The Comic Scenes in ‟s , Purwarno & Jumat Barus.

THE COMIC SCENES IN CHRISTOPHER MARLOWE’S DOCTOR FAUSTUS

Purwarno & Jumat Barus Faculty of Literature Islamic University of North Sumatra, Medan e-mail: [email protected]

Abstract

This article is the result of a study which consists of the writer’s description of the comic or farcical scenes in Christopher Marlowe’s play “Doctor Faustus”. The comic episodes in dramatic or serious plays perform some definite functions. They provide comic relief, throw additional light on the meaning of the tragic action and present a contrasting point of view. Marlow’s introduction of crude buffoonery in “Doctor Faustus”, which was the common stock-in-trade of the Elizabethan dramatist, and which became the demands of the groundlings, the most important section of the audience in that age, have become an adversely criticism of literary critics. Thus, this article is an attempt to find out the significance of the comic scenes in the play as to see if they perform their functions as expected so that instead of becoming dubious humours which have no relation to the theme, and becoming the defects of the play, they throw additional light on the meaning of the tragic action and are accepted as organic parts of the tragic play.

Keywords: farcical, tragedy, Elizabethan, humour, tragic-relief,

I. INTRODUCTION In any tragic or serious play, the dramatist always endeavors to give relief to the audience by introducing comic scenes or episodes. The literary term for such comic interludes is known as tragic relief. Tragedy or a serious play is bound to create tension in the mind of the audience; and if this tension is not relaxed from time to time it generates some sort of emotional weakness or lassitude in mind of the audience. Hence, comic interludes are a necessity to ease the tension and refresh the mind of the audience. The chief purpose of the introduction of the comic episodes is to offer a

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temporary relaxation of tension engendered by the serious scenes. Another point is that there was also a pressing demand from the side of Elizabethan audience for such interludes. Hence, playwrights had to introduce such scenes as the producers also demanded it for a successful run of the play. Then the comic interlude may have an appropriate emotional connection in the development of the tragic play or it may be a formal burlesque of a tragic scenes. The art of tragic relief, especially in its former aspect, found its supreme artistic excellence in the dramas of Shakespeare, and this art of tragic relief was also followed by Marlowe as to achieve the same purpose. Christopher Marlowe‟s Doctor Faustus is recognized as one of the masterpieces of English drama. This play undoubtedly belongs to the tragic play, especially the tragic history of Faustus himself, whose soul is carried off to his eternal damnation by devils at the end of the play. At the beginning of the play, Faustus is seen already at the peak of his worldly career. He is already master of all the existing knowledge and skills. After getting his degree of Doctorate, and studying all the important branches of learning like Philosophy, Physics, Law, and Divinity realizes that he is „still but Faustus and a man‟. He feels that all are inadequate and none of the subjects can help him to become as powerful „on earth, as Jove in the sky‟. Faustus‟ dream is to gain super-human power, and he would attain this power at any cost even by selling his soul to the Devil. Hence, in the end, Faustus, with his limitless lust for power and pelf, ultimately finds with horror how the flush and glory of his temporary success bring about his doom and eternal damnation. However, in this play Marlow also presents some comic or farcical episodes which have been much adversely criticized by many critics who claim that the comic elements in the scenes are low and vulgar, full of coarse buffoonery and cannot be accepted as organic parts of the tragic play. But, there are also eminent critics like Swinburne, Clifford Leech, J.C. Maxwell and even T.S. Eliot who asserted that Marlow was not devoid of a highly developed sense of humour and that Marlowe should not be judged by Shakespearean standard in this respect. Marlow had to introduce crude buffoonery as it was a common trend of the Elizabethan dramatists and the demands of the audience in that age.

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II. DISCUSSION In this article, the writer discusses the significance of comic or farcical scenes found in Christopher Marlowe‟s Doctor Faustus, which has become the controversial discussions of many critics.

