.53-54)

However, as stated by Wilson in Marlowe and the Early Shakespeare , in regards to Faustus' fate and religion there is no talk of predestination or whether Faustus was a member of the elect or reprobate, which again was an idea brought forward with the development of Protestantism, Calvinism in particular (Wilson, 1953). It is clear that Faustus' damnation is due to his own faults and the persuasions of other characters.

Although there are warnings and morals given throughout the play, it is questionable as to whether or not the audience would adhere to them as the play is very much concerned with Faustus' own fate and as he is so much an individual it would be difficult for an audience to really relate to him and his fate. It seems to me that the play is more the discussion of a tragic character and his tragic fate with lessons and morals being inevitably included. Faustus' final soliloquy makes it clear that the play is more concerned with one man's tragedy than offering a moral to the masses,

O Faustus Now hast thou but one bare hour to live And then thou must be damned perpetually. Stand still, you ever moving spheres of heaven... That Faustus may repent and save his soul. (V.ii.133-140)

The repetition of 'thou' and 'Faustus' in this extract make that clear. In this soliloquy we are taken through, what seems like minute by minute, the intimate thoughts in Faustus' mind as he faces his damnation. There are no morals to be found in this speech, other than to see the distress of Faustus' soul and learn from that. The subject matter of the play, a man signing a pact with the devil, is so obscure that it is difficult to find a suitable moral, although an Elizabethan audience would hold more belief and fear in the devil, as well as being much more concerned with the ideas of salvation and damnation, than an audience of today. It is an individual tragedy so there is no need for a moral and as Wilson again says, 'No moral can represent the experience which is given, but convention demanded a moral, and one was supplied.' (1953, p.48)

In conclusion then I think that Dr Faustus is a tragedy which uses aspects of the morality play, perhaps merely because of the style of the time or because it had the right form for what Marlowe wanted to say. Concerning the moral within the play, there is certainly one (at least) which is offered by several characters. However I do not believe the play was written with the sole intention of offering a moral and would be equally as strong without one. Despite the moral given and the aspects of the morality play structure the play remains, primarily, the tragedy of an individual.

Bibliography

Marlowe, Christopher Dr Faustus in ed. WB Worthen (1996) The Harcourt Brace Anthology of Drama , 2nd edn., Texas: Harcourt Brace

Steane, J.B (1965) Marlowe Cambridge: Cambridge University Press

Wilson, F.P (1953) Marlowe and the Early Shakespeare Oxford: Clarendon Press

The Oxford English Dictionary (1989), Second edition, Volume xviii. Oxford: Clarendon Press

'Renaissance to Restoration' seminar and lecture notes

A-level class notes

Click here to see the tutor's comments on this essay

Click here to go back to the list of sample essays.

Doctor Faustus (Marlowe) Christopher Marlowe

Dr. Faustus literature essays are academic essays for citation. These papers were written primarily by students and provide critical analysis of Dr. Faustus.

Doctor Faustus (Marlowe) Material

• Study Guide
• Lesson Plan

Join Now to View Premium Content

GradeSaver provides access to 2362 study guide PDFs and quizzes, 11008 literature essays, 2769 sample college application essays, 926 lesson plans, and ad-free surfing in this premium content, “Members Only” section of the site! Membership includes a 10% discount on all editing orders.

Doctor Faustus (Marlowe) Essays

The tragic fate of marlowe's tragic hero jason bergstrom, doctor faustus (marlowe).

In the world of theatre, there are many plays in which the central figure is one who harnesses extreme personality traits above all others. For example, Sophocles' Oedipus is a fatherly king with great ambition and strength; and Shakespeare's...

Faustus and Mephastophilis Ravi Ramaswamy

Throughout the course of The Tragical History of Doctor Faustus, a complex relationship develops between Dr. Faustus and the devil Mephastophilis that can be characterized by Faustus' total dependence on his counterpart and a mutual sense of...

The Function of Plot Divisions in Twelfth Night and in Doctor Faustus Anonymous

In both plays, Twelfth Night and Doctor Faustus, there exists a high and a low (or comic) plot. This plot division serves as a parallel - the actions and characters in the low plot coincide with the actions and characters in the high plot. The...

The Struggle between Good and Evil in Doctor Faustus Anonymous

In Doctor Faustus , good and evil are presented as two polarized ideas: God and Heaven on one side, and Lucifer and Hell on the other. Contrasting representations of this division also appear, such as the old man and the Good Angel opposed to...

The Connection Between Religion and Corruption in Marlowe's The Jew of Malta and Doctor Faustus Mary Kathryn Cornwell

"Religion hides many mischiefs from suspicion" (I, ii, 279-280)

Religion, as Barabas describes in this quotation from The Jew of Malta , acts as a measure in defending one's actions as moral or just. Christopher Marlowe presents this use of...

The Problem of Evil In Doctor Faustus Gabriela Magda

The traditional Christian message Christopher Marlowe was working with during the time he wrote Doctor Faustus stated that one should avoid leading a life of temptation and sin, the origins of which were rooted in an enterprising proprietor of...

Ending in Renaissance Tragedy Prateek Swaika

Among the various definitions of tragedy, the one most commonly proffered is: a play that treats - at the most uncompromising level - human suffering, or pathos, with death being the usual conclusion. According to Aristotle's Poetics, the purpose...

Faustus: Alone Among Men Anonymous

Christopher Marlowe’s Doctor Faustus presents a protagonist who sells his soul to the devil for god-like knowledge and power. The tension in Faustus surfaces from the protagonist’s self-damnation, for he is constantly reminded and aware of his...

Blame and Responsibility in 'Paradise Lost' and 'Doctor Faustus' Maximilian Frederick Joseph Figgett

Throughout both ‘Paradise Lost’ and ‘Doctor Faustus,’ the authors draw upon the ideas of responsibility, free will, and blame. Marlowe, in ‘Doctor Faustus’, melds the conventional religious ideology of the Middle Ages with the comparatively new...

Contextual Analysis of Act 1, Scene 1 of Dr Faustus Anonymous

In Act 1 Scene 1, Marlowe continues to subtly parody the structure of a typical Aristotelian tragedy, following the Chorus’ unusual introduction with a seemingly orthodox dialogue from the protagonist, Dr Faustus. However, he does not interact...

Disgust, Lust, and Beasts with Breasts: The Portrayal of Females in Early Modern Literature Peggie Ruth Hale College

The literature of the English Renaissance demonstrates a remarkable range of attitudes towards women. While there are significant proclamations of chivalric attitudes towards women such as Walter Raleigh's devotion to Queen Elizabeth I, nearly...

The Tragic Example of Doctor Faustus Anonymous College

Christopher Marlowe’s Doctor Faustus depicts a clash between the values of the medieval world and the emerging humanism of the Renaissance. During the Middle Ages in Europe, God is the center of intellectual life, and in art and literature, the...

Opposition and Contrasts in Gothic Fiction Tim Godfrey-Twiss 12th Grade

Two concepts often appear to be in conflict or contrast at the heart of Gothic fiction; the dualities of good and bad are often critical to the formation of the literature. Within ‘Dr. Faustus’ the battle between good and bad is particularly...

Performances and Metatheatre in Marlowe’s Faustus Lea Dokter College

The theatrical device of performing a play within another play has been employed for centuries, most notably in European theatre and literature (Fisher and Greiden xi). The play within a play “describes a strategy for constructing play texts that...

Ambiguity in Doctor Faustus Rochelle Maloney College

Throughout Marlowe’s play Doctor Faustus , the themes of sin, damnation and redemption are presented somewhat ambiguously. The key focus of this ambiguity, is the identification of Faustus’ point of no return with regards to the damnation of his...

But Now I Die Eternally: The Tragedy of Mephistophilis R. A. Williams College

Sometimes, the Devil—or, at least, one of his most trusted minions—really is in the details. In Christopher Marlowe’s play The Tragical History of Doctor Faustus , the most compelling hero is not the eponymous main character. Doctor Faustus, with...

Knight of Night Mateusz Koziarski College

The period referred to as the Golden Age of English Drama was a revolutionary period when it came to the portrayal of human thought and behavior in society. Some would even argue that this period in Renaissance England was a major influence in the...

The Importance of Minor Characters in The Tempest and Doctor Faustus Anonymous 11th Grade

Shakespeare’s minor characters are as often as diverse and essential to the plot as their protagonist counterparts, used within his plays to illuminate the main characters’ goals and feelings. The presence of these personages also expands upon the...

Explore the tragic nature of Faustus’s final soliloquy. Manzar Haq 12th Grade

Doctor Faustus’ closing speech is unquestionably the most emotional scene in Dr. Faustus. His mind moves from idea to idea in desperation and he spends his final hour in vain hoping that he may be spared from his fate. He looks inward for an...

