Doctor Faustus Scene 1 Summary & Analysis

Summary: Scene 1

These metaphysics of magicians,
And necromantic books are heavenly!

In a long soliloquy, Faustus reflects on the most rewarding type of scholarship. He first considers logic, quoting the Greek philosopher Aristotle, but notes that disputing well seems to be the only goal of logic, and, since Faustus’s debating skills are already good, logic is not scholarly enough for him. He considers medicine, quoting the Greek physician Galen, and decides that medicine, with its possibility of achieving miraculous cures, is the most fruitful pursuit—yet he notes that he has achieved great renown as a doctor already and that this fame has not brought him satisfaction. He considers law, quoting the Byzantine emperor Justinian, but dismisses law as too petty, dealing with trivial matters rather than larger ones. Divinity, the study of religion and theology, seems to offer wider vistas, but he quotes from St. Jerome’s Bible that all men sin and finds the Bible’s assertion that “[t]he reward of sin is death” an unacceptable doctrine. He then dismisses religion and fixes his mind on magic, which, when properly pursued, he believes will make him “a mighty god” (1.62).

Wagner, Faustus’s servant, enters as his master finishes speaking. Faustus asks Wagner to bring Valdes and Cornelius, Faustus’s friends, to help him learn the art of magic. While they are on their way, a good angel and an evil angel visit Faustus. The good angel urges him to set aside his book of magic and read the Scriptures instead; the evil angel encourages him to go forward in his pursuit of the black arts. After they vanish, it is clear that Faustus is going to heed the evil spirit, since he exults at the great powers that the magical arts will bring him. Faustus imagines sending spirits to the end of the world to fetch him jewels and delicacies, having them teach him secret knowledge, and using magic to make himself king of all Germany.

Valdes and Cornelius appear, and Faustus greets them, declaring that he has set aside all other forms of learning in favor of magic. They agree to teach Faustus the principles of the dark arts and describe the wondrous powers that will be his if he remains committed during his quest to learn magic. Cornelius tells him that “[t]he miracles that magic will perform / Will make thee vow to study nothing else” (1.136–137). Valdes lists a number of texts that Faustus should read, and the two friends promise to help him become better at magic than even they are. Faustus invites them to dine with him, and they exit.

Analysis: Scene 1

The scene now shifts to Faustus’s study, and Faustus’s opening speech about the various fields of scholarship reflects the academic setting of the scene. In proceeding through the various intellectual disciplines and citing authorities for each, he is following the dictates of medieval scholarship, which held that learning was based on the authority of the wise rather than on experimentation and new ideas. This soliloquy, then, marks Faustus’s rejection of this medieval model, as he sets aside each of the old authorities and resolves to strike out on his own in his quest to become powerful through magic.

As is true throughout the play, however, Marlowe uses Faustus’s own words to expose Faustus’s blind spots. In his initial speech, for example, Faustus establishes a hierarchy of disciplines by showing which are nobler than others. He does not want merely to protect men’s bodies through medicine, nor does he want to protect their property through law. He wants higher things, and so he proceeds on to religion. There, he quotes selectively from the New Testament, picking out only those passages that make Christianity appear in a negative light. He reads that “[t]he reward of sin is death,” and that “[i]f we say we that we have no sin, / We deceive ourselves, and there is no truth in us” (1.40–43). The second of these lines comes from the first book of John, but Faustus neglects to read the very next line, which states, “If we confess our sins, [God] is faithful and just to forgive us our sins, and to cleanse us from all unrighteousness” (1 John 1:9). Thus, through selective quoting, Faustus makes it seem as though religion promises only death and not forgiveness, and so he easily rejects religion with a fatalistic “What will be, shall be! Divinity, adieu!” (1.48). Meanwhile, he uses religious language—as he does throughout the play—to describe the dark world of necromancy that he enters. “These metaphysics of magicians / And necromantic books are heavenly” (1.49–50), he declares without a trace of irony. Having gone upward from medicine and law to theology, he envisions magic and necromancy as the crowning discipline, even though by most standards it would be the least noble.

Faustus is not a villain, though; he is a tragic hero, a protagonist whose character flaws lead to his downfall. Marlowe imbues him with tragic grandeur in these early scenes. The logic he uses to reject religion may be flawed, but there is something impressive in the breadth of his ambition, even if he pursues it through diabolical means. In Faustus’s long speech after the two angels have whispered in his ears, his rhetoric outlines the modern quest for control over nature (albeit through magic rather than through science) in glowing, inspiring language. He offers a long list of impressive goals, including the acquisition of knowledge, wealth, and political power, that he believes he will achieve once he has mastered the dark arts. While the reader or playgoer is not expected to approve of his quest, his ambitions are impressive, to say the least. Later, the actual uses to which he puts his magical powers are disappointing and tawdry. For now, however, Faustus’s dreams inspire wonder.

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