Master servant relationship in dr faustus quotes

Dr Faustus analysis of scenes 2 and 3. by Jasper Bailey on Prezi

master servant relationship in dr faustus quotes

Marlow's introduction of crude buffoonery in “Doctor Faustus”, which was the that instead of becoming dubious humours which have no relation to the theme, the boy-servant of Dr. Faustus, and two scholars who enquire if his master is at . this freedom for?- and quotes Eliot: 'this philosophy seems to raise man to a its origin in a historical person, a man who called himself Dr. Johann Faust . somewhat incongruously, he is extremely curious about Hell's master, the .. The question Brooks poses is precisely this: if 'Doctor Faustus is a play about the relation. Start studying AS English Literature: Doctor Faustus QUOTES. On Faustus' Knowledge. CLICK THE CARD TO FLIP . Master-Servant relationship. Faustus is.

master servant relationship in dr faustus quotes

The witch Sycorax had put Ariel into there as she was his master previously. What shall I do? In real-life colonising situations it would be rare that the slave was offered such a good deal or was willing in the first place without being tricked into it through promise of education and money.

Caliban has effectively dug his own grave, possibly through no fault of his own and is not offered the freedom that Ariel is promised.

That is what distinguishes the happy and not so happy relationship that Prospero has with his servants. He is very demanding; this may be because of his ever-growing pride and perhaps to cover-up his fear. This suggests that Mephistopheles is humouring Faustus as he addresses him with such an informal term and then the formal term master. He is just acting as a servant when really he knows that he is in control. The use of dialogue between the characters shows us a great deal about how they feel towards each other.

By using these names he is asserting his authority over Caliban.

master servant relationship in dr faustus quotes

The need to put him down constantly stems from a fear of Caliban, being a sexual-threat to his daughter, and consequently his bloodline and being the powerful being that he is- indicated by all the manual work he has to do ,overthrowing Prospero and possibly harming his daughter. This is also seen at the end of the play when Ariel convinces Prospero to forgive.

master servant relationship in dr faustus quotes

Maxwell and even T. 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. 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 plays upon words and tries to baffle the two scholars who have asked him a simple question.

God in heaven knows Second Scholar: Why, does not thou know? Yes, I know, but that follows not. Leave your jesting and tell us where he is. That follows not necessary by force of argument, that you, being licentiates should stand upon: Why, didst thou not say thou knewest? Yes, sirrah, I heard you. Ask my fellow if I be a thief.

Well, you will not tell us?

  • Master Servant Relationships in ‘the Tempest’ and ‘Dr Faustus’

Yes, sir, I will tell you: O, but I fear me nothing can reclaim him! Yet let us try what we can do I, ii, lines: 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.

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.

master servant relationship in dr faustus quotes

The Clown is unemployed and is not only semi-naked, but semi-starved. The clown is not utterly stupid and so her refuses to accept such a proposition. Sirrah, boy, come hither. I hope You have seen many boys with Such pickadevaunts as I have: Tell me, sirrah, hast thou any Comings in? Ay, and goings out too; you may see else. 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.

My soul to the devil for a Shoulder of mutton, though it were blood-raw! Not so, good friend: However, the clown knows the value of his soul and would not part with it at a low price. Well, Well, I will cause two devils presently to fetch thee away—Baliol and Belcher!

He has killed the 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: 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.

All this is certainly good fun and comic relief, though its appropriateness in the play may to some extent is questioned. Baliol and Belcher—spirits, a way! What, are they gone? A vengeance on them! They have vile long nails. 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. A Christian fellow to a dog, or a cat, a mouse or a rat!


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. The various Sins do certainly amuse the audience or readers by the manner in which they describe their respective characteristics. 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. Gluttony has bacon, herring, beef, claret and beer as his ancestors.

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. Fall to, and the devils choke you, an you spare! My lord, here is a dainty dish was sent me from the Bishop of Milan. I thank you, sir. Will no man look? My lord, it may be some ghost, newly crept out of Purgatory, come to beg a pardon of your Holiness.

It may be so. The Pope crosses himself again. What, are you crossing of yourself? Well, use that trick no more, I would advise you. Well, use that trick no more, I would advice you. Aware the third; I give you fair warning. The Pope crosses himself again, and Faustus hits him a box of the ear: 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. One of you call him forth. How now, sir knight! Feel on thy head. Villain, I say, undo what thou hast done! O, not so fast, sir! I think I have met with you for it. Ralph, who is an assistant to the Ostler, calls Robin and warns him to keep away from the magic circle that he has drawn.

Ralph feels very happy at this offer.

Canst thou conjure with it? Shall I have Nan Spit? Act IV, i, Lines: 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 does not find the wine-cup even on Ralph, though he is sure that one of these two men has got it.