The Devil On Your Shoulder Allie Moustris College

Christopher Marlowe’s play entitled, Doctor Faustus , tells the story of a curious and ambitious man who has grown tired of focusing on all of the traditional areas of study, and wishes to learn something less known by others. Faustus is intrigued...

Audience, Actors, and Directors: Meta-Theatricality in Shakespeare’s The Tempest and Marlowe’s Doctor Faustus Maximilian Gonzalez College

A play can have power over its audience, whether it simply captivates them with its plot or makes them question their beliefs with its commentary. Though while the actors are the ones directly exercising this power over the audience, it is the...

Power and the Unknown in Dr. Faustus and The Tempest Maximilian Gonzalez College

Marlowe’s Doctor Faustus and Shakespeare’s The Tempest present similar definitions of “power” through the differing circumstances of their protagonists. Power, in these plays, can be thought of as “control of the unknown.” If one character has...

Id, Ego and Superego: The Tempest and Doctor Faustus Anonymous College

The most compelling characters in modern literature and plays are the ones whose motivations tend to be complex, thus demand a deeper analysis of which part of their conscious their decisions arise from – the impulsive Id, the balancing Ego, or...

The Relationship of Body and Soul Anonymous College

The relationship between the body and soul is one obsessed over by playwrights since the morality plays of the medieval period. Renaissance writer Christopher Marlowe and 20th century American playwright Bernard Shaw are no exceptions to this: in...

Doctor Faustus

42 pages • 1 hour read

A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality Study Guides with detailed chapter summaries and analysis of major themes, characters, and more.

Scene Summaries & Analyses

Prologue-Scene 5

Scenes 6-12

Scenes 13-14

Character Analysis

Symbols & Motifs

Important Quotes

Essay Topics

Discussion Questions

Faustus is a famous and successful scholar, but he remains dissatisfied. What else does he want, and how does he believe he can acquire it?

Valdes and Cornelius teach magic to Faustus because he promises to join them in using that knowledge to gain material wealth and glory. What does Faustus do instead, and what does this suggest about his integrity?

Describe the bargain between Faustus and the devil. Who gets the better of this trade, and why?

Don't Miss Out!

Access Study Guide Now

Related Titles

By Christopher Marlowe

Christopher Marlowe

Hero and Leander

Tamburlaine

The Jew of Malta

The Passionate Shepherd to His Love

Featured Collections

Challenging Authority

View Collection

Elizabethan Era

Mortality & Death

Required Reading Lists

Tragic Plays

• Doctor Faustus

Christopher Marlowe

• Literature Notes
• Faustus as Dramatic Character
• Play Summary
• About Doctor Faustus
• Character List
• Summary and Analysis
• Christopher Marlowe Biography
• Critical Essays
• Faustus — Medieval or Renaissance Hero
• The Character of Mephistophilis and the Concept of Hell
• Servant-Master Relationship in Doctor Faustus
• Motif of the Fall
• The Appetites
• Style — Marlowe's Mighty Line
• The Renaissance Theater
• Stage Performance
• Textual Problems
• Essay Questions
• Cite this Literature Note

Critical Essays Faustus as Dramatic Character

When we first meet Faustus, he is a man who is dissatisfied with his studies in dialectics, law, medicine, and divinity. Even though he is the most brilliant scholar in the world, his studies have not brought him satisfaction, and he is depressed about the limitations of human knowledge. In order to satisfy his thirst for greater knowledge, he decides to experiment in necromancy. He wants to transcend the bonds of normal human life and discover the heights beyond. One might say that he wants to have godlike qualities.

Faustus is willing to sell his soul to the devil under the terms of a contract by which he will receive twenty-four years of service from Mephistophilis and, at the end of this time, will relinquish his soul to Lucifer. At first he is potentially a great man who desires to perform beneficial acts for humanity, but as a result of his willingness to exchange his soul for a few years of pleasure, he begins to sink toward destruction. He allows his powers to be reduced to performing nonsensical tricks and to satisfying his physical appetites.

At various times throughout the drama, Faustus does stop and consider his dilemma and comes to the verge of repentance. He often thinks about repentance, but he consciously remains aligned with Mephistophilis and Lucifer, and never takes the first steps to obtain forgiveness.

By the end of the drama, when he is waiting for his damnation, he rationalizes his refusal to turn to God. Throughout the drama, internal and external forces suggest that Faustus could have turned to God and could have been forgiven. In the final scene, the scholars want Faustus to make an attempt to seek the forgiveness of God, but Faustus rationalizes that he has lived against the dictates of God, and he makes no effort to invoke God's forgiveness until the appearance of the devils. By then, he can only scream out in agony and horror at his final fate.

Previous Faustus — Medieval or Renaissance Hero

Next The Character of Mephistophilis and the Concept of Hell

English Literature Notes

• Winter's Tales
• Paradise Lost
• Ancient Mariner
• Ode to Autumn
• Heart of Darkness
• Things Fall Apart
• The Old Man And the Sea
• William Shakespeare
• Christopher Marlow

Mind Refreshing & Soul Touching Quotes

• Shakespeare Quotes
• O Neil Quotes
• Quotes by Plato
• Aristotle Quotes
• Arms and the Man
• Dr. Faustus
• Quotes On Love
• Quotes On Fate
• Quotes On Life
• Quotes On Women
• Top Ten Quotes
• The Cherry Orchard

Learn Essay Writing from Sample Essays

• Democracy and Dictatorship
• War on Terrorism
• Importance of Education
• Importance of English
• More Essays

Learn Grammar, The Easy Way

Grammar basics.

• Parts of Speech
• Noun and Pronoun
• Adjective and Adverb
• Forms of Verb
• Preposition in English
• English Punctuation
• English Articles
• Sentence Structure

Learn Tenses

• Indefinite Tenses
• Continuous Tenses
• Perfect Tenses

Passive Tenses

• Active & Passive Voice
• Learn Passive
• Using Since,for
• Our Mission
• Privacy Policy
• Terms and Conditions
• Site Search
• Arms And The Man
• Hedda Gabler
• Importance of Being Earnest
• Mourning Becomes Electra
• Oedipus Rex
• The Boy Comes Home
• Waiting For Godot
• Winters Tales
• After Apple Picking-Summary
• After Apple Picking-Theme
• All The World's a Stage
• Ariel by Sylvia Plath
• Because I Could Not Stop for Death
• Coleridge-Romantic Poet
• Daffodils by Wordsworth
• Departure and Arrival
• Hawk's Monologue
• IF by Rudyard Kipling
• John Keats-Romantic Poet
• Leisure-William Davies
• Metaphysical Poetry
• Mystic Poetry-William Blake
• New Year Resolutions
• Ode to Autumn by John Keats
• Ode to Grecian Urn-Summary
• Ode to Grecian Urn Critical-Appreciation
• Ode to A Nightingale by John Keats
• One Art by Elizabeth Bishop
• Poetry-Philip Larkin
• Poetry-Surrey and Wyatt
• Poetry-Ted Hughes
• Rebel - D.J Enright
• Solitary Reaper
• Songs of Innocence & Experience
• The Ancient Mariner
• The Huntsman
• The Rape of The Lock
• The Second Coming: Yeats
• When I have Fears
• Blessings of Science
• Comparing Democracy & Dictatorship
• Concept of Liberty
• Democracy-Is It Best
• Effects of Smoking
• Fashion Among Students
• Father's Day Importance
• Friendship and Society
• International-Day-against-Drug-Abuse-Illicit-Trafficking
• Kashmir Issue
• Role of Women in National Development
• Mobile Phones: A Blessing Or A Curse
• Politics and Third World Countries
• Problem of illiteracy
• Terrorism and Pakistan
• Tsunami: A Tale of Destruction
• Truth: It's Importance and Man
• The War on Terrorism
• UNO And World Peace
• Women Education
• World Population Day, an overview
• Author Quotes
• Quotes by Topic
• Book Quotes - Literature
• Grammar - An Insight
• English Sentence Structure
• Active and Passive
• Using Since & For

Dr. Faustus, Marlow

• Introduction
• Short Summary
• Detailed Summary
• Detailed Summary Part-I
• Detailed Summary Part-II
• Detailed Summary Part-III
• Characters in "Dr Faustus"
• Character of Lucifer
• Character Mephistophilis
• Themes & Topics
• University Questions & Answers
• Dr. Faustus As A Tragedy Part I
• Dr. Faustus As A Tragedy Part II
• Dr. Faustus As A Tragic Character
• Analyse The Character of Faustus
• Top 10 Quotes from Dr. Faustus
• Best Quotes from Dr. Faustus

Introduction to Dr. Faustus by Marlow

Doctor Faustus is a tragic play written by Christopher Marlow, an English dramatist and poet(From 26 February 1564 to 30 May 1593). The play is based on the suppoed legend of Faust. The story is about the man that sells his soul to the devil in exchange of worldly trifles. The story reveals the intenstiy of the ongoin war between good and evil as well as the desperation of evil to overpower good...

