CHAPTER IV THE DRAMATIST THE next important item in Marlowe's literary life was the production of Doctor Faustus. This drama appears to have been originally put upon the stage by the Lord Admiral's men in 1588, although the earliest known reference to its public appearance is the 30th September 1594, in Henslowe's Diary, when a revival of it took place, with most gratifying results for the stage proprietor. Faustus not only sustained but enhanced the author's reputation. As with the other plays of Marlowe it is intended to depict one prominent trait of a character; as in Tamburlaine the poet vehemently strove to express the insatiable longing of a warrior-a man apart from the common herdfor kingly power and despotic dominion over the physical bodies of weaker men, so in Faustus his intention is to portray the unquenchable thirst of a student to obtain sway over the minds of his fellowmen by mental or spiritual means. In Faustus there is no plot, scarcely a tale to tell, and even more than in Tamburlaine is the spectator dependent upon a series of scenes, which in this case show the gradual subjugation of a mighty mind by the power of evil passions. From the very commencement of the tragedy, when the hero weighs and finds wanting to satisfy his inordinate desires all the advantages proffered by the leading professions until the terrific ending, the one leading object he has ever in view is the acquisition of 'mind-conquering learning.' The deity he worships, for its power to rule mankind, is 'scholarism'; the word Marlowe was sneered at by Greene for using to describe scholastic knowledge. To acquire full possession of 'Learning's golden gifts,' Faustus is prepared to risk everything, and thus falls an easy prey to the tempter. Had I as many souls as there be stars,' is his assertion, 'I'd give them all' to become potent in magical arts, for then I shall be a very demigod, and 'All things that move between the quiet poles But his dominion that exceeds in this Stretcheth as far as doth the mind of man.' What follows in the drama proves that the play of Faustus is, perhaps even without the author's direct intention or conception, no more nor less than an impersonation of CONSCIENCE. Even as good or evil, virtue or vice, was personified in the old mystery plays, so has Marlowe, with all his poetic power and genius, given but a spiritualised embodiment of a moral attribute. From time to time, during the progress of this tragedy, a 'Good Angel' and an 'Evil Angel' enter upon the scene and alternately sway the hero's mind by their counsels. In these suggestive promptings of Conscience, which they typify, the Good spirit always succumbs to the Evil, and has ultimately to leave Faustus to his fate. After their first appearance he soliloquises and ponders over the promise made by his malevolent inspirer to make him lord and commander of the terrestrial and celestial elements: 'How am I glutted with conceit of this! Perform what desperate enterprise I will? I'll have them read me strange Philosophy, Flushed with these fantastic aspirations, he seeks the assistance of two acquaintances who, as he knows, are already students of necromantic arts, and informs them how dissatisfied he is with all the science of the schools: Philosophy is odious and obscure, Both Law and Physic are for petty wits; Unpleasant, harsh, contemptible, and vile.' Valdes, one of his visitors, assures him, 'Faustus, these books, thy wit, and our experience As Indian Moors obey their Spanish Lords, So shall the spirits of every element Be always serviceable to us three; Like lions shall they guard us when we please, Than have the white breasts of the Queen of Love. From 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.' So determined is Faustus to follow their suggestions and his own desires that he asserts, 'Ere I sleep I'll try what I can do: This night I'll conjure tho' I die therefore.' That very night, necromantic conjurations having been carried out, Faustus succeeds in getting Mephistophilis, an evil spirit, to visit him. To this being he explains that he is prepared to abjure the dogmas of the faith he has been educated in provided whilst he lives he may have his wish for supernatural powers gratified. After some discourse with this spirit, Faustus wishes to discuss matters of more moment than 'these vain trifles of men's souls,' and demands, 'What is that Lucifer, thy lord?' whereupon this magnificently suggestive dialogue ensues : 1 German cavalry. 'MEPH. Arch-regent and commander of all spirits. MEPH. Yes, Faustus, and most dearly loved of God. For which God threw him from the face of Heaven. Conspired against our God with Lucifer, And are for ever damned with Lucifer. FAUST. Where are you damned? MEPH. In Hell. FAUST. How comes it then that thou art out of Hell? 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, O Faustus! leave these frivolous demands, He Even these words, wrung from the tortured spirit, do not deter the headstrong Faustus, who bids Mephistophilis learn manly fortitude from him, and scorn those joys thou never shalt possess.' commands him to bear the tidings to great Lucifer that he, Faustus, is prepared to surrender his soul to him, provided that for four-and-twenty years he may be let to '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, Scarcely, however, has Faustus bound himself to Lucifer than he dares to reflect, 'the God thou |