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THE COMIC SCENES IN CHRISTOPHER MARLOWE’S DOCTOR FAUSTUS

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The Comic Scenes in Christopher Marlowe‟s Doctor Faustus, 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: purwarno@sastra.uisu.ac.id

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 witness 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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The Comic Scenes in Christopher Marlowe‟s Doctor Faustus, Purwarno & Jumat Barus.

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 fly 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

186
 The Comic Scenes in Christopher Marlowe‟s Doctor Faustus, Purwarno & Jumat Barus.

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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