Test Your English Skill and General Knowledge: Take a Quiz To Assess Your Strength

Recent & Popular Posts

• Love Best Quotes
• Top Quotes on Life
• Famous Truth Quotes
• Famous poetry of Iqbal
• Finest Quotes from Othello
• Shakespeare Great Quotes
• The Necklace Notes

Playwrights

• Samuel Beckett
• Oscar Wilde
• Anton Chekhov
• George Bernard Shaw
• More Dramas

Plays' Notes

Popular quotes topic.

• Life Best Quotes
• Iqbal Best Poetry
• Man Best Quotes
• Truth Best Quotes

Poems' Notes

• Paradise-Lost
• Songs: Innocence/Experience
• Ode to A Nightingale
• After Apple Picking

Share-RiseNotes!

Copyright © 2007-2024     RiseNotes!  All Rights Reserved.                 Privacy Policy             Terms and Conditions

Character analysis of Dr. Faustus

• by Guiding Literature
• April 1, 2023 April 1, 2023

Dr. Faustus is the main protagonist of Christopher Marlowe’s play “Doctor Faustus”. He is a brilliant scholar who has reached the limits of human knowledge and yearns for more power and wisdom. Faustus is ambitious and eager to learn, but also deeply dissatisfied with his life and his limitations. He is fascinated by the occult and the supernatural, and desires to gain control over the forces of the universe.

Faustus is portrayed as a complex character, who is torn between his desire for knowledge and his fear of damnation. He is highly intelligent and capable, but also plagued by doubts and anxieties. He is prone to making impulsive decisions, which often lead him into trouble.

Throughout the play, Faustus’ character undergoes a transformation. At first, he is depicted as an idealistic scholar, who hopes to use his knowledge for the betterment of humanity. However, as he becomes increasingly obsessed with the idea of power, he becomes more and more corrupt. He begins to use his knowledge for selfish purposes, and is willing to make a deal with the devil in order to achieve his goals.

Despite his flaws, Faustus is also a sympathetic character. He is tormented by his guilt and his fear of damnation, and his struggles with these issues make him a more relatable character. He is also highly charismatic, and his ability to persuade and charm those around him is a key part of his character.

Dr. Faustus is one of the most complex characters in English literature. He is a Renaissance scholar who has grown bored with the traditional fields of study and seeks knowledge beyond the limits of human understanding. He believes that he can unlock the secrets of the universe and attain godlike power through his studies, and it is this ambition that drives him to make the fateful decision to sell his soul to the devil.

Faustus is portrayed as a deeply flawed character who is consumed by his desire for knowledge and power. He is arrogant, selfish, and impulsive, and his flaws ultimately lead to his downfall. Despite his flaws, however, Faustus is also a sympathetic character. He is tormented by his guilt and his fear of damnation, and he is constantly wrestling with his conscience. He is haunted by the realization that he has made a terrible mistake in selling his soul, and his struggle to come to terms with his decision is a central part of the play.

As the play progresses, Faustus becomes increasingly corrupted by the power he has gained. He uses his newfound knowledge to perform feats of magic and to indulge in his wildest fantasies. However, he is also plagued by a sense of emptiness and futility, as he realizes that his powers are ultimately meaningless without the ability to change the fundamental nature of humanity.

Despite his tragic fate, Faustus is also a symbol of the human spirit’s unquenchable desire for knowledge and understanding. He represents the human desire to transcend our limitations and achieve a deeper understanding of the universe. His story serves as a cautionary tale about the dangers of unchecked ambition, while also highlighting the importance of using knowledge and power for the betterment of humanity.

In conclusion, Dr. Faustus is a deeply complex character who embodies the human thirst for knowledge and power, as well as the dangers of unchecked ambition. His story serves as a powerful reminder of the importance of using knowledge and power responsibly, and of the dangers of allowing our desires to consume us.

Leave a Reply Cancel reply

You must be logged in to post a comment.

1. Titles are good. Unimaginative or undescriptive titles are bad. No title is better than a bad title. Do not underline, bold, quote, extra-size, or color your title (but titles of published works included within your title should be appropriately punctuated).

2. Underline or italicize major titles (novels, plays, long poems, magazines, movies, albums). Use quotation marks with minor titles (short stories, essays, short poems, songs).

3. In your first paragraph name the author in full (Christopher Marlowe) and give the title of the work you are dealing with. Thereafter, refer to the author by surname (Marlowe). Don't use Mr. or Ms. Titles can be abbreviated after they have been written in full once. Keep the abbreviation consistent. Example: The Tragical History of Dr. Faustus -> Dr. Faustus .

4. State a clear thesis, preferably somewhere in the first paragraph.

5. It is best to use the present tense when you refer to a literary work or to the actions that occur in it. For referring to past time in the story use present perfect in your essay. Example: "The Pardoner admits that he has sold false relics to gullible people."

6. Do not summarize the work you are analyzing (unless you are writing a book report). Sometimes a brief, one-sentence summary of a scene or section can serve to support a particular point of your essay.

7. Avoid long quotations. Paraphrase. Quote only key words, phrases, and passages. Work your quotations grammatically into your sentence. Example: To be physically absorbed, to be "a creature wanting soul," "some brutish beast," even, at the last, to be no more than "little water drops" -- this is the final hope of the pride of Wittenberg (13.97, 101, 110). [ Gill, Introduction, xxv]

8. When quoting poetry or verse plays, you may quote up to three lines with a front slash (/) separating each line: "Hell hath no limits, nor is circumscribed / in one self place; for where we are is hell, / And where hall is, must we ever be" (5:121-3). For more than three lines, use block format, setting the quotation one inch off the left margin. When quoting prose, you may have up to four lines within quotation marks. For more than four lines, use block format. Do not use quotation marks with block format. See the MLA guidelines at Purdue for further clarification.

9. Use MLA format for documenting your sources. You can omit a works-cited page if your only source is exactly the same edition of the text that we use in class. For prose use page numbers; for poetry use line numbers, and for plays use act, scene, and line numbers when provided. Parenthetical citations come after the quotation mark but before the final period. See example in 8 above, or the MLA documentation guidelines at Purdue.

10. Avoid using the second-person pronoun ( you ) because it is usually ambiguous between general reference and individual reference. For example: "You can see that Faustus is a smart person." -> "Faustus is clearly a smart person."

11. Avoid overusing the verb to be ( is , are , was , were ) as the main verb. Example: "Though clearly intelligent, Faustus does not use his magic to achieve lasting positive change."

• Information Timeline
• Minutes to Hours After
• Days to Weeks After
• Months to Years After
• ...And More Years
• Research Cycle
• Quick Check
• Primary Sources
• Secondary Sources
• Check Your Understanding
• Humanities vs. Sciences
• Test Yourself!
• So Where Do You Start Researching?
• Step 1: Analyzing the Assignment (A)
• Step 1: Analyzing the Assignment (B)
• Step 1: Analyzing the Assignment (C)
• Step 2: Identifying a Topic (A)
• Step 2: Identifying a Topic (B)
• Step 3: Writing a Thesis Statement (A)
• Video: Writing an Effective Thesis Statement
• Avoiding Poor Thesis Statements (A)
• Avoiding Poor Thesis Statements (B)
• Avoiding Poor Thesis Statements (C)
• Forming Your Research Question
• Turn Your Topic Into a Question
• Test Yourself: Which is Better? (A)
• Test Yourself: Which is Better? (B)
• Step 4: Searching for Information
• Review of the Researching Process
• There Are a Variety of Information Sources
• When to Use the Internet
• Video: That's Where the Library Comes In
• Scholarly versus Mainstream Resources: What's the Difference?
• What Resources Are Best for Your Subject?
• Finding the Right Research Guide
• What Is a Database?
• Types of Searches
• Keyword Searching
• Narrowing a Keyword Search
• Subject Search
• Advantages of Subject Searching
• Now Try It Out
• Search in a Database
• The Info Doctor Is In (A)
• The Info Doctor Is In (B)
• More On Searching
• How Do I Get a Copy of the Article
• Find It Button
• Video: Using Find It
• Don't Overlook the Print Version
• Locating Books - Ebooks
• Locating Books -- Print
• Call Numbers = Library Address
• Video: Finding Your Book on the Shelf
• Review of the Locating Process
• Finding information is not the end of research
• How can you know if information is appropriate?
• Video: Evaluating Sources
• Questions: Apply the CRAAP Test (A)
• Questions: Apply the CRAAP Test (B)
• Questions: Apply the CRAAP Test (C)
• Questions: Apply the CRAAP Test (D)
• Questions: Apply the CRAAP Test (E)
• The CRAAP Test Applied
• Not All Criteria Are Alike
• How Does the Information Fit?
• Dishonesty, Theft & Plagiarism
• Famous Faces of Plagiarism
• Plagiarism: Why Should You Care? (A)
• Plagiarism: Why Should You Care? (B)
• Academic Dishonesty: You Can Read the Fine Print
• The technology that makes plagiarizing so easy...
• You Tell Us--Is It Plagiarism? (A)
• You Tell Us--Is It Plagiarism? (B)
• You Tell Us--Is It Plagiarism? (C)
• You Can Avoid Plagiarism
• What is Paraphrasing?
• Why Paraphrase?
• Paraphrasing Pitfalls
• Good Paraphrasing
• You Try It!
• MLA Citations
• APA Citations
• Review of the Utilizing Process
• Test for Class Credit

