Dreamy Dreamy Dracula

The exploration of dreaming and sleep is a conventional feature of the Gothic. The metaphorical link between sleep, death and the supposed afterlife comes into Stoker's use of vulnerability of the sleeper.
Many of Stolker's characters have difficulty sleeping, and unusually this inability to sleep is especially prominent at times where Dracula is near. With Lucy's attacks by Dracula comes along not only the inability to sleep, but the fear of sleep itself. From the sleepwalking and disturbed sleep initially, when Dracula is merely hovering outside her window, to a "presage of horror" which comes with sleep. Sleep becomes something to be feared, Lucy describes her "pain of the fear of sleep, with such unknown horrors as it has for me"; this "unknown horror" referring to Dracula.

This fear of sleep around Dracula is reinforced when Harker adopts a "nocturnal existence" whilst he stays at Dracula's castle. He is unable to sleep at night when Dracula is at his most powerful, suggesting he is unconsciously aware of Dracula's power and it's relation to sleep. His unconsciousness links to Freudian idea's which constantly appear throughout the novel, including the theory that ones true desires emerge through their unconsciousness. This may relate to the incident with the three brides. Harker believes he is dreaming the incident of the sexual encounter with three beautiful women, where maybe his guilty fantasies are projected.

This encounter arouses the idea of the mixing of dreams and reality, a thread which Stolker weaves into the narrative. Harker is confused as to whether he was asleep or not; "I suppose I must have fallen asleep; I hope so... for all that followed was startlingly real". This merging of dreams and reality, revolves around the power of vampires. Dracula and his brides are elements of the supernatural, and are considered by readers, imaginary. Yet if the characters are dreaming the vampires, it reiterates the idea of verisimilitude, that it could actually be happening.

However, it is more likely that the dream like state the characters adopt when in the face of vampires is purely illuminating the connection between sleep and vampires. When Mina is running to save Lucy from Dracula she says how she "Must have gone fast, and yet is seemed to me as if my feet were weighted with lead". This dreamlike imagery is familiar; wanting to run but not being able to, illustrating vampires connection to sleep.

Distinguishing between sleep and death is another theme running throughout the novel. When Harker finds Dracula lying in his coffin, he cannot tell whether he is dead or asleep; "He was either dead or asleep, I could not say which- for the eyes were open and stoney, but without the glassiness of death". The "Un-Dead" are said to be sleeping in their tombs, and as vampires are neither dead, nor alive, sleep tends to bring out their true forms.

"We thought her dying whilst she slept
And sleeping when she died"

This reinforces the connection of vampires to sleep and death. Lucy, as a beautiful corpse, looks more alive and appears to be sleeping. This quote finally establishes the link between vampires "sleeping in their tombs", never dead even in sleep.

Like A Virgin

The swift move of narrative voice from Harker to his friends back at home imminently allows room for detailed, yet subtle characterisation. The most prominent being the contrast between Lucy and Mina. Freud's dichotomy; the "Madonna/Whore complex, states that men view women as either non-sexual, sacred love objects, or a promiscuous whore. This theory may be applied to Lucy and Mina.

Lucy's innocence and naivety is portrayed through her "constant dread of wild bulls", introducing narrative irony as she is blissfully unaware of the true danger awaiting. She is the epitome of the Madonna, which is also illustrated through her desire to self improve, and her dedication to perfecting secretarial skills to assist her future husband; "if I can stenograph well enough I can take down what he wants to say". She is the dedicated, devoted sacred love object of a man, Harker, and her non-sexuality is highlighted by the contrasting flirtatious Lucy.

Lucy clearly enjoys the fact she is pursued by numerous wealthy and attractive young men. There is an ambivalence in her attitude that hints at self-indulgent, possibly even promiscuous nature; "horrid flirt", suggesting she symbolises Freud's "whore". This in reinforced at the incident by the castle in Chapter 8.

Stoker trickles in an undertone of sexuality immediately, as Lucy wonders out unaccompanied in the night in just her dressing gown. Mina expresses concern over "what might happen", "gone out as she was"; but her reluctance to distinguish what only highlights again her innocence. The promiscuous nature of Lucy is subtly implied by the suggestion of losing her virginity. Martial undertones are already presented by describing Lucy as a "white figure", conjuring the image of a white bride, and then the penetration by Dracula, and exchange of bodily fluids symbolises a sexual act. This is reinforced by Lucy's physical position at the time of penetration; "half reclining" with Dracula "bending over" her, arousing the image of a sexual position. Also, her "long heavy gasps" after resemble the state of a women after a sexual act. The final hint is the "drop of blood" on her nightdress; symbolising the drop of blood sought after on the bedsheets of a couple who have consummated their marriage. Lucy's symbolic loss of virginity here illustrates her resemblance to Freud's whore.

