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Abstract
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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The Comic Scenes in Christopher Marlowes Doctor Faustus, Purwarno & Jumat Barus.
II. DISCUSSION
In this article, the writer discusses the significance of comic or farcical scenes
found in Christopher Marlowes Doctor Faustus, which has become the controversial
discussions of many critics.
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 masters 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 masters 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 Wagners
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, Faustuss 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 Marlowes Doctor Faustus, Purwarno & Jumat Barus.
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 Wagners offer of a few coins, because he
would not like to become Wagners slave. However, Wagner tries to brow-beat the
Clown by summoning two devils with magic words which he has picked up from
Faustuss 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 awayBaliol and
Belcher!
Clown : Let your Boliol and your Belcher come
here, and Ill 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 clowns 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 Belcherspirits, a way!
Clown : What, are they gone? A vengeance
on them! They have vile long nails. There
was a hedevil and a shedevil; Ill tell
you how you shall know them; all he-
devils has horns, and all she-devils has
cloven feet.
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The Comic Scenes in Christopher Marlowes Doctor Faustus, Purwarno & Jumat Barus.
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 Faustuss 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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The Comic Scenes in Christopher Marlowes Doctor Faustus, Purwarno & Jumat Barus.
The quotation above shows that Faustus does some comic tricks. Faustus plays
childish pranks on Popes dishes, and drinks from the hands of the Pope much to the
Popes 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 darst thou thus abuse a gentleman?
Villain, I say, undo what thou hast done!
Faustus : O, not so fast, sir! Theres 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 Faustuss 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 Ralphs 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; thats one of my conjuring
works.
Ralph : Our Master Parson says thats 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 Ill 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 Faustuss 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-mans 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! Ill gull him supernaturally.
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The Comic Scenes in Christopher Marlowes Doctor Faustus, Purwarno & Jumat Barus.
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 Robins 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!Heres thy
goblet, good Vintner. [Give the goblet to
Vintner, who exits.]
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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
Faustuss 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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The Comic Scenes in Christopher Marlowes Doctor Faustus, Purwarno & Jumat Barus.
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 Faustuss 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 Faustuss 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! [Hollas in his
hear.] No, will you not wake? Ill 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 Ill 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 Faustuss 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 Faustuss 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 Faustuss 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
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The Comic Scenes in Christopher Marlowes Doctor Faustus, Purwarno & Jumat Barus.
entertained by few persons in the world; while the comic view relates to the masses of
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.
REFERENCES
Dr. S. Sen. et. all. 1992. Christopher Marlowe: The Tragical History of Doctor
Faustus. New Delhi: Unique Publishers
Holt, Rineheart and Winston. 1967. The Experience of Literature. New York.
Lall, Ramji. 1990. Christopher Marlowe: The Tragical History of Doctor Faustus.
New Delhi: Rama Brothers
Marlow, Christopher. Ed. by Kitty Datta. 1986. Doctor Faustus. New Delhi: Calcutta
Oxford University Press.
Marlowe, Christopher. 1991. Cliffs Notes. Doctor Faustus: Key to the Classics from
Kalyani. New Delhi: Kalyani Publishers.
Sir Paul Hahvey, 1967. The Oxford Companion to English Literature. New York.
Wellek, Rene and Austin Waren.1982. Theory of Literature. London: Pinguin Books.
Woolf, Henry Bosley.1898. Websters New Collegiate Dictionary. United States G. &
C: A Merriam Webster.
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