Investigating  Step 1 : Analyzing the assignment

Resist the temptation to start researching immediately. Don't waste your time diving into research until you know what the assignment requires.

• Is it a report?
• Is it an analytical paper?
• Is it an argumentative essay?

You need to know before you begin! The type of assignment will determine what kind of research you need to do, and how you need to organize and present that research in your paper. Even an "A" quality report can earn an "F" if the assignment is to write an argumentative essay.

Photo source: Microsoft

• << Previous: So Where Do You Start Researching?
• Next: Step 1: Analyzing the Assignment (B) >>
• Last Updated: Mar 28, 2024 12:52 PM
• URL: https://libguides.sjsu.edu/infopower

What are your chances of acceptance?

Calculate for all schools, your chance of acceptance.

Your chancing factors

Extracurriculars.

How to Write the University of California Essays 2023-2024

The University of California (UC) school system is the most prestigious state university system in the United States and includes nine undergraduate universities: UC Berkeley, UC San Diego, UCLA, UC Santa Barbara, UC Santa Cruz, UC Davis, UC Riverside, UC Merced, and UC Irvine.

The University of California system has its own application portal, as well as its own deadline of November 30th—a full month before the Common Application is due. All nine universities use one application, so it is easy to apply to multiple UCs at the same time. 

The application requires you to answer four of eight personal insight questions, with a 350-word limit on each prompt. This may seem daunting at first, but we provide this guide to make the prompts more approachable and to help you effectively tackle them! 

University of California Application Essay Prompts

Note: There is only one application for all the UC schools, so your responses will be sent to every University of California school that you apply to. You should avoid making essays school-specific (unless you are applying to only one school).

You might want to start by deciding which four of the eight prompts you plan on answering. The eight prompts are:

1. Describe an example of your leadership experience in which you have positively influenced others, helped resolve disputes, or contributed to group efforts over time.

2. every person has a creative side, and it can be expressed in many ways: problem-solving, original and innovative thinking, and artistically, to name a few. describe how you express your creative side., 3. what would you say is your greatest talent or skill how have you developed and demonstrated that talent over time, 4. describe how you have taken advantage of a significant educational opportunity or worked to overcome an educational barrier you have faced., 5. describe the most significant challenge you have faced and the steps you have taken to overcome this challenge. how has this challenge affected your academic achievement, 6. think about an academic subject that inspires you. describe how you have furthered this interest inside and/or outside of the classroom., 7. what have you done to make your school or your community a better place, 8. beyond what has already been shared in your application, what do you believe makes you stand out as a strong candidate for admissions to the university of california.

As you begin selecting prompts, keep the purpose of college essays at the forefront of your mind. College essays are the place to humanize yourself and transform your test scores, GPA, and extracurriculars into a living, breathing human with values, ambitions, and a backstory. If a specific prompt will allow you to show a part of who you are that is not showcased in the rest of your application, start there. 

If nothing immediately jumps out at you, try dividing the prompts into three categories: “definites,” “possibilities,” and “avoids at all costs.” “Definites” will be prompts that quickly spark up a specific idea in you. “Possibilities” might elicit a few loose concepts, anecdotes, or structures. And “avoids” are prompts where you honestly cannot see yourself writing a convincing essay. Next, take your “definites” and “possibilities” and jot down your initial thoughts about them. Finally, look at all of your ideas together and decide which combination would produce the most well-rounded essay profile that shows who you are as an individual.

Of course, this is just one way to approach choosing prompts if you are stuck. Some students might prefer writing out a list of their values, identifying the most important ones in their life, then figuring out how to showcase those through the prompts. Other students select prompts based on what they are excited by or through freewriting on every prompt first. Do not feel constrained by any one method. Just remember:

• Do not rush into prompts at first glance (though trial writing can be very valuable!).
• Make sure that you consider potential ideas for many prompts before making final decisions, and ultimately write about the one with the most substance.
• The prompts you select should allow you to highlight what is most important to you.

Check out our video to learn more about how to write the UC essays!

The 8 UC Personal Insight Questions

“Leadership Experience” is often a subheading on student resumes, but that is not what admissions officers are asking about here. They are asking for you to tell them a specific story of a time when your leadership truly mattered. This could include discussing the policies you enacted as president of a school club or the social ties you helped establish as captain of a sports team, but this prompt also gives you the freedom to go past that.

Leaders are individuals with strong values, who mentor, inspire, correct, and assist those around them. If you don’t feel like you’ve ever been a leader, consider the following questions:

• Have you ever mentored anyone? Is there anyone younger than you who would not be the person they are today without you?
• Have you ever taken the initiative? When and why did it matter?
• Have you ever been fundamental to positive change in the world—whether it be on the small scale of positively impacting a family member’s life or on the large scale of trying to change the status of specific communities/identities in this world?
• Have you ever stood up for what’s right or what you believe in?

Leadership is a concept that can be stretched, bent, and played with, but at the end of the day, the central theme of your essay must be leadership. Keeping this in mind, after your first draft, it can be helpful to identify the definition of leadership that you are working with, to keep your essay cohesive. This definition doesn’t need to appear within the essay (though, if you take on a more reflective structure, it might). Some examples of this include “being a positive role model as leadership,” “encouraging others to take risks as leadership,” and “embracing my identities as leadership.”

Here are some examples of how a leadership essay might look:

• You’ve always loved learning and challenging yourself, but when you got to high school it was clear that only a certain type of student was recommended to take AP classes and you didn’t fit into that type. You presented a strong case to the school counselors that you were just as prepared for AP classes as anyone else, enrolled in your desired classes, and excelled. Since then, AP classes have become more diversified at your school and there has even been a new inclusion training introduced for your district’s school counselors. 
• When you were working as a camp counselor, the art teacher brought you two of your campers who were refusing to get along. To mediate the conflict, you spent long hours before bed talking to them individually, learning about their personal lives and family situation. By understanding where each camper came from, you were better equipped to help them reach a compromise and became a role model for both campers.
• As a member of your school’s Chinese organization, you were driven by your ethnic heritage to devote your lunch breaks to ensuring the smooth presentation of the Chinese culture show. You coordinated the performers, prepared refreshments, and collected tickets. You got through a great performance, even though a performer didn’t show and some of the food was delivered late. You weren’t on the leadership board or anything, but exhibited serious leadership, as both nights of the culture show sold out and hundreds of both Chinese and non-Chinese people were able to come together and celebrate your culture.

Like the last prompt, this prompt asks about a specific topic—creativity—but gives you wiggle room to expand your definition of that topic. By defining creativity as problem-solving, novel thinking, and artistic expression, this prompt basically says “get creative in how you define creativity!” 

Additionally, this broad conception of creativity lets you choose if you want to write about your personal life or your academic life. A robotics student could write about their love of baking on the weekends or their quick thinking during a technical interview. A dance student could write about their love of adapting choreography from famous ballets or their innovative solution to their dance team’s lack of funds for their showcase. You have space to do what you want!

That said, because this prompt is so open, it is important to establish a focus early on. Try thinking about what is missing from your application. If you are worried that your application makes you seem hyper-academic, use this prompt to show how you have fun. If you are worried that you might be appearing like one of those students who just gets good grades because they have a good memory, use this prompt to show off your problem-solving skills.

