‘The forces of evil are funny rather than frightening.’
In ‘Doctor Faustus’, Marlowe presents evil in the form of spirits such as Mephastophilis and
Helen of Troy, but also in the form of allegorical characters such as the Seven Deadly Sins
and the Evil Angel. On many occasions these characters are frightening through their
appearance and what they reveal about the evil within Faustus, along with their links to
predestination. However, they are mostly comedic characters that provide opportunities for
physical comedy and black humour, with most productions presenting them in this way.
The main and most complex force of evil in ‘Doctor Faustus’ is Mephastophilis, who initially
acts as a tempter to Faustus. For the most part, he is presented in a funny way. In Scene 5,
there is an opportunity for physical comedy as he presents Faustus with a book of knowledge
that Faustus has traded his soul for. The repetition of ‘here they are’, combined with the
physical act of showing Faustus the book is comedic as it highlights the irony that Faustus
traded his entire soul for knowledge that can be contained within a single book. There is more
comedy in Scene 9 when Mephastophilis punishes Rafe and Robin, saying ‘I transform thee
into an ape, and thee into a dog’. This petty use of his power is comical by itself, but his
association with two comic characters within the play further presents Mephastophilis as a
comic character. Faustus’ constant reliance on Mephastophilis to perform tricks is also funny
as it reinforces the irony from earlier that Faustus has not gained much from his deal with
Lucifer. However, Mephastophilis can also be frightening at times. Whilst the stage direction
‘Mephastophilis gives him a dagger’ in Scene 12 could be seen as black comedy, it would
especially frighten a contemporary religious audience who would view suicide as ultimate
despair, an irredeemable sin. Mephastophilis’ encouragement of this would therefore make
him seem frightening.
It is common in the medieval tradition to use the Seven Deadly Sins as allegorical characters,
and Marlowe draws on this tradition in ‘Doctor Faustus’. They provide an opportunity for
physical comedy as they could be dressed in extravagant, eccentric costumes that would
make the physical act of parading them onstage funny. There are further opportunities for
physical comedy here as Wrath could act out the ‘wounding myself’ in a wild, physical act
In ‘Doctor Faustus’, Marlowe presents evil in the form of spirits such as Mephastophilis and
Helen of Troy, but also in the form of allegorical characters such as the Seven Deadly Sins
and the Evil Angel. On many occasions these characters are frightening through their
appearance and what they reveal about the evil within Faustus, along with their links to
predestination. However, they are mostly comedic characters that provide opportunities for
physical comedy and black humour, with most productions presenting them in this way.
The main and most complex force of evil in ‘Doctor Faustus’ is Mephastophilis, who initially
acts as a tempter to Faustus. For the most part, he is presented in a funny way. In Scene 5,
there is an opportunity for physical comedy as he presents Faustus with a book of knowledge
that Faustus has traded his soul for. The repetition of ‘here they are’, combined with the
physical act of showing Faustus the book is comedic as it highlights the irony that Faustus
traded his entire soul for knowledge that can be contained within a single book. There is more
comedy in Scene 9 when Mephastophilis punishes Rafe and Robin, saying ‘I transform thee
into an ape, and thee into a dog’. This petty use of his power is comical by itself, but his
association with two comic characters within the play further presents Mephastophilis as a
comic character. Faustus’ constant reliance on Mephastophilis to perform tricks is also funny
as it reinforces the irony from earlier that Faustus has not gained much from his deal with
Lucifer. However, Mephastophilis can also be frightening at times. Whilst the stage direction
‘Mephastophilis gives him a dagger’ in Scene 12 could be seen as black comedy, it would
especially frighten a contemporary religious audience who would view suicide as ultimate
despair, an irredeemable sin. Mephastophilis’ encouragement of this would therefore make
him seem frightening.
It is common in the medieval tradition to use the Seven Deadly Sins as allegorical characters,
and Marlowe draws on this tradition in ‘Doctor Faustus’. They provide an opportunity for
physical comedy as they could be dressed in extravagant, eccentric costumes that would
make the physical act of parading them onstage funny. There are further opportunities for
physical comedy here as Wrath could act out the ‘wounding myself’ in a wild, physical act
