As he says, s a reflection of the main story, the comic scenes enforce the main ideas and morals in the play. The comic scenes in Dry. Faustus serve to mock and reflect the main story. The first comedic scene In the play is Act l, Scene 2, where Wagner Is conversing with two scholars. Here the mall elements of Act l, Scene 1 are parodied. In Faustus opening monologue, he chooses magic to study by logically rejecting other fields of study, as when he says, “Is to dispute well logic’s chiefs end? ‘ Affords this art no greater miracle? ‘ Then read no more; thou hast attained that end. A greater subject teeth Faustus’ wit! ” (Marlowe Act I Scene 2, 8-11). Faustus continues and argues against medicine, law, and divinity to decide on magic. Wagner also uses logic in a mocking way when talking to the scholars. When asked where Faustus was, he replied, “Yet If you were not dunces, you would never ask me such a question. For Is he not corpus natural, and is not that mobile? ” (Marlowe Act I Scene 2, 15-18). Where Faustus used logic seriously to cast down other arts and decide to practice magic, Wagner uses it to jest with the scholars.

This serves to diminish Faustus, because although he is a doctor, he is doing no more than his servant can do. In that scene, Wagner also says, “Truly, my dear brethren, my master is within at dinner with Valves and Cornelius, as this wine, If It could speak, would Inform your worships” (Marlowe Act I Scene 2, 26-28). This reflects the tragic scene by showing that Faustus Is now learning from Valves and Cornelius, while still joking about the subject. Another reflection is present between the Good Angel and the scholars. In Scene 1 the Good Angel appears to Faustus and says to him, “O, Faustus, lay that damned book aside,]

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And gaze not on it, lest it temp thy soul” (Marlowe Act I Scene 1, 71-72). The scholars play this role In the comic scene by saying, “But come, let us go and Inform the rector. It may be his grave counsel may reclaim him. ” (Marlowe Act 1 Scene 2, 36-37). Both the Good Angel and the scholars see the danger Faustus soul is in and want him to stop and go back to religion. This reinforces the message to the audience that what Faustus is doing is wrong and that he is going against God. The next comedic scene is Act I Scene 4. This is a parody of Scene 3, where Faustus conjures Mephistopheles and agrees to give up his soul.

This Is parodied during the discussion between Robin and Wagner, where they say, “Wagner: Alas, poor slave! See now poverty Jests In Nils nakedness. I Know ten villain’s out AT 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. Robin: Not so neither. I had need it to have it well roasted, and good sauce to it, if I pay so dear, I can tell you. ” (Marlowe Act I Scene 4, 7-14). This mocks Faustus by comparing Mephistopheles worth to that of a piece of meat, and by showing that a clown makes a better decision than him, and educated an.

By doing this, Marlowe says that Faustus is a fool for selling his soul and reinforces the moral lesson to the audience. Faustus is again mocked by Wager’s conjuring. When Faustus conjures Mephistopheles, he tells Faustus, “l came hither of mine own accord” (Marlowe Act I Scene 3, 44-45). Faustus goes through a long conjuring, after which Mephistopheles only appeared because Faustus insulted religion. All Wagner had to do was shout their names and they appeared, and he did not have to sell his soul to be able to command them. In Act II Scene 3, Faustus use of his new power is mocked.

Because Faustus is a man, he can only think to use magic to satisfy human desires. When Mephistopheles is trying to hurry Faustus to make the deal for his soul, he says, Mephistopheles: [Aside. ] I’ll fetch him somewhat to delight his mind. (Enter Devils, giving crowns and rich apparel to Faustus. They dance and then depart. Enter Mephistopheles. ) Faustus: What means this show? Speak Mephistopheles. Mephistopheles: Nothing, Faustus, but to delight thy mind And let thee see what magic can perform. Faustus: But may I raise such spirits when I please? Mephistopheles: Ay

Faustus, and do greater things than these. (Marlowe Act II Scene 1, 81-84) Since Faustus is only human, Mephistopheles can distract him with things that humans desire. In Scene 3 of that act, Dick and Robin parody the use of magic. After Robin steals a conjuring book from Faustus, he says to Dick, “Or, if outlet go but to the tavern with me, I’ll give thee white wine, red wine, claret wine, sack, mescaline, Maltese, and whippiest. Hold belly, hold, and we’ll not pay one penny for it” (Marlowe Act II Scene 3, 31-35). Like Faustus, they only think to satisfy their human desires.

Although Faustus at the opening said, “A sound magician is a deem- god” (Marlowe Act I Scene 1, 63), he, like the rest of the characters, only has the mind of a mortal, and can only imagine earthly things. Faustus sees “reading as a technique for attaining profit” (Wall-Randall). His ultimate desire is money and power, both things which are mortal desires. With the exception of education, Robin and Faustus are presented as very similar characters in this scene. In the comic scene of Act Ill, Dick and Robin summon Mephistopheles in order to scare away the person who is trying to reclaim the cup they stole from the tavern.

They are mocking Faustus acts in the previous scenes, as he is committing crime to entertain himself. Faustus says to Mephistopheles, “But now, that Faustus may delight his mind/ And by their folly make some merriment,] Sweet Mephistopheles, so charm me here/ That I may walk invisible to all/ And do whatever I please unseen of any’ (Marlowe Act Ill Scene 2, 9-13). Faustus proceeds to walk amongst the pope’s meal, steal his food, and eventually strike him in the face. Both Faustus and the clowns use Mephistopheles power for petty things. This again shows how Faustus gave up his soul foolishly.

Mephistopheles curses clowns, saying to Dick, “First be thou turned t I tens ugly snapped For palls asses transformed to an ape,” Ana teen to Roding, “Be thou transformed to a dog” (Marlowe Act Ill Scene 3, 45-46 and 49-50). This parodies Faustus ultimate fate, which is eternal damnation, and shows that regardless of what Faustus does with his power, he is still damned to hell. This scene also reflects Faustus relationship with Mephistopheles, who is really in control. During Act ‘V, the comic characters get together and discuss how Faustus conjuring has hurt them.

Carter: Marry, sir, I’ll tell you the bravest tale how a conjurer served me. You know Doctor Faustus? Horse-courser: Ay, a plague take him… . ‘… Bade him take as much as he would for three farthings… He never Carter. Left eating till he had eat up all my load of hay. Horse-courser: I went to him yesterday to buy a horse of him, and he would by no means sell him under forty dollars. Now sir, I thinking the horse had had some rare quality that he would not have me know of, what did I but ride him into a great river, and when I came Just in the midst, my horse vanished away, and I sat straddling upon a bottle of hay.

Marlowe Act scene 6, 22-24, 30-32, 34-35, 40-42, and 47-52) This shows two things. First, the Carter’s case parallels Faustus. He gave up something he thought to be insignificant, what he thought Faustus could eat, and lost his whole load, as Faustus gave up his soul, which he thought small, for 24 years of Mephistopheles service. Second, the Horse-Courser is damned by his own curiosity. “From the outset of the play, Faustus appears to be driven by his thirst for knowledge” (“Marlowe… ). Faustus also had immense curiosity and lust for knowledge; this led to his downfall.