Oil and Blood

Jamie McKendrick's dramatic monologue is from the perspective of what we believe to be, Dracula. Immediately, we are lured into a false sense of security, or we see how Dracula is persuading his victim to be lured into it. He innocently alerts the victim that "it's only me", which has a reassuring tone. This is ironic, as we know from the novel that Dracula is not meant to be an innocent character, yet the subtle hints of reassurance add to the subtle creepiness of the poem. He describes himself as a "sloth", a creature not be feared, and explains how he is "padding down the wall". The sound of "padding" resembles sounds made by cats, or maybe a rabbit, small creatures again not to be feared.

Throughout the first stanza, menace appears to be disguised as seduction. He "aches"for the hollows of her neck, which along with the sentimental language of "sweetheart" and the sensual movement of "lifting one knee" creates a slow, sexual tone, yet with an undertone of menace; a mix which is the epitome of the Gothic.

Other Gothic tendencies of the poem are the references to light and dark, good and evil. He uses words such as "dark" and "disturb" in the same line as "sweetheart" and "dream"; the connotations attached to each word bringing completely contrasting images of good and evil. Again, he immediately contrasts the "paradise" of sucking her blood to the "hell" of waiting, again raising the theme of heaven, hell, and good and evil.

The sounds and rhythm of the poem, especially in the first stanza, tend to create a hypnotic rhythm, which aids the theme of sensuality. Each line has 10 or 11 syllables, which helps create the hypnotic rhythm, and the actual sound of the words helps this. Lots of "o" sounds slow down the tempo of the poem; "only", "sloth", "hollows", and also plenty of alliteration somehow enhances the hypnotic, sensual tone; "tall twilight", "nard and nightflowers", "dark disturb... do you dream". This sensuality however, seems to be lost in the second stanza, when Dracula's attention is diverted from his victim to Van Helsing, who is about to interrupt him. Gone are the soft, sensual sounds, to be replaces by insults such as "bony eunuch", harsh alliteration and imagery; "sharpened stumps", and seemingly nasty substances; "oil and blood". The way Dracula describes Van Helsing as "striding" upstairs contrasts with he, who pads along the wall. To stride seems much more intimidating than to pad, which suggests that Dracula is attempting to appear less imposing, and therefore less dangerous than Van Helsing. By making him into this imposing character carrying weapons, he is attempting to switch roles, making himself the "good guy" and Van Helsing the "baddie", despite our prejudice against him.

..............Last Lesson

So, last lesson we looked at a poem which was written from the perspective of Dracula. The poem hinted that Dracula was planning to suck the blood of another victim; the sexual language suggesting it was a women. We looked at the themes of sex and threat.

HOW CAN YOU NOT SEE HE'S A VAMPIRE!?!?!?

Evidently, Dracula oozes strange and disturbing qualities, seen from the moment Harker lays eyes on him. He is "without a single speck of colour about him anywhere", an indicator of his deathly nature. His clothing, entirely in black, symbolises death and mourning.
Dracula's striking strength for a man of his age is repeatedly referred to; his "strong" face, "astonishingly vitality", his "broad and strong" chin, "firm cheeks" and "protuberant teeth" all create this image of supernatural power in such an old man.

An animalistic element is also illustrated through Harker's description. His "peculiarly sharp white teeth" connote canine qualities, and nails "cut to a sharp point", unmistakably resemble claws. Animals with sharp teeth and claws usually represent power and threat, an attribute reinforcing the strength of his appearance previously.

So along with, safe to say, surprising strength and animalistic qualities, the supernatural is thrown into the mix of his appearance, which would make any normal person scream VAMPIRE and scram. His hand was "more like the hand of a dead than living man", obviously showing something is a bit suspicious. The teeth again, are the attributes which suggest vampire. Teeth which protrude over the lips foreshadow Dracula's tendency to use them to suck the blood of others with. This idea is revisited when Dracula's "rank" breath make Harker shudder and feel nauseous. The concept that something is making Dracula's breath rank suggests it is something inside of him that is foul. Not only could it be what he has been eating, or "drinking", but it could suggest the dark, horrible power within Dracula.