Also, keep in mind that you don’t have to describe any skill in creative pursuits as you answer this prompt. The prompt asks you how you express your “creative side,” alluding to creative instinct, not creative talent. You could write about how you use painting to let out your emotions—but your paintings aren’t very good. You could write about dancing in the shower to get excited for your day—but one time you slipped and fell and hurt your elbow. Experiences like these could make for a great reflective essay, where you explore the human drive towards creative expression and your acceptance that you personally don’t have to be creatively inclined to let out creative energy.

Some examples:

• A math student writing about a time they devised a non-textbook method to proving theorems 
• A creative writer describing how they close-read the ups-and-downs of classical music as an attempt to combat writers’ block and think of emotional trajectories for new stories
• An engineering student writing about cooking as a creative release where numbers don’t matter and intuition supersedes reason
• A psychology student writing about the limitations of quantitative data and describing a future approach to psychology that merges humanism and empiricism.

This is the kind of prompt where an answer either pops into your head or it doesn’t. The good news is that you can write a convincing essay either way. We all have great talents and skills—you just might have to dig a bit to identify the name of the talent/skill and figure out how to best describe it.

Some students have more obvious talents and skills than others. For example, if you are intending to be a college athlete, it makes sense to see your skill at your sport as your greatest talent or skill. Similarly, if you are being accepted into a highly-selective fine arts program, painting might feel like your greatest talent. These are completely reasonable to write about because, while obvious, they are also authentic! 

The key to writing a convincing essay about an obvious skill is to use that skill to explore your personality, values, motivations, and ambitions. Start by considering what first drew you to your specialization. Was there a specific person? Something your life was missing that painting, hockey, or film satisfied? Were you brought up playing your sport or doing your craft because your parents wanted you to and you had to learn to love it? Or choose to love it? What was that process like? What do these experiences say about you? Next, consider how your relationship with your talent has evolved. Have you doubted your devotion at times? Have you wondered if you are good enough? Why do you keep going? On the other hand, is your talent your solace? The stable element in your life? Why do you need that?

The key is to elucidate why this activity is worth putting all your time into, and how your personality strengths are exhibited through your relationship to the activity. 

Do not be put off by this prompt if you have not won any big awards or shown immense talent in something specific. All the prompt asks for is what you think is your greatest talent or skill. Some avenues of consideration for other students include:

• Think about aspects of your personality that might be considered a talent or skill. This might include being a peacemaker, being able to make people laugh during hard times, or having organization skills.
• Think about unique skills that you have developed through unique situations. These would be things like being really good at reading out loud because you spend summers with your grandfather who can no longer read, knowing traffic patterns because you volunteer as a crossing guard at the elementary school across the street that starts 45 minutes before the high school, or making really good pierogi because your babysitter as a child was Polish.
• Think about lessons you have learned through life experiences. A military baby might have a great skill for making new friends at new schools, a child of divorce might reflect on their ability to establish boundaries in what they are willing to communicate about with different people, and a student who has had to have multiple jobs in high school might be talented at multitasking and scheduling. 

Make sure to also address how you have developed and demonstrated your selected talent. Do you put in small amounts of practice every day, or strenuous hours for a couple of short periods each year? Did a specific period of your life lead to the development of your talent or are you still developing it daily? 

The purpose of college essays is to show your values and personality to admissions officers, which often includes exploring your past and how it informs your present and future. With a bit of creativity in how you define a “talent or skill,” this prompt can provide a great avenue for that exploration. 

This prompt offers you two potential paths—discussing an educational opportunity or barrier. It is important that you limit yourself to one of these paths of exploration to keep your essay focused and cohesive. 

Starting with the first option, you should think of an educational opportunity as anything that has added value to your educational experience and better prepared you for life and your career. Some examples could include:

• participation in an honors program
• enrollment in an academy geared toward your future profession
• a particularly enlightening conversation with a professional or teacher
• joining a cultural- or interest-based student coalition
• plenty of other opportunities

The phrasing “taken advantage of” implies the admissions committee’s desire for students who take the initiative. Admissions officers are more interested in students who sought out opportunities and who fought to engage with opportunities than students who were handed things. For example, a student who joined a career-advancement afterschool program in middle school could write about why they were initially interested in the program—perhaps they were struggling in a specific subject and didn’t want to fall behind because they had their sights set on getting into National Junior Honor Society, or their friend mentioned that the program facilitated internship opportunities and they thought they wanted to explore therapy as a potential career path.

On the other hand, if an opportunity was handed to you through family connections or a fortuitous introduction, explore what you did with that opportunity. For example, if a family member introduced you to an important producer because they knew you were interested in film, you could write about the notes you took during that meeting and how you have revisited the producer’s advice and used it since the meeting to find cheap equipment rentals and practice your craft.

If you choose to write about educational barriers you have faced, consider the personal characteristics and skills you called upon to overcome the challenge. How did the process of overcoming your educational barrier shape you as a person? What did you learn about yourself or the world? An added plus would be talking about passing it forward and helping those in your purview obtain the knowledge you did from your experiences.

Some examples of educational barriers could include:

• limited access to resources, materials, technology, or classes
• lacking educational role models
• struggles with deciding on a passion or career path
• financial struggles

One example of an interesting essay about educational barriers:

As a student at a school that did not offer any honors classes, you enrolled in online lectures to learn the subject you were passionate about — Human Geography. Afterward, you spoke to your school administrators about high-achieving students needing higher-level courses, and they agreed to talk to the local community college to start a pipeline for students like you.

Either way that you take this prompt, it can be used to position yourself as motivated and driven—exactly the type of student admissions officers are looking for!

This prompt is three-pronged. You must 1) identify a challenge 2) describe the steps you have taken to overcome the challenge and 3) connect the challenge to your academic achievement.

When approaching this prompt, it is best to consider these first and third aspects together so that you identify a challenge that connects to your academic life. If you simply pick any challenge you have experienced, when you get to the third part of the prompt, you may have to stretch your essay in ways that are unconvincing or feel inauthentic.

That said, remember that “academic achievement” reaches far beyond grades and exams. It can include things like:

• Deciding your career goals
• Balancing homework, jobs, and social/familial relationships
• Having enough time to devote to self-care
• Figuring out how you study/learn best
• Feeling comfortable asking for help when you need it

You should begin brainstorming challenges and hardships that you have experienced and overcome. These could include financial hardships, familial circumstances, personal illness, or learning disabilities. Challenges could also be less structural—things like feeling like you are living in a sibling’s shadow, struggles with body image, or insecurity. While it is important that your challenge was significant, it matters much more that you discuss your challenge with thoughtful reflection and maturity.

Some ways to take this prompt include:

• Writing about how overcoming a challenge taught you a skill that led to academic success — for example, a high-achieving student who struggles with anxiety was forced to take time off from school after an anxiety attack and learned the importance of giving oneself a break
• Writing about a challenge that temporarily hindered your academic success and reflecting on it — for example, a student who experienced a death in the family could have had a semester where they almost failed English because reading led to negative thought spirals instead of plot retention
• Writing about how a challenge humbled you and gave you a new perspective on your academics — for example, a student with a part-time job who helps support her family missed a shift because she was studying for a test and realized that she needed to ask her teachers for help and explain her home situation

As you describe the steps you have taken to overcome your selected challenge, you will want to include both tangible and intangible steps. This means that you will need to discuss your emotions, growth, and development, as well as what you learned through overcoming the challenge. Was your challenge easy to overcome or did it take a few tries? Do you feel you have fully overcome your challenge or is it a work in progress? If you have fully overcome the challenge, what do you do differently now? Or do you just see things differently now? If you were to experience the same challenge again, what would you have learned from before?

Here are some detailed examples:

• Your parents underwent a bitter, drawn-out divorce that deeply scarred you and your siblings, especially your little brother who was attending elementary school at the time. He was constantly distraught and melancholy and seemed to be falling further and further behind in his schoolwork. You took care of him, but at the cost of your grades plummeting. However, through this trial, you committed yourself to protecting your family at all costs. You focused on computer science in high school, hoping to major in it and save up enough money for his college tuition by the time he applies. Through this mission, your resolve strengthened and reflected in your more efficient and excellent performance in class later on.
• Your race was the most significant challenge you faced growing up. In school, teachers did not value your opinion nor did they believe in you, as evidenced by their preferential treatment of students of other races. To fight back against this discrimination, you talked to other students of the same race and established an association, pooling together resources and providing a supportive network of people to others in need of counseling regarding this issue.

The first step for approaching this prompt is fun and easy—think about an academic subject that inspires you. This part of the essay is about emotional resonance, so go with your gut and don’t overthink it. What is your favorite subject? What subject do you engage with in the media in your free time? What subject seeps into your conversations with friends and family on the weekends?

