‘Mephastophilis is a more complex character than the typical stock demon.’
In some ways Marlowe does present Mephastophilis as a typical stock demon, especially in
his role as the Vice, a comic yet sinister tempter from traditional Medieval Morality plays.
However, for the most part, Mephastophilis is arguably more complex than this one-
dimensional Vice, shown through his duality and likeness to humanity. By making
Mephastophilis more complex, Marlowe challenges traditional ideas of good and evil by
blurring the lines between them, frightening a religious, contemporary audience.
It could be argued that in Marlowe’s presentation of Mephastophilis, as a tempter, he is no
more complex than a typical stock demon. His role as the Vice from Medieval Morality plays
is made clear throughout. In Scene 3, he is straightforward in telling Faustus that he has ‘hope
to get his glorious soul’, showing clear, simple intentions to tempt Faustus and obtain his soul
for Lucifer; the standard goal of a stock demon. His manipulation of Faustus has already
begun here in the use of ‘glorious’ which inflates Faustus’ ego and his pride, with Pride being
one of the Seven Deadly Sins that ultimately leads to Faustus’ damnation. Whilst this
cunning manipulation doesn’t necessarily make Mephastophilis more complex, it perhaps
hints that there is more to him than it seems at first. Also, Mephastophilis has moments of
sinister comedy that reinforce his role as a typical Vice. The repetition of ‘Here they are’ in
Scene 5 is an opportunity for physical comedy but also comedy through the irony that
Faustus sold his soul for knowledge that can be contained within one book. It is also sinister
as it shows how easy it was for Mephastophilis to manipulate and con Faustus out of his soul,
further presenting Mephastophilis as a typical demon. Perhaps the most sinister part of
Mephastophilis’ manipulation is in Scene 12’s stage direction, ‘Mephastophilis gives him a
dagger’. Although this could be played as black comedy, it is mostly sinister as it shows the
encouragement of suicide. This would especially frighten a religious contemporary audience
as suicide represented ultimate despair, from which damnation was guaranteed. It is also
important in revealing Mephastophilis’ one ultimate goal, to claim Faustus’ soul, making him
seem like a typical stock demon. Marlowe draws these parallels to a typical Vice to warn the
audience of traditional, manipulative evils that may tempt them into sin.
In some ways Marlowe does present Mephastophilis as a typical stock demon, especially in
his role as the Vice, a comic yet sinister tempter from traditional Medieval Morality plays.
However, for the most part, Mephastophilis is arguably more complex than this one-
dimensional Vice, shown through his duality and likeness to humanity. By making
Mephastophilis more complex, Marlowe challenges traditional ideas of good and evil by
blurring the lines between them, frightening a religious, contemporary audience.
It could be argued that in Marlowe’s presentation of Mephastophilis, as a tempter, he is no
more complex than a typical stock demon. His role as the Vice from Medieval Morality plays
is made clear throughout. In Scene 3, he is straightforward in telling Faustus that he has ‘hope
to get his glorious soul’, showing clear, simple intentions to tempt Faustus and obtain his soul
for Lucifer; the standard goal of a stock demon. His manipulation of Faustus has already
begun here in the use of ‘glorious’ which inflates Faustus’ ego and his pride, with Pride being
one of the Seven Deadly Sins that ultimately leads to Faustus’ damnation. Whilst this
cunning manipulation doesn’t necessarily make Mephastophilis more complex, it perhaps
hints that there is more to him than it seems at first. Also, Mephastophilis has moments of
sinister comedy that reinforce his role as a typical Vice. The repetition of ‘Here they are’ in
Scene 5 is an opportunity for physical comedy but also comedy through the irony that
Faustus sold his soul for knowledge that can be contained within one book. It is also sinister
as it shows how easy it was for Mephastophilis to manipulate and con Faustus out of his soul,
further presenting Mephastophilis as a typical demon. Perhaps the most sinister part of
Mephastophilis’ manipulation is in Scene 12’s stage direction, ‘Mephastophilis gives him a
dagger’. Although this could be played as black comedy, it is mostly sinister as it shows the
encouragement of suicide. This would especially frighten a religious contemporary audience
as suicide represented ultimate despair, from which damnation was guaranteed. It is also
important in revealing Mephastophilis’ one ultimate goal, to claim Faustus’ soul, making him
seem like a typical stock demon. Marlowe draws these parallels to a typical Vice to warn the
audience of traditional, manipulative evils that may tempt them into sin.