Chapter 3: Interpreted as a dream by someone who knows nothing about interpreting dreams

"Dreams, in Freud's view, were all forms of "wish-fulfillment" — attempts by the unconscious to resolve a conflict of some sort, whether something recent or something from the recesses of the past."
So, chapter three if interpreted as a dream must represent, almost like a metaphor, the conflicts in Harker's unconscious; thoughts and feelings of experiences which have collected in his unconsciousness and are shown through a dream. However as according to Freud these dreams are distorted and warped, we have to almost 'decode' the dream to see what it represents.

At the beginning of the chapter, Harker realises he is "a prisoner" trapped inside the castle. Dreaming of being trapped coincides apparently with being trapped within your mind, in Harker's case, being held captive by his own stubbornness; to stubborn to lose his Victorian scientific mindset and grasp hold of all the hints of the supernatural surrounding him, warning him to the sheer danger he is in and the true nature of Dracula.

Proceeding this is his talk with Dracula about the history of Transylvania, which if dreaming the conversation, could be Harker's unconsciousness finally grasping hold of all the hints and warning him that Dracula is a vampire. Despite his scepticism of the supernatural previously, subtle hints are woven into the conversation; Dracula talking about historical battles "as if he had been present at them all" hints at his immortality, and how "anything on which he laid his hands" he could "crush it by main strength" suggests the inhuman strength of a vampire. Harker seems distant to these notions, yet his unconsciousness is subtly revealing them in a dream.

The obsession with science in the Victorian era could be projected through Harker's 'dream'. His comfort in the crucifix is pragmatic; "conveying memories of sympathy and comfort" rather than religious, even when the supernatural is blatantly present, with mentions of "the devil" from Dracula. Reinforcing Harker's classic Victorian obsession with science is his use of shorthand to try and confuse Dracula, his unconscious showing how in face of the supernatural, Harker would always try and battle 'magic' with science.

If chapter three is a dream, then the incident with the three female vampires may be a dream within a dream; "I must have fallen asleep", and in that case Harker's unconsciousness will be in hyperdrive. One interpretation may see the erotic succumbing of Harker to the three women as purely a male fantasy of three beautiful women dominating one man, which any Victorian male would probably dream about. However there are other reasons why Harker's unconsciousness may provide this dream.

The dream depicts human sexuality as something to be feared, and even condemned, as the dream has the shocked tone of a guilty confession. By being lured by these three women (who immediately resemble the irresistibly of the mythological Greek sirens, who fatally lure men to them), Harker is almost masochistic, as he is full aware of the danger being "kissed" by one of them brings. Sexual desire is described as "wicked", and along with the "longing" brings a "deadly fear". This could be showing Harker's typically Victorian fear of sexuality, yet at some points he doesn't seem at all fearful of his sexuality. He waits in "languorous ecstasy" to be "kissed" by the vampire, showing he is not fearful, however this "delightful anticipation" is agony for him, therefore he knows it is wrong.

Not only this, but female sexuality could be seen through Harker's dream not be feared, but to be despised, as it is both "thrilling and repulsive". If Harker is unconsciously dreaming erotically of women, maybe he secretly desires for them, but knows society at the time deemed it "repulsive"? Whatever the reason, it is clear that Harker does feel guilty, as when he imagines women in the room "sad for their men folk away in the midst of remorseless wars" his unconscious brings forth the image of his fiancee, Mina, ignorant to the desire Harker feels for the vampires. Therfore even right at the start the dream foreshadows guilt with what is about to happen.

The fact that Harker is on the brink of consciousness in his dream at the time he encounters his sexuality suggests reduced responsibility, and that his unconscious is deeming sexual desire irresponsible and weak.

Reasons why chapter 1 is so very dull

Stockers use of versimilitude: suspending disbelief

The note at the beginning of the novel claims the text is 'simple fact'. The technical language claims the proceeding work is a collection of non-fiction texts that has been put into order; initially leading the reader to believe it is true and suspend belief.

Chapter 1 begins as any normal journal would, with normal, bland entries; complaining about train punctuality and meals, all of which could be real. The mention of familiar, real places such as 'London', 'The British Museum' and the 'Carpathian Mountains' sets the story firmly in reality; there is no course for disbelief. Even the mention of the only fictional place, 'Castle Dracula, is defended by claiming it isn't on any 'Ordinance Survey maps'- which it isn't- again smoothly turning fiction into having the appearance of reality.