2.1 Comic Relief The first witty episode in the play can be seen in the conversation between Wagner, the boy-servant of Dr. Faustus, and two scholars who enquire if his master is at home. Wagner is a fun-loving person and he indulges in a bit of light-hearted talk with the scholars. Wagner argues with them in the learned manner which he has picked up from Faustus‟s discussions with fellow-scholars. Wagner plays upon words and tries to baffle the two scholars who have asked him a simple question. First Scholar : How now, sirrah! Where‟s thy master? Wagner : God in heaven knows Second Scholar : Why, does 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: therefore knowledge your error, and be attentive. Second Scholar : Why, didst thou not say thou knewest? Wagner : Have you any on‟t? Fist 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 corups naturale? … and so, the Lord bles you, preserve you, and keep you, my dear brethren, my dear brethren! First Scholar : O, but I fear me nothing can reclaim him! Second Scholar : Yet let us try what we can do (I, ii, lines: 4-42)

The quotation above shows that Wagner is a witty servant who has picked up the jargon and the manner of talk of Faustus and his fellow scholars. Wagner is seen

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parodying the scholarly manner of talk he has often heard at his master‟s house. On being asked an innocent question as to the whereabouts of his master, Wagner tries to puzzle them by his answer. He says that it is a foolish question because, even if he were to tell the Scholars where he saw his master last, his master being Corpus naturale, might have moved away from that place by now. It is quite amusing to hear him refer to his master‟s being corpus naturale and the possibility of his having moved away from the place where he was a little while ago. He refers to the dinning- hall as the “place of execution”, and playing upon the word “execution” he expects to see the two Scholars “hanged at the next session” of the court. Wagner claims to have won a victory in his verbal debate with the Scholars and condescends to inform them that his master is inside the house at dinner with Valdes and Cornelius, as “this wine, if could speak, would inform your worships”. There can be no doubt about Wagner‟s ready with which has undoubtedly been sharpened by his having been in the service of a great scholar at whose house he must have been over hearing learned discussions of various subjects. And he concludes his speech with the words “and so, the Lord bles you, preserve you, and keep you, my dear brethren, my dear brethren”. The conversation above serves as an example of comic relief. The verbal jugglery and quibbling in which the servant of a celebrated logician indulges is a typical example of Elizabethan foolery, which is quite entertaining and relieves the tension created by the solemnity of the occasion when a great Doctor of Divinity is poised on a step towards deliberate damnation of his soul. The episode is structurally related to the play. Next, Faustus‟s servant, Wagner, tries to befool the Clown, who is a typically Elizabethan character indulging in puns, for whom, however, he feels a genuine sympathy. The Clown is unemployed and is not only semi-naked, but semi-starved. Wagner would like to employ the Clown as his errand-boy, referring to the poverty and the need of the clown, says that the clown is so hungry that “he would give his soul to the devil for a shoulder of mutton, though it were blood-raw”. The clown is not utterly stupid and so her refuses to accept such a proposition. If he must give his soul to the devil for the sake of food, he will insist on the mutton being “well roasted” and being served “with good sauce”.

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Wagner : Sirrah, boy, come hither. Clown : How, boy! Swowns, boy! I hope You have seen many boys with Such pickadevaunts 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 it were blood-raw! Not so, good friend: by‟r lady, I had need have it well roasted and good sauce to it, if I pay so dear. (I, iv, Lines: 1-13)

The quotation above shows that Wagner does the funny trick to befool the Clown. However, the clown knows the value of his soul and would not part with it at a low price. Likewise, the clown declines Wagner‟s offer of a few coins, because he would not like to become Wagner‟s slave. However, Wagner tries to brow-beat the Clown by summoning two devils with magic words which he has picked up from Faustus‟s magic books and frightens the Clown into total submission, though only a moment before the Clown was boastfully threatening to kill one of the devils in order to make a reputation as a “kill-devil”. Wagner : Well, Well, I will cause two devils presently to fetch thee away—Baliol and Belcher! Clown : Let your Boliol 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? He has killed the devil.” So I should be called Kill-devil all the parish over. (I, iv, Lines: 32-38)