Keep in mind that high school subjects are often rather limited. The span of “academic subjects” at the university level is much less limited. Some examples of academic subjects include eighteenth-century literature, political diplomacy, astronomy, Italian film and television, botany, Jewish culture and history, mobile robotics, musical theater, race and class in urban environments, gender and sexuality, and much more.

Once you’ve decided what subject you are most interested in and inspired by, think about a tangible example of how you have furthered your interest in the subject. Some common ways students further their interests include:

• Reading about your interest
• Engaging with media (television, film, social media) about your interest
• Volunteering with organizations related to your interest
• Founding organizations related to your interest
• Reaching out to professionals with your academic interest
• Using your interest in interdisciplinary ways
• Research in your field of interest
• Internships in your field of interest

While you should include these kinds of tangible examples, do not forget to explain how your love for the subject drives the work you do, because, with an essay like this, the why can easily get lost in describing the what . Admissions officers need both.

A few examples:

• You found your US government class fascinatingly complex, so you decided to campaign for a Congressional candidate who was challenging the incumbent in your district. You canvassed in your local community, worked at the campaign headquarters, and gathered voter data whilst performing various administrative duties. Though the work was difficult, you enjoyed a sense of fulfillment that came from being part of history.
• Last year you fell in love with the play Suddenly Last Summer and decided to see what career paths were available for dramatic writing. You reached out to the contact on your local theater’s website, were invited to start attending their guest lecturer series, and introduced yourself to a lecturer one week who ended up helping you score a spot in a Young Dramatic Writers group downtown.
• The regenerative power of cells amazed you, so you decided to take AP Biology to learn more. Eventually, you mustered up the courage to email a cohort of biology professors at your local university. One professor responded, and agreed to let you assist his research for the next few months on the microorganism C. Elegans.
• You continued to develop apps and games even after AP Computer Science concluded for the year. Eventually, you became good enough to land an internship at a local startup due to your self-taught knowledge of various programming languages.

With regards to structure, you might try thinking about this essay in a past/present/future manner where you consider your past engagement with your interest and how it will affect your future at a UC school or as an adult in society. This essay could also become an anecdotal/narrative essay that centers around the story of you discovering your academic interest, or a reflective essay that dives deep into the details of why you are drawn to your particular academic subject.

Whatever way you take it, try to make your essay unique—either through your subject matter, your structure, or your writing style!

College essay prompts often engage with the word “community.” As an essay writer, it is important to recognize that your community can be as large, small, formal, or informal as you want it to be. Your school is obviously a community you belong to, but your local grocery store, the nearby pet adoption center you volunteer at, your apartment building, or an internet group can also be communities. Even larger social groups that you are a part of, like your country or your ethnicity, can be a community. 

The important part of your response here is not the community you identify with but rather the way you describe your role in that community. What do you bring to your community that is special? What would be missing without you?

Some responses could include describing how you serve as a role model in your community, how you advocate for change in your community, how you are a support system for other community members, or how you correct the community when it is veering away from its values and principles.

Here are some fleshed-out examples of how this essay could take shape, using the earlier referenced communities:

• A student writes about the local grocery store in his neighborhood. Each Sunday, he picks up his family’s groceries and then goes to the pharmacy in the back to get his grandmother’s medication. The pharmacist was a close friend of his grandmother’s when she was young, so the student routinely gives the pharmacist a detailed update about his grandmother’s life. The student recognizes the value in his serving as a link to connect these two individuals who, due to aging, cannot be together physically.
• An animal-loving student volunteers one Saturday each month at the pet adoption center in their city’s downtown district. They have always been an extremely compassionate person and view the young kittens as a community that deserves to be cared for. This caring instinct also contributes to their interactions with their peers and their desire to make large-scale positive social change in the world.

Your response to this prompt will be convincing if you discuss your underlying motives for the service you have done, and in turn, demonstrate the positive influence you have made. That said, do not be afraid to talk about your actions even if they did not produce a sweeping change; as long as the effort was genuine, change is change, no matter the scale. This essay is more about values and reflection than it is about the effects of your efforts.

Lastly, if you are discussing a specific service you did for your community, you might want to touch on what you learned through your service action or initiative, and how you will continue to learn in the future. Here are a few examples:

• Passionate about classical music, you created a club that taught classical and instrumental music at local elementary schools. You knew that the kids did not have access to such resources, so you wanted to broaden their exposure as a high school senior had done for you when you were in middle school. You encouraged these elementary schoolers to fiddle with the instruments and lobbied for a music program to be implemented at the school. Whether the proposal gets approved or not, the kids have now known something they might never have known otherwise.
• Working at your local library was mundane at times, but in the long run, you realized that you were facilitating the exchange of knowledge and protecting the intellectual property of eminent scholars. Over time, you found ways to liven up the spirit of the library by leading arts and crafts time and booking puppet shows for little kids whose parents were still at work. The deep relationships you forged with the kids eventually blossomed into a bond of mentorship and mutual respect.

Be authentic and humble in your response to this essay! Make sure it feels like you made your community a better place because community is a value of yours, not just so that you could write about it in a college essay.

This is the most open-ended any question can get. You have the freedom to write about anything you want! That said, make sure that, no matter what you do with this prompt, your focus can be summarized into two sentences that describe the uniqueness of your candidacy.

The process we recommend for responding to open-ended prompts with clarity involves the following steps:

1. On a blank piece of paper, jot down any and every idea — feelings, phrases, and keywords — that pop into your head after reading this prompt. Why are you unique?

2. Narrow your ideas down to one topic. The two examples we will use are a student writing about how her habit of pausing at least five seconds before she responds to someone else’s opinion is emblematic of her thoughtfulness and a student whose interest in researching the history of colonialism in the Caribbean is emblematic of their commitment to justice.

3. Outline the structure of your essay, and plan out content for an introduction, body paragraphs, and a conclusion.

4. Before you start writing your essay, write one or two sentences that summarize how you would like the admissions officers to perceive you based on this essay. These sentences will not be in your final product, but will help you to maintain a focus. For our examples, this would be something like “Natalie’s habit of gathering her thoughts before responding to other people’s opinions allows her to avoid undesired complications and miscommunications in her social interactions. This has not only helped her maintain strong relationships with all the staff members of the clubs she leads, but will also help her navigate the social environments that she will face in the professional world.” A summary for the student writing about their interest in the history of colonialism could be “Jonathan has always been highly compassionate and sympathetic by nature. When they found out about the historical injustices of colonialism in the Caribbean through the book The Black Jacobins , they realized that compassion is what is missing from politics. Now, they are inspired to pursue a political science degree to ultimately have a political career guided by compassion.”

5. Finally, write an essay dedicated to constructing the image you devised in step 4. This can be achieved through a number of different structures! For example, Natalie could use an anecdote of a time when she spoke too soon and caused someone else pain, then could reflect on how she learned the lesson to take at least five seconds before responding and how that decision has affected her life. Jonathan could create an image of the future where they are enacting local policies based on compassion. It is important to keep in mind that you do not want to be repetitive, but you must stay on topic so that admissions officers do not get distracted and forget the image that you are attempting to convey.

As exemplified by the examples we provided, a good way to approach this prompt is to think of a quality, value, or personality trait of yours that is fundamental to who you are and appealing to admissions officers, then connect it to a specific activity, habit, pet peeve, anecdote, or another tangible example that you can use to ground your essay in reality. Use the tangible to describe the abstract, and convince admissions officers that you would be a valuable asset to their UC school!

Where to Get Your UC Essays Edited

With hundreds of thousands of applicants each year, many receiving top scores and grades, getting into top UC schools is no small feat. This is why excelling in the personal-insight questions is key to presenting yourself as a worthwhile candidate. Answering these prompts can be difficult, but ultimately very rewarding, and CollegeVine is committed to helping you along that journey. Check out these UC essay examples for more writing inspiration.

If you want to get your essays edited, we also have free peer essay review , where you can get feedback from another student. You can also improve your own writing skills by editing other students’ essays.

You can also receive expert essay review by advisors who have helped students get into their dream schools. You can book a review with an expert to receive notes on your topic, grammar, and essay structure to make your essay stand out to admissions officers. Haven’t started writing your essay yet? Advisors on CollegeVine also offer  expert college counseling packages . You can purchase a package to get one-on-one guidance on any aspect of the college application process, including brainstorming and writing essays.

Related CollegeVine Blog Posts

South East Bay Pediatric Medical Group | Fremont, CA

Request an Appointment: (510) 792-4373

2191 mowry ave. #600c, fremont ca 94538, mon-fri: 8:45 am – 5pm, sat/sun/holiday: call at 8 am for appointment, an introduction to attention deficit hyperactivity disorder (adhd).

