Signet Classics Doctor Faustus [Paperback]

It is somewhat ironic that if Shakespeare and Marlowe were writing today, they should most like be charged with plagiarism and copyright infringement; 'The Tragedy of Doctor Faustus' is likewise not an entirely original construct of Marlowe's, but rather derives from an anonymously penned German poem translated into English shortly before Marlowe recast it for his play. The German poet Goethe was influenced by the same anonymous source, and perhaps knew of Marlowe's play during his writing.

Dr. Faustus may have been based on a brilliant professor in Germany a generation or two prior to Marlowe. In any event, the idea of the seduction of the power of knowledge was (and continues to be) inspiring. The idea of selling one's soul to get the object of one's desire is also not a unique concept. Knowledge in the ancient world often always involved the spiritual realm, which had both its light and dark sides (one has but to think of the Star Wars saga to see how such concepts remain firmly rooted in our own time). Faustus becomes a conjurer, and strikes a deal with Lucifer to maintain power and knowledge in return for his soul after 24 years.

Despite the temptations to repent, Faustus in Marlowe's text never manages to break free of the temptations. 'My heart's so hardened I cannot repent. / Scare can I name salvation, faith, or heaven, / But fearful echoes thunder in mine ears: / "Faustus, thou art damned." ' Even recognising this, in the span of this one monologue, Faustus talks himself out of despair with the temptations of knowledge and secret power. Unfortunately for Faustus, he spends so much of his time and power doing ultimately useless tricks that he ends up in a worthless position despite his deal, and pays the ultimate price for his deal with the devil.

Marlowe had great appeal to the play-going audience of his day, and his words were considered very powerful art, indeed. One story bears repeating, dealing with the performance history of the play: 'A legend developed that during a performance in Exeter, in one scene in which Faustus called up devils, the actors counted one more devil than the scene called for and realised that Satan himself was in the their midst. In terror, they stopped the play; the audience bolted from the playing place; and the actors quitted the town the next morning.' Such was the power of Marlowe's rendering, that his language was thought to have magical conjuring power.

This edition is designed both for students as well as for those who might want to do the play in performance for classes. The spelling is modernised and edited for ease of reading. There are generous notes for the changes in the text versions (there was a publication of this text in 1604 and again in 1616 with changes and revisions). This text also includes many stage-direction and theatrical notes to give a good sense of how the play is performed. It includes many photographs of productions along the way. In addition to all of these features, editor Sylvan Barnet provides an introduction to the play which includes biographical details about Marlowe as well as more details about the background of the play.

Don't let the devil fool you - this is a good text.

The Tragicall History of Dr. Faustus, or simply Dr. Faustus, is the story of a brilliant scholar whose thirst for knowledge and power leads him to trade his soul to Lucifer.

As we first encounter Faustus, he is systematically dismissing further study of Aristotlean logic, Galen's teachings on medicine, Justinian's works on law, and the study of divinity; Faustus is already the acknowledged master of these subjects. Only the study of necromancy can offer him greater profit, delight, and power.

Faustus through incantations summons Mephistophilis, servant of Lucifer, to negotiate a trade for his soul. Mephistophilis urges Faustus to reconsider, but Faustus is adamant: "Had I had as many souls as there be stars, I'd give them all for Mephistophilis."

Faustus recklessly forges his agreement with Lucifer, his body and soul to be forfeit after 24 years of service from Mephistophilis.

Again and again Faustus calls upon Mephistophilis for delights and power and hidden knowledge. Mephistophilis obliges, and Faustus increasingly distances himself from God. Occasionally Faustus has misgivings and considers repentance, but fails to act, due partly to persuasion and threats from Mephistophilis - if thou repents, devils shall tear thee in pieces.

The intensity builds as Faustus repeatedly rejects God's offer of mercy and forgiveness, and we are never quite certain whether he will repent or not. Marlowe occasionally lowers the growing intensity by interspersing brief episodes of humor with tragedy, a convention quite familiar to Elizabethan audiences.

This inexpensive Dover edition offers only sparse footnotes, but footnotes are seldom needed.

Christopher Marlowe's other works included his two part drama Tamburlane the Great, The Troublesome Reign and Lamentable Death of Edward II, King of England, and The Famous Tragedy of the Rich Jew of Malta.

I recently read Doctor Faustus, edited by Michael Keefer and published by Broadview Press (ISBN 0-921149-59-X). The detailed introduction, comparisons between the 1604 and 1616 versions, and source material make it a good choice for English literature majors.