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The quotation above shows that there are some more funs when Wagner threatens the clown to call two devils. The Clown does not take him seriously and replies that he will knock the devils as they have never been knocked before and would even kill one of them, so that people will call him a “Kill-devil”. Wagner wants to command Mephistophilis, and thinks that the Clown will give his soul to the devil for shoulder of mutton that is done by Faustus who has agreed to give his soul to the devil, not for a shoulder of mutton of course, but for twenty-four years of voluptuousness and power. The next moment, the Clown is seen running up and down and crying because two devils have actually made their appearance. But the moment the devils are sent away by Wagner, the Clown recovers his composure and says: “A vengeance on them!” He then tries to rehabilitate himself in his own estimation by showing off his knowledge of the signs by which it is possible to distinguish a he-devil from a she- devil “All he-devils have horns, and all she devil have cloven feet”. It is amusing to witness the clown‟s fear at the appearance of the two devils, and his uttering a curse on them after they have disappeared. The Clown is not prepared to give his soul to the devil on the terms suggested by Wagner. He does not hold his soul to be, as cheap as Wagner thinks. The Clown puts a high price on his soul. When Wagner asks him to take up a job under him, he has no objection except that he would also like to learn the art of summoning devils. Wagner promises to teach him the art by which he would be able to turn himself into a dog or a cat or a mouse. The Clown says that as a Christian he hopes that he is able to tickle the pretty here, there, and everywhere, and to tickle wenches. Finally, Wagner orders him to walk close behind him. The clown says: “God forgive me” and then he agrees to obey Wagner. All this is certainly good fun and comic relief, though its appropriateness in the play may to some extent is questioned. Wagner : Baliol and Belcher—spirits, a way! Clown : What, are they gone? A vengeance on them! They have vile 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 cloven feet.

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…………………………………………… Wagner : I will teach thee to turn thyself to any thing, to a dog or a cat, or a rat or a mouse, 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 everywhere. (I, iv, Lines: 39-53)

The quotation above shows that it is the funny act that is done by the Clown. The Clown runs away and cries when Wagner asks the two devils, Balliol and Belcher to appear, because the two devils are very ugly and they have long nails that make the Clown frightened. Wagner promises to the Clown if he wants to change his soul with mutton, Wagner will teach him the art which enables him to change himself to anything he likes, such as to be a dog, a cat, a mouse or a rat. But the Clown says that he prefers to be a little pretty frisking flea, that may be here and there and everywhere, that he may amuse pretty girls. It is amusing also to hear him wishing to be changed into a flea in order that he may be able to tickle the pretty women. It must be admitted that this scene offers good fun. Next, the comic scene can be seen in Act II, Scene II in which there takes place the interrogation of the Seven Deadly Sins by Faustus. The various Sins do certainly amuse the audience or readers by the manner in which they describe their respective characteristics. Pride „disdain‟ to have any parent. Covetousness would like the house and all the people in it to be turned into gold. Wrath wounds himself with his daggers when there is nobody else to attack. Envy is “begotten of a chimney-sweeper and an oyster wife”. Gluttony has bacon, herring, beef, claret and beer as his ancestors. The parade of the Seven Deadly Sins „feeds‟ Faustus‟s soul, and it would certainly evoke laughter from the Elizabethan audience. It is a unique presentation of these “morality” elements by Marlowe, and would certainly evoke laughter from the audience or the readers.

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2.2 Comic Scenes of Dubious Humour The first comic scene of dubious homour is found in Act III, scene I which is laid in the privy chamber of the Pope in Rome, where Faustus plays tricks on the Pope. In Pope‟s Court, Faustus shows his funny tricks to the guests. He asks Mephistophilis to make him invisible so that he can play a few tricks on the Pope who is at a feast in the company of the Cardinal of Lorraine. Pope : My Lord of Lorraine, will‟t please you draw near? Faustus : Fall to, and the devils 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 Holines. 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 dish.) Car. of Lorraine : 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 again.) Faustus : What, are you crossing of yourself? Well, use that trick no more, I would advise you. (The Pope crosses himself again.) What, are you crossing of yourself? Well, use that trick no more, I would advice you. Well, there‟s the second time. Aware the third; I give you fair warning.