Almost all children have times when their behavior veers out of control. They may speed about in constant motion, make noise nonstop, refuse to wait their turn, and crash into everything around them. At other times they may drift as if in a daydream, failing to pay attention or finish what they start.

However, for some children, these kinds of behaviors are more than an occasional problem. Children with attention-deficit/hyperactivity disorder (ADHD) have behavior problems that are so frequent and/or severe that they interfere with their ability to live normal lives. These children often have trouble getting along with siblings and other children at school, at home, and in other settings. Those who have trouble paying attention usually have trouble learning. Some have an impulsive nature and this may put them in actual physical danger. Because children with ADHD have difficulty controlling their behavior, they may be labeled as “bad kids” or “space cadets.” Left untreated, more severe forms of ADHD can lead to serious, lifelong problems such as poor grades in school, run-ins with the law, failed relationships, substance abuse and the inability to keep a job.

What is ADHD?

ADHD is a condition of the brain that makes it difficult for children to control their behavior. It is one of the most common chronic conditions of childhood. It affects 4% to 12% of school-aged children. About 3 times more boys than girls are diagnosed with ADHD.

What are the symptoms of ADHD?

ADHD includes 3 behavior symptoms: inattention, hyperactivity, and impulsivity. A child with inattention symptoms may have the following behaviors:

• Has a hard time paying attention, daydreams
• Does not seem to listen
• Is easily distracted from work or play
• Does not seem to care about details, makes careless mistakes
• Does not follow through on instructions or finish tasks
• Is disorganized
• Loses a lot of important things
• Forgets things
• Does not want to do things that require ongoing mental effort

A child with hyperactivity symptoms may have the following behaviors:

• Is in constant motion, as if “driven by a motor”
• Cannot stay seated
• Squirms and fidgets
• Talks too much
• Runs, jumps, and climbs when this is not permitted
• Cannot play quietly (video games do not count)

A child with impulsivity symptoms may have the following behaviors:

• Acts and speaks without thinking
• May run into the street without looking for traffic first
• Has trouble taking turns
• Cannot wait for things
• Calls out answers before the question is complete
• Interrupts others

What is the difference between ADD vs. ADHD?

ADD stands for Attention Deficit Disorder. This is an old term that is now officially called Attention Deficit Hyperactivity Disorder, Inattentive Type. More on this will discussed below.

Are there different types of ADHD?

Children with ADHD may have one or more of the 3 main symptoms categories listed above. The symptoms usually are classified as the following types of ADHD:

• Inattentive type (formerly known as attention-deficit disorder [ADD])—Children with this form of ADHD are not overly active. Because they do not disrupt the classroom or other activities, their symptoms may not be noticed. Among girls with ADHD, this form is most common.
• Hyperactive/Impulsive type—Children with this type of ADHD show both hyperactive and impulsive behavior, but can pay attention.
• Combined Inattentive/Hyperactive/Impulsive type—Children with this type of ADHD show all 3 symptoms. This is the most common type of ADHD.

How can I tell if my child has ADHD?

Remember, it is normal for all children to show some of these symptoms from time to time. Your child may be reacting to stress at school or home. She may be bored or going through a difficult stage of life. It does not mean he or she has ADHD. Sometimes a teacher is the first to notice inattention, hyperactivity, and/or impulsivity and bring these symptoms to the parents’ attention. Sometimes questions from your pediatrician can raise the issue. Parents also may have concerns such as behavior problems at school, poor grades, difficulty finishing homework and so on. If your child is 6 years of age or older and has shown symptoms of ADHD on a regular basis for more than 6 months, discuss this with your pediatrician.

What causes ADHD?

ADHD is one of the most studied conditions of childhood but the cause of ADHD is still not clear at this time. The most popular current theory of ADHD is that ADHD represents a disorder of “executive function.” This implies dysfunction in the prefrontal lobes so that the child lacks the ability for behavioral inhibition or self-regulation of such executive functions as nonverbal working memory, speech internalization, affect, emotion, motivation, and arousal. It is believed that children with ADHD lack the right balance of neurotransmitters, which are specific chemicals in their brains, that help them to focus and inhibit impulses.

Research to date has shown the following:

• ADHD is a biological disorder, not just “bad behavior.” In a child with ADHD, the brain’s ability to properly use important chemical messengers (neurotransmitters) is impaired.
• A lower level of activity in the parts of the brain that control attention and activity level may be associated with ADHD.
• ADHD appears to run in families. Sometimes a parent is diagnosed with ADHD at the same time as the child.
• Environmental toxins can play a role in the development of ADHD, but that is extremely rare.
• Very severe head injuries may cause ADHD in rare cases.

There is no significant evidence that ADHD is caused by the following:

• Eating too much sugar
• Food additives
• Immunizations

Your pediatrician will determine whether your child has ADHD using standard guidelines developed by the American Academy of Pediatrics. Unfortunately, there is no single test that can tell whether your child has ADHD. The diagnosis process requires several steps and involves gathering a lot of information from multiple sources. You, your child, your child’s school, and other caregivers should be involved in assessing your child’s behavior.

Generally, if your child has ADHD:

• Some symptoms will occur in more than one setting, such as home, school, and social events
• The symptoms significantly impair your child’s ability to function in some of the activities of daily life, such as schoolwork and relationships with family and friends
• They will start before your child reaches 7 years of age
• They will continue for more than six months
• They will make it difficult for your child to function at school, at home, and/or in social settings

In addition to looking at your child’s behavior, your pediatrician will do a physical examination. A full medical history will be needed to put your child’s behavior in context and screen for other conditions that may affect your child’s behavior.

One of the challenges in diagnosing ADHD is that many disorders can look a lot like ADHD – including depression, anxiety, visual and hearing difficulties, seizures, learning disorders and even improper sleep quality. These conditions can show the same type of symptoms as ADHD. For example if your child has sleep apnea, a condition that involves disordered breathing during sleep, he may show signs of inattention and inability to focus that can sometimes be similar to a child with ADHD. Another example is a child that may have a learning disability. He/she may not pay attention in class due to inability to process that information and therefore be labeled with “inattention”. The same child may also be frustrated because he can’t process the material being taught in the classroom and therefore disturbs the classroom and acts as if he/she is “hyperactive.” In the case of this child with a learning disability, all the effort needs to be focused on the actual underlying problem, which again is the learning disability, and not on immediately trying to treat ADHD. Similarly, in our child with sleep apnea, parents need to address the sleeping problem first and not rush to place their child on medication for ADHD. As you will read below, it is possible to have ADHD with other conditions, so children who do have sleep apnea or learning disabilities MAY ALSO have ADHD and may eventually require treatment for both conditions.

The diagnosis of ADHD takes time, and the evaluation process usually takes at least 2-3 visits before the diagnosis can be made. Occasionally the process can take longer if referrals to psychologists or psychiatrists are warranted. Blood tests may or may not be indicated, and this will be discussed during your visit.

Coexisting conditions

• Oppositional defiant disorder or conduct disorder —Up to 35% of children with ADHD also have oppositional defiant disorder or conduct disorder. Children with oppositional defiant disorder tend to lose their temper easily and annoy people on purpose and are defiant and hostile toward authority figures. Children with conduct disorder break rules, destroy property, and violate the rights of other people. Children with coexisting conduct disorder are at much higher risk for getting into trouble with the law than children who have only ADHD. Studies show that this type of coexisting condition is more common among children with the primarily hyperactive/impulsive and combination types of ADHD. Your pediatrician may recommend counseling for your child if she has this condition.
• Mood disorders/depression —About 18% of children with ADHD also have mood disorders such as depression. There is frequently a family history of these types of disorders. Coexisting mood disorders may put children at higher risk for suicide, especially during the teenage years. These disorders are more common among children with inattentive and combined types of ADHD. Children with mood disorders or depression often require a different type of medication than those normally used to treat ADHD.
• Anxiety disorders —These affect about 25% of children with ADHD. Children with anxiety disorders have extreme feelings of fear, worry, or panic that make it difficult to function. These disorders can produce physical symptoms such as racing pulse, sweating, diarrhea, and nausea. Counseling and/or medication may be needed to treat these coexisting conditions.
• Learning disabilities —Learning disabilities are conditions that make it difficult for a child to master specific skills such as reading or math. ADHD is not a learning disability. However, ADHD can make it hard for a child to do well in school. Diagnosing learning disabilities requires evaluations such as IQ and academic achievement tests.
• Target outcomes for behavior
• Follow-up activities
• Education about ADHD
• Team work among doctors, parents, teachers, caregivers, other healthcare professionals, and the child

Behavior therapy

• Parent training
• Individual and family counseling

Treatment for ADHD uses the same principles that are used to treat other chronic conditions like asthma or diabetes. Long-term planning is needed because these conditions continue or recur for a long time. Families must manage them on an ongoing basis. In the case of ADHD, schools and other caregivers must also be involved in managing the condition. Educating the people involved with your child about ADHD is a key part of treating your child. As a parent, you will need to learn about ADHD. Read about the condition and talk to people who understand it. This will help you manage the ways ADHD affects your child and your family on a day-to-day basis. It will also help your child learn to help himself.