Our narrators sceptism of anything partially supernatural is also addressed, by refering superstition to an 'imaginative whirlpool', disregarding the supernatural and creating a normal, believable (or not unbelievable) character.

The stress of reality is reinforced, as when Stoker subtly drips hints of the supernatural and fear; women crossing themselves and the supersitions surrounding St Georges Day, Harker considers it all 'ridiculous'. This undermines any sense of the supernatural, and so calling still for no disbelief.

Even when describing the very supernatural events in the coach driven by a wolf controlling vampire, Stolker still insists on claiming reality, as Harker stresses how he was not drunk and in a fit state of mind, warning the reader although it may sound odd, your disbelief is still suspended.

Doctor Faustus as a Gothic Text

So, I thought the best way to do this was to look at all the elements of the Gothic we wrote down at the beginning of the year, and then go on the internet to look up some more aspects of the Gothic which could be relevant, and then see if Doctor Faustus fulfills these elements.
Probably the most prominent aspect of the Gothic is that all the action takes place at night, which is definatly true in Doctor Faustus. He conjures Mephastopheles in "the gloomy shadow of the earth", and then is taken to Hell at midnight.

The aim of the Gothic is to induce fear in the audience, which Faustus' last scene visibly does. Faustus' panic and the suspense of his final speech while he waits for his impending doom would inflict fear; added the combination of "thunder and lightening" and a variety of devils dragging a man to Hell, this scene could be said to arouse fear. Lucifer's physical appearance according to the text is scary also, as he "look'st so terrible", clearly scaring Faustus, and therefore us.

However, Faustus's mocks Mephastopheles and Hell (Hell being to the audience, the scariest thing of all) throughout the play, this could undermine the fear factor of the play. The threat of entering a place where people are "tortured and remain for ever" should induce fear to the audience, however Fautus immediatly banishes all fear by claiming "hells a fable". If Faustus isn't scared throughout the play, why should the audience be? Unless Marlowe is playing on the mindset of the audience using dramatic irony, as they know what Faustus fate will be, even if he doesn't, so they can watch the play with the suspense hanging over them which would induce fear.

There is a fascination with the past, as many Ancient Greek references are used throughout the play, the "waxen wings" of Icarus, a Greek Myth, and the appearance of Helen of Troy. Also, the repetative use of Latin shows a fascination with medieval past.

The supernatural is an important element of the Gothic, and this theme surrounds Doctor Faustus. Necromancy, Devils, magic (turning invisible), Heaven and Hell are all aspects of the supernatural, and all drive the plot, therefore Fautus complies with this element of the Gothic.

Sexuality can be seen as an element of the Gothic, and although it is not a major factor in Doctor Faustus, Marlowe still manages to squeeze in a desire for Helen of Troy, who is raised by dark forces, again proving how Doctor Faustus is a Gothic text.

The Gothic tends to also try and unveil the the horrific aspects of human nature. Nothing can be more horrific than selling your soul to the devil for power, allowing yourself to descend to Hell for a few years of power, another Gothic tendancy of Doctor Faustus.

The Devil Lies

My little passage at the end of a text was basically a summary of the B text; which I didn't know, so I just wrote a whole blog on how the passage was inccacurate and glamourising the story, but then someone kindly pointed out that the passage was all the B text so it was accuarate, just a slightly different story, so I don't have much time to write a new one so it's not amazing but you know.......

"The Devil, for his part, would agree:
-to serve Dr. Faustus for as long as he shall live
- to provide Dr. Faustus with whatever information he might request
-never to utter an untruth to Dr. Faustus."

However, the Devil lied. He claimed to serve Faustus, yet all he seems to provide Faustus with is a book. When Faustus asked for a wife, he recieved a "whore" instead, and Mephastophiles answers some of Fautus' questions vaguely.
So, is the Devil just living up to his expectations.

The bible says that the Devil is the "father of lying"

" there is no truth in him. When he speaketh a lie, he speaketh of his own: for he is a liar, and the father of it" (the bible)

So the Devil was already percieved a liar, so surely Faustus who "hath attained the end" of knowledge about religion would be aware of it?

Faustus' last monologue

The length of the monologue creates the dramatic effect of building up tension. It may be painful to watch Faustus' anguish for the sustained period of time, and when the devils finally arive the audience may be relieved that they don't have to share Fautus' fear any longer.