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(The Pope crosses himself again, and Faustus hits him a box of the ear: and they all run away.) (III, I, Lines: 61-86)

The quotation above shows that Faustus does some comic tricks. Faustus plays childish pranks on Pope‟s dishes, and drinks from the hands of the Pope much to the Pope‟s chagrin and dismay. Faustus then goes so far as to hit the Pope on his ear. Under the orders of the Pope, the friars perform a ritual whereby they call down a curse on the sinner who has had the audacity to offend the Pope. At the end of this ceremony, Mephistophilis and Faustus beat the friars, and throw fire works among them. The next comic scene of dubious humour is seen at the court of Charles V, in which Faustus performs illusions that delight the Emperor. He also humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on their heads. Faustus : Will „t 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. Faustus : How now, sir knight! 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. (IV, iii, Lines: 76-86)

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The next comic scene of dubious humour, which seems to have no connection with the main theme of the play, is seen in Act IV, Scene I in which Robin, an Ostler, steals one of Doctor Faustus‟ magic books and proposes to learn some spells by which he can exercise magic power. Ralph, who is an assistant to the Ostler, calls Robin and warns him to keep away from the magic circle that he has drawn. Robin claims that with the magic that he has learnt from Doctor Faustus‟s book, he can supply any quantity of spiced wine for Ralph from any tavern in Europe and that he can even procure the kitchen-maid for Ralph‟s pleasure. Ralph feels very happy at this offer. Ralph : Canst thou conjure with it? Robin : I can do all these things easily with it; first, I can make thee drunk with ippocras at any tavern 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, thou shall have her. Ralph : O, brave Robin! Shall I have Nan Spit? On that condition I‟ll feed thy devil with horse-bread as long as he lives, of free cost. (Act IV, i, Lines: 22-32)

Next, the comic scene of dubious humour is seen in Act IV, Scene II in which the comic characters, Robin and Ralph, play with magic power that Robin has learnt from Faustus‟s magic books. Robin and Ralph drink at a wine-bar and they steal a silver wine-cup from there. The bar-man chases them and demands the wine-cup from them. Robin pretends to be very offended with the bar-man at being accused of theft. But the bar-man insists on searching Robin. The bar-man‟s search, however, proves futile. The bar-man then turns to Ralph who also scolds the bar-man for having accused “honest” men of theft. The bar-man does not find the wine-cup even on Ralph, though he is sure that one of these two men has got it. Examine the following quotation: Ralph : But, Robin here comes the Vintner. Robin : Hush! I‟ll gull him supernaturally.

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Drawer : 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, ect. 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, t‟ one of you hath this goblet about you. (IV, ii, 4-20)

The quotation above shows how Ralph and Robin practices magic power from Doctor Faustus‟ magic book. They make comic tricks on vintner by using the magic book of Doctor Faustus. They pretend unknowing about the goblet that the bar-man is looking for. The wine cup has in fact all the time been with the two men, but the bar- man has failed to see it because of Robin‟s magic. Robin wishes to punish the bar-man for his presumption in accusing him and his friend of theft. He makes use of a few spells to summon Mephistophilis who actually appears in response to the magic incantations of Robin. Mephistophilis appears and all the three men are scared on seeing the devil. Ralph hands over the wine-cup to the bar-man who goes away satisfied. Mephistophilis feels extremely annoyed at having been summoned by these two “villains”, because he has to come all the way from Constantinople. Robin tries to give him six pence to pay for his supper, whereupon Mephistophilis feels more annoyed and transforms one of them into an ape and the other a dog. Vintner : O, nomine Domini! What meanest thou, Robin? Thou hast no goblet Ralph : Peccatum Peccatorum!—Here‟s thy goblet, good Vintner. [Give the goblet to Vintner, who exits.]