For most children, stimulant medications are a safe and effective way to relieve ADHD symptoms. As glasses help people focus their eyes to see, these medications help children with ADHD focus their thoughts better and ignore distractions. This makes them more able to pay attention and control their behavior. Stimulants may be used alone or combined with behavior therapy. Studies show that about 80% of children with ADHD who are treated with stimulants improve a great deal.

Different types of stimulants are available, in both short-acting (immediate-release) and long-acting forms. Short- acting forms usually are taken every 4 hours when the medication is needed. Long-acting medications usually are taken once in the morning. Children who use long-acting forms of stimulants can avoid taking medication at school or after school.

It may take some time to find the best medication, dosage, and schedule for your child. Your child may need to try different types of stimulants. Some children respond to one type of stimulant but not another. The amount of medication (dosage) that your child needs also may need to be adjusted. Realize that the dosage of the medicine is not based solely on your child weight. Our goal is for your child to be on the dose that is helping her to maximize her potential with the least amount of side effects.

The medication schedule also may be adjusted depending on the target outcome. For example, if the goal is to get relief from symptoms at school, your child may take the medication only on school days and none during weekends, summer time, and vacations if desired. Your child will have close follow up initially and once the optimal medication and dosage is found she will be seen every 2-3 months to monitor progress and possible side effects.

What side effects can stimulants cause?

Side effects occur sometimes. These tend to happen early in treatment and are usually mild and short-lived. The most common side effects include the following:

Decreased appetite/weight loss.

• Sleep problems
• Stomachaches

Some less common side effects include the following:

• Jitteriness
• Social withdrawal
• Rebound effect (increased activity or a bad mood as the medication wears off)
• Transient tics

Very rare side effects include the following:

• Increase in blood pressure or heart rate
• Growth delay

Most side effects can be relieved using one of the following strategies:

• Changing the medication dosage
• Adjusting the schedule of medication
• Using a different stimulant

There are many forms of behavior therapy, but all have a common goal— to change the child’s physical and social environments to help the child improve his behavior. Under this approach, parents, teachers, and other caregivers learn better ways to work with and relate to the child with ADHD. You will learn how to set and enforce rules, help your child understand what he needs to do, use discipline effectively, and encourage good behavior. Your child will learn better ways to control his behavior as a result.

Behavior therapy has 3 basic principles:

• Set specific goals. Set clear goals for your child such as staying focused on homework for a certain time or sharing toys with friends.
• Provide rewards and consequences. Give your child a specified reward (positive reinforcement) when she shows the desired behavior. Give your child a consequence (unwanted result or punishment) when she fails to meet a goal.
• Keep using the rewards and consequences. Using the rewards and consequences consistently for a long time will shape your child’s behavior in a positive way.

Behavior therapy recognizes the limits that having ADHD puts on a child. It focuses on how the important people and places in the child’s life can adapt to encourage good behavior and discourage unwanted behavior. It is different from play therapy or other therapies that focus mainly on the child and his emotions. Specific behavior therapy techniques that can be effective with children with ADHD include:

• Positive reinforcement: Parents provide rewards or privileges in response to desired behavior. For example, your child completes an assignment and he is permitted to play on the computer.
• Time-out: one removes access to desired activity because of unwanted behavior. For example, your child hits a sibling and, as a result, must sit for 5 minutes in the corner of the room.
• Response cost: Parents withdraw rewards or privileges because of unwanted behavior. For example, your child loses free-time privileges for not completing homework.
• Token economy: Combining reward and consequence. The child earns rewards and privileges when performing desired behaviors. He loses the rewards and privileges as a result of unwanted behavior. For example, you child can earn stars for completing assignments and loses stars for getting out of seat. Then, he cashes in the sum of her stars at the end of the week for a prize.

Tips for helping your child control his behavior

• Keep your child on a daily schedule . Try to keep the time that your child wakes up, eats, bathes, leaves for school, and goes to sleep the same each day.
• Cut down on distractions . Loud music, computer games, and television can be over-stimulating to your child. Make it a rule to keep the TV or music off during mealtime and while your child is doing homework. Whenever possible, avoid taking your child to places that may be too stimulating, like busy shopping malls.
• Organize your house . If your child has specific and logical places to keep his schoolwork, toys, and clothes, he is less likely to lose them. Save a spot near the front door for his school backpack so he can grab it on the way out the door.
• Reward positive behavior . Offer kind words, hugs, or small prizes for reaching goals in a timely manner or good behavior. Praise and reward your child’s efforts to pay attention.
• Set small, reachable goals . Aim for slow progress rather than instant results. Be sure that your child understands that he can take small steps toward learning to control himself.
• Help your child stay “on task.” Use charts and checklists to track progress with homework or chores. Keep instructions brief. Offer frequent, friendly reminders.
• Limit choices . Help your child learn to make good decisions by giving your child only 2 or 3 options at a time.
• Find activities at which your child can succeed. All children need to experience success to feel good about themselves and boost their self-confidence.
• Use calm discipline. Use consequences such as time-out, removing the child from the situation, or distraction. Sometimes it is best to simply ignore the behavior. Physical punishment, such as spanking or slapping, is not helpful. Discuss your child’s behavior with him when both of you are calm.

How can I help my child control her behavior?

Taking care of yourself also will help your child. Being the parent of a child with ADHD can be tiring and trying. It can test the limits of even the best parents. Parent training and support groups made up of other families who are dealing with ADHD can be a great source of help. Learn stress-management techniques to help you respond calmly to your child. Seek counseling if you feel overwhelmed or hopeless.

Ask us to help you find parent training, counseling, and support groups in your community. Under the resources section we will leave the link of a few handouts published by the NICHQ (National Initiative for Children’s Healthcare Quality) including:

• How to Establish a School-Home Daily Report Card

Unproven treatments

You may have heard media reports or seen advertisements for “miracle cures” for ADHD. Carefully research any such claims. Consider whether the source of the information is valid. At this time, there is no scientifically proven cure for this condition. The following methods have not been proven to work in scientific studies:

• Optometric vision training (asserts that faulty eye movement and sensitivities cause the behavior problems)
• Megavitamins and mineral supplements
• Anti–motion-sickness medication (to treat the inner ear)
• Treatment for candida yeast infection
• EEG biofeedback (training to increase brain-wave activity)
• Applied kinesiology (realigning bones in the skull)

Always tell your pediatrician about any alternative therapies, supplements, or medications that your child is using. These may interact with prescribed medications and harm your child.

Frequently asked questions

Will my child outgrow adhd.

ADHD continues into adulthood in most cases. However, by developing their strengths, structuring their environments, and using medication when needed, adults with ADHD can lead very productive lives. In some careers, having a high-energy behavior pattern can be an asset.

Are stimulant medications “gateway drugs” leading to illegal drug or alcohol abuse?

People with ADHD are naturally impulsive and tend to take risks. But those with ADHD who are taking stimulants are actually at lower risk of using other drugs. Children and teenagers who have ADHD and also have coexisting conditions may be at high risk for drug and alcohol abuse, regardless of the medication used.

Are children getting high on stimulant medications?

There is no evidence that children are getting high on stimulant drugs used to treat ADHD. These drugs also do not sedate or tranquilize children and have no addictive properties. Stimulants are classified as Schedule II drugs by the US Drug Enforcement Administration. There are recent reports of abuse of this class of medication, especially by college students who trying to obtain an edge during exam times to stay up and study more. 
If your child is on medication, it is always best to supervise the use of the medication closely.

Why do so many children have ADHD?

The number of children who are being treated for ADHD has risen. It is not clear whether more children have ADHD or more children are being diagnosed with ADHD. ADHD is now one of the most common and most studied conditions of childhood. Because of more awareness and better ways of diagnosing and treating this disorder, more children are being helped.

• AAP (American Academy of Pediatrics)
• About Our Kids (from NYU Child Study Center)
• Children and Adults with Attention-Deficit/Hyperactivity Disorder (CHADD)

Adapted directly from

• American Academy of Pediatrics
• The Zukerman Parker Handbook of Development and Behavioral Pediatrics for Primary care