Doctor Faustus (1604) Annotated PDF

ElizabethanDrama.org presents the Annotated Popular Edition of THE TRAGICAL HISTORY of DOCTOR FAUSTUS (the “A” (short) text) by Christopher Marlowe Written c. 1589-1592 E...

ElizabethanDrama.org presents the Annotated Popular Edition of THE TRAGICAL HISTORY of DOCTOR FAUSTUS (the “A” (short) text) by Christopher Marlowe Written c. 1589-1592 Earliest Extant Edition: 1604 Featuring complete and easy-to-read annotations. Annotations and notes © Copyright Peter Lukacs and ElizabethanDrama.org, 2020. This annotated play may be freely copied and distributed.  THE TRAGICAL HISTORY OF DOCTOR FAUSTUS By Christopher Marlowe Written c. 1589-1592 From the Quarto of 1604 aka the 'A' (short) Text DRAMATIS PERSONAE. INTRODUCTION to the PLAY Faustus. Doctor Faustus is Christopher Marlowe's crowning Wagner, Servant to Faustus. achievement, and remains today the most popular and Valdes, Friend to Faustus. well-known play of the Elizabethan era outside of the Cornelius, Friend to Faustus. Shakespearean canon. The tale is of a theologian who sold his soul to the devil in return for the ability to perform The Pope. sorcery and gain knowledge of the workings of the universe; Cardinal of Lorraine. but God's mercy is infinite, and Faustus, who repeatedly regrets his decision, could have returned to the fold of God The Emperor of Germany. at anytime, but was too blinded by his own pride to realize Duke of Vanholt. it. Duchess of Vanholt. A Knight. OUR PLAY'S SOURCE Other Human Characters: Our text of Doctor Faustus (1604) is adopted primarily Clown. from Alexander Dyce's edition of Marlowe's plays, but Robin. with some of the spelling and wording from the 1604 quarto Rafe. reinstated. Vintner. Horse-Courser. NOTES ON THE ANNOTATIONS An Old Man. Scholars, Friars, and Attendants. Mention made in the annotations of Dyce, Gollancz, Schelling, Cunningham, Ward, Bullen, Waltrous, Boas, Spirits: Barnet, Bevington and Ribner refers to the commentary Lucifer. of these scholars in their editions of our play. Mention Belzebub. of Sugden refers to the entries in his Topographical Mephistophilis. Dictionary. Good Angel. The most commonly cited sources are listed in the Evil Angel. footnotes immediately below. The complete list of footnotes The Seven Deadly Sins. appears at the end of this play. Devils. Footnotes in the text correspond as follows: Spirits in the shapes of Alexander the Great, 1. Oxford English Dictionary (OED) online. of his Paramour and of Helen. 2. Crystal, David and Ben. Shakespeare's Words. London; New York: Penguin, 2002. Chorus. 3. Dyce, Alexander. The Works of Christopher Marlowe. London: George Routledge and Sons, 1876. 4. Gollancz, Israel, ed. The Tragical History of Doctor Faustus. London: J.M. Dent and Co., 1897. 5. Schelling, Felix E. ed. Christopher Marlowe. New York: American Book Company, 1912. 6. Cunningham, Lt. Col. Francis. The Works of Chris- topher Marlowe. London: Chatto and Windus, 1879. 2  7. Ward, Adolphus William, ed. Old English Dramas, Select Plays. Oxford: The Clarendon Press, 1892. 8. Bullen, A.H. The Works of Christopher Marlowe, Vol. I. London: John C. Nimmo, 1885. 9. Waltrous, George Ansel. Elizabethan Dramatists. New York: Thomas Y. Crowell and Co., 1903. 10. Sugden, Edward. A Topographical Dictionary to the Works of Shakespeare and His Fellow Dramatists. Manchester: The University Press, 1925. 12. Boas, Frederick S. The Tragical History of Doctor Faustus. London: Methuen & Co. Ltd., 1949. 13. Barnet, Sylvan. Doctor Faustus. New York: Signet Classic, 1969. 14. Bevington, David, and Rasmussen, Eric. Doctor Faustus and Other Plays. Oxford: Oxford University Press, 1995. 16. Ribner, Irving. The Complete Plays of Christopher Marlowe. New York: The Odyssey Press, 1963. 3  A. The Two Versions of Faustus: 'A' and 'B' Texts. The earliest surviving copy of Doctor Faustus was printed in 1604 (the 'A' text); this version was reprinted in 1609 and 1611. A distinctly longer edition was published in 1616 (the 'B' text), and reissued several times in succeeding decades. The question of which of the two texts is the more "authentic" one, which is to say more closely aligned with what Marlowe himself wrote, has been debated for two centuries. Even modern editors do not agree on which version is truer to Marlowe's vision: Ribner, for example, feels the 'B' text is more authentic, while Bevington asserts that the 'A' text is authoritative, stating that his team's studies prove that the 'A' text was "set in type from an authorial manuscript" composed by Marlowe and one other playwright. Recent editors also spill much ink on the question of how much, if any, of either version was drafted by authors other than Marlowe. Speculation especially focuses on the possibility that the bawdier lines and scenes were not from the pen of Marlowe. A very nice summary of the arguments and scholarship can be