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Robin : Misericordia pro nobis! What shall I do? Good devil, forgive me now, and I‟ll never rob thy library more. Re-enter Mephistophilis. Mephistophilis : Monarch of hell, 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? Mephistophilis : Well, villains, for your presumption, I transform thee into an ape and thee into a dog, and so be gone. [Exit] (IV, ii, 32-49)

The last comic scene of dubious humour is seen in Act IV, Scene IV in which Faustus encounters with a horse dealer who comes and offers forty dollars for Faustus‟s horse. Faustus demands fifty dollar for the horse. The horse-dealer pleads that he has only forty dollars with him. Faustus accepts the forty dollars but warns the horse-dealer that he should never ride the horse into water. The horse-dealer thinks that he has made a very good bargain and hopes that he will make a good living by the horse. 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. …………………………………………. Faustus : Well, come, give me your money (horse- dealer gives Faustus the money). My boy will deliver him to you. But I must tell you one thing before you have him;

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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. (IV, iv, 11-29)

The quotation above shows that Faustus shows his comic trick to the horse- dealer that wants to buy his horse for forty dollars. Faustus gives his horse to the horse-dealer for forty dollars but the horse becomes a bundle of hay after the horse dealer, disregarding Faustus‟s advice not to ride the horse into water, rides it into water. The horse dealer looks for Doctor Fautus in order to get his money back. But when the horse-dealer arrives in Faustus‟s house, Faustus is asleep and should not be disturbed. Here Faustus again plays his comic trick to the horse-dealer. 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! Mephistophilis : Why, thou seest he hears thee not. Horse-courser : So-ho, ho! So-ho, ho! [Holla‟s in his hear.] No, will you not wake? I‟ll make you wake ere I go. [Pull 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! Mephistophilis : Come, villain, to the constable. Horse-courser : O lord, sir, let me go, and I‟ll give you forty dollars more! ………………………………………….. Faustus : What is he gone? Farewell he! Faustus has his leg again and the horse-dealer. I take it, a bottle of hay for his labour. Well, this trick shall cost him forty dollars more. (IV, iv, Lines: 71-82)

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The quotation above shows that Faustus uses his black art to make the comedy. The horse-dealer, anxious to recover his money, shouts in Faustus‟s ears to wake him up. When Faustus does not move, the horse-dealer pulls him by the leg, and it so happens that the leg is dislodged from Faustus‟s body. Faustus begins to cry at the loss of his leg and asks Mephistophilis to call the police. The matter is settled, however, when Faustus agrees to accept a compensation of forty dollars from the horse-dealer. The horse-dealer runs away. Faustus feels happy that he has tricked the horse-dealer into parting with another forty dollars (besides the forty dollars which he has taken from the horse-dealer as the price of the horse.) The comic scene of Faustus and the horse-courser is crude and vulgar. The pulling of the leg of Faustus while asleep and the dislodgement of the leg from the body are farcical in character. Robin, Ralph, and the wine-dealer provide amusement which might be acceptable if Mephistophilis had not been involved.

III. CONCLUSION The comic episodes which are part of Faustus‟s conjuring tricks, and include his pranks on the Pope and the „baldpated‟ friars, the planting of a pair of horns on the head of a Knight and the cheating of a greedy horse-dealer, have a moral significance and do not possess any organic plot-wise significance. They throw light on the nature of the tragedy of Faustus who abjures God and the felicity of heaven and sells his soul to the Devil in his foolish bid to become a deity on the earth. But he actually gained degradation and not exaltation out his damnation. The comic episodes underline the fact that Faustus has sunk to the low level of a sordid, fun-loving sorcerer. The comic scenes involving Wagner and the Clown in the first half of the play, and Robin and Ralph in the second, form a sort of comic underplot to the tragic main plot, opposing the comic view of life to that proper to tragedy. The two points of view taken together ought to present a balanced picture of life, but the effect is unfortunate in Doctor Faustus. The comic underplot is neither continuous nor is it artistically integrated with the main plot. The tragic motive, the deliberate choice of damnation for superhuman power, is exceptional. It suggests a philosophy of life which is entertained by few persons in the world; while the comic view relates to the masses of

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common people who are so hard pressed by hunger and poverty and humble cares and desires that they would use magic and raise the Devil for solving their common problems. Thus the comic underplot parodies the action and cast of the main plot, throwing ironical light upon the variety of human pride and aspiration. But, on the whole, the intention is ill-realized, and Doctor Faustus might well have done without the comic interpolations.

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