There is no longer any doubt of belief with Fautus, as he is finally well aware of the consequences of his contract, and the reality of hell. He no longer believes that "hell's a fable", and realises his soul "must live still to be plagues in hell", forever.

Throughout the speech, his mind fluctuates as to whom to blame, and who to turn to to help him. First he calls to Christ; "Ah, my Christ!", and then immediatly changes to Lucife; "O, spare me Lucifer", which probably is the reason God is so angry and wants Faustus to feel his "heavy wrath".

Despite claims earlier in the play that hell was only a state of mind, hell, or the devils seem to have control over him, and prevent him from appealing to Christ. Comments from Faustus suggest devils are already over him before his time is up;
"O, he stays my tongue! I would lift up my hands, but see, they hold them" = devil stops him praying.

"O I'll leap up to my God! Who pulls me down?" = devil stops him getting to God.

"Ah my Christ! Ah, rend not my heart for naming of my Christ!" = devils try and pull out his heart.

Act 4; Yet more slapstick

The chorus at the beginning of the act seems to be ironically praising Faustus, as we will see in the proceeding scene. His power has allowed his "fame to spread forth to every land", and he is so famous that he feasts with his noblemen. This demonstrates that at least, he has broken the rules of the hierarchy, and has been elevated from base of stock to be dining with the Emporer. Yet, he has only achieved this with help from the devil= BAD.

The scene directly contradicts Faustus' hopes at the beginning of the play. He wanted to be elevated to a status above that of an Emporor, that he wanted more power than to merely "be but obeyed in their several provinces". However, here is Fautus, OBEYING the Emporer= he is not even an equal;
"I am content to do whatsoever your majesty shall command me"

After all of this- Faustus then starts talking in prose, rather than the more dignified blank verse which dominates his speech elsewhere. Then on top of all of this... his leg gets pulled off. He is really going downhill.

Superior to Slapstick

The two scenes Act 3:1 and 3:2 work together to show the trickery of the devil onto Faustus, and how Mephastopheles has subtely made Faustus forget his dream. Faustus opens the scene with a flow of all the fabulous places he has seen. Seen being the significant word, as Faustus is yet to do anything with the power he sold his own soul for.

Instead of moving continents and changing the course of rivers, he has gone on a sight-seeing tour, a little less impressive. We then find out why; Mephastopheles has been corrupting Faustus into giving him the control, compared to the servant stance he took at the beginning. Faustus easily gives up his hopes of seeing the sights of Rome with one nudge from Mephastopheles. He instead succumbs to slapstick comedy and invisibly, disrupts a papal feast. What happened to the logical intellect at the beginning of the play?

In the light of the audiences views on Catholicism, the Pope became a common subject of mockery and humour, therefore to an Elizabethia audience, the scene is ironically humourous. The pope was reffered to as the devil, and another set of devils in torturing him. However, looking past the comedy, we see what Faustus has been lowered to.

The next scene only highlights Faustus' fall, as two idiots Rafe and Robin conjure Mephastopheles by accident, achieving Faustus' greatest achievement in the most basic, comical way possible. Faustus has finally fallen to the same level as the two most base characters, who's only concnern after being turned into animals is where their next meal is coming from. Maybe Faustus is no longer more than "base of stock" as his parents were?

Faustus as a Tragic Hero

There is much evidence to support that Faustus' ticks many of the boxes of a tragic hero. This is displayed primarily by the possesion of a hubris. The chorus initially forshadows this, with the comparisson to Iracus' "waxen wings". They are comparing Faustus' proleptically to Icarus, a figure in classical greek mythoolgy, whos father invtented feather wings held together with wax. Icarus disobeyed his fathers warning and flew too close to the sun, which caused the wax to melt and Icarus' fell to the sea and drowned. This demonstrates pride leading to a fall, which suggests Fautus' pride will eventually lead to his downfall.

Faustus' also could be said to be of high status: "Graced with a doctor's name", however this could be questioned as he was raised by parents "base of stock".

His downfall could be said to lead to the downfall of others also, when his friends steal his book and plan to use magic and fall to the devil as Faustus' has.

2:3 - Fautus' repents

This scene shows the good angel finally breaking down the influence of the evil angel and Metistopheles as Faustus finally decides to repent. However, we can see that hell is not ready to let Faustus go as the most powerful devil; Lucifer, is needed to lure Faustus back to the dark side.
We can see that Metistopheles' powers and knowledge is limited, as he cannot, or decides not to expand on the subject of astrology, and Fautus' finally realises that the gifts and gains of his deal are meaningless and empty. The shows put on are not gifts of knowledge, but mere temperary distractions, and we can see that the devil has tricked him.

Phases in scene 5

Apparantly, this scene can be seen as a narrative sequence of four phases, which is repeated 4 times within the scene. The pattern is:
1) Faustus expresses doubts
(1st cycle: becomes worried about damination)
(2nd cycle: blood congeals and won't let him sign the cotnract)

2) Persuasive efforts are made to influence him by the "powers of darkness"
(1st cycle: Evil Angel puts forward their case)
(2nd cycle: Mephastophilis puts on a show)

3) Faustus becomes more resolute
(1st cycle: Faustus calls up Mephastophilis)
(2nd cycle: Faustus signs and stands by the contract)

4) He enjoys the contract with Lucifer.
(1st cycle: Mephastophilis tells Faustus about the soul)
(2nd cycle: Mephastophilis answers Faustus' questions and brings him a whore)

Faustus = Devil?

In the scene where Faustus conjures the demon Mephistopheles, it is undeniable that the demon isn't the sinister, evil character we expected. Instead what I found interesting, is that Faustus might actually possess more of the qualities, and act in the way the audience may have expected the demon to act. It's Faustus who dismisses the value of the soul, and needs no persuasion to sell it to Lucifer. I'm sure at the time an audience would consider the soul to have value, and unexpectedly, it's Mephistopheles who stresses the importance of the 'glorious soul', and doesn't try and persuade Faustus to sell it, as I would of expected him to. It's as if the roles have changed, and Faustus is acting more 'devilish' than the demon.

The demon seems to act more as a friendly devil (like Hannah's drawing), almost directing Faustus towards good and not evil. "O Faustus, leave these frivolous demands". Maybe Marlowe is trying to highlight just how evil and how much of a baddy Faustus is, as even a demon seems good compared to him!

Also, when Faustus arrogantly ADVISES a demon to act with more "manly fortitude" as he does, this could be seen to be something a demon would say, because apparently the Christian view "is that any strength of will of the individual may display derives directly from God"

Yet Faustus is suggesting his fortitude comes from him not God, suggesting he is as good, or better than God, which the Devil is meant to think.

Faustus' first scene

This scene offers a vital initial understanding of Faustus' character, and the ambitions he persues which shape the rest of the play. His soliloquy allowes the audience to witness Faustus wrestle with the problem of which subject to focus his studies on.

Initially, he presents to the audience his intellect by addressing himself in the thrid person; "Settle thy studies, Faustus" By viewing himself from an objective point of view he trying to give the impression of being logical and rational. With his first four words, we already have a sense of a major element to his character.

His intellect is reinforced in the preceeding lines, as Faustus analyses four respectable and prestigous subjects, and dismisses each, thinking himself almost beyond each subject. Primarily, he rejects Aristotle's works by asking "Is to dispute well logic's cheifest end?" He believes he can argue well, and "hast attained the end" of logic, and so dismisses it. He almost taunts the subject; "Affords this art no greater miricale?" by so demonstrating his arrogance by mocking a subject considered of great importance.

He then follows to dismiss the subjects of medicine, law, and divinity, all highly respectable subjects, because he thinks he has studied all he can. He has already helped "whole cities" escape the plague, which demonstrates his sucess in his work already, reinforcing the idea of his supreme intellect. His arrogance and self conceit lead him to call law "trash" and "mercenary drudge", and finally dismissing law because he finds it "too servile and illiberal for me"> his suggests he craves extensive knowledge, not messing around with "pretty" law.

By finally rejecting the study of God, alarm bells would have rung to an audience who at the time, were highly reigious. This clarifies that Fautus is a "baddy", and sinister, as previously suggested by the chorus; "falling to a devilish excerise".

His choice of study is ironic, as by purposly highlighting his logical thought, and by rationally and systematically analysing each subject and giving his reasons for rejeciton, his logic leads him to a very unlogical area. His ambition is underlined at the fact earthly knowledge is not enough. He wants "all things" to be at his "command". He wants to be more powerful than Kings, and his desire is shown fully when he cites "a sound magician is a might god". He wants to be as good as a God. He craves power, wanting "omnipotence"; another major element of his character.

The good angel forshadows his fall by claiming the "dammed" book of magic will "heap God's heavy wrath upon thy head!", Suggesting his greed may be his hubris, therefore clarifing again that Faustus is a "bad" character.