found in the Introduction of The Revels Plays edition of Doctor Faustus, edited by John D. Jump (Manchester University Press, 1982). B. Marlowe's Source for Doctor Faustus. In 1587, the story of Doctor John Faustus was published in Frankfurt-on-Main, in German of course. Sometime soon after - a 1592 edition is the earliest one extant - an anonymous English translation, containing numerous modifications and additions, was published in England, under the title The Historie of the damnable life of Doctor John Faustus (which we will refer to as the History). It is clear from the numerous similarities in plot, episodes and even language between the History and our play that the History was Marlowe's primary source. Readers wishing to read the History may find it online in a 19th century book entitled Mediaeval Tales, which can be accessed at the following web address: https://archive.org/details/mediaevaltales00morlrich/ page/174/mode/2up C. Was There a Real Faust? There is sufficient evidence to state unequivocally that there existed in the early 16th century a real John Faust, or Faustus. Unlike the skilled sorcerer of the legend and play, however, the real Faust seems to have been a notorious fraud, as contemporary references to him are almost universally critical; the author and reputed magician Trithemius, for example, called him "a vain babble, vagabond and mountebank"; other 16th century notables such as the jurist Konrad Mudt and Philipp Begardi called him simply a "charlatan" (the former), and "wicked, cheating, useless and unlearned" (the latter). A Protestant pastor named Johann Gast (d.1572) was the first known writer to credit Faust with the authentic skills of a sorcerer, declaring that Faust was in league with the devil. But later, Johann Weiher - a student of one of the play's characters, the physician 4 Cornelius Agrippa - wrote that Faust practiced "this beautiful art shamelessly up and down Germany with unspeakable deceit, many lies and great effect." Anecdotes about Faust are consistently unflattering. Once, for example, a petty Faustus gave a priest a depilatory which "removed not only the beard but the skin", in revenge for the unfortunate prelate's unwillingness to furnish Faustus with alcohol. These were the seeds from which grew the legend of a man who sold his soul to the devil in return for gaining that knowledge and those magical skills that were otherwise forbidden to be learned and practiced by Christians. The information for this note was abstracted from an article on Faustus appearing in the Encyclopedia Britannica of 1911. D. Scene Breaks, Settings, and Stage Directions. The quarto of 1604 does not divide Doctor Faustus into numbered scenes, nor does it provide scene settings. We have broken up the play into individually numbered scenes as done by earlier editors. We also adopt the scene settings suggested by Dyce. Finally, as is our normal practice, a good number of the quarto's stage directions have been modified, and others added, usually without comment, to give clarity to the action. Most of these changes are adopted from Dyce. 5  THE TRAGICAL HISTORY OF DOCTOR FAUSTUS By Christopher Marlowe c. 1589-1592 (the 1604 'A' (short) text) PROLOGUE. Enter Chorus. The Chorus: usually a single character who recites the prologue and epilogue; Shakespeare employed such a speaker in several of his plays, including Henry V and Romeo and Juliet. Marlowe's Chorus further functions as an ancient Greek chorus, appearing during the play to comment on the action. 1 Chorus. Not marching now in fields of Thrasimene, 1-6: the Chorus begins by describing the things it will not 2 Where Mars did mate the Carthaginians, speak about: war, love, revolution, or biography of great persons. 1-2: Lake Trasimene is located in Umbria in Italy, about 80 miles north-north-west of Rome. Here the Carthaginians under Hannibal destroyed a Roman army in an ambush in 217 B.C., killing perhaps as many as 15,000 Romans. 15 Mars did mate = Mars is the Roman god of war, but the meaning of mate in line 2 has elicited a confusion of interpretations: the common meaning of the verb mate in the 16th century was either "defeat" or "checkmate", but the problem is that the Romans were the vanquished, not the victors, in the battle at this site; Schelling,5 Ward7 and others take the position that Marlowe simply blew it, mistakenly assigning victory over Hannibal to the Romans. The interpretation of the OED and Cunningham 6 is more intriguing and seems more likely, however: they suggest that mate means "marry", ie. ally with, so that Mars, acting as an independent agent, can be said to have "espoused the cause" of the Carthaginians, abandoning the Romans in this battle. Nor sporting in the dalliance of love, 3: "nor entertaining ourselves in amorous discourse or flirtation (dalliance)". 4 In courts of kings where state is overturned; 4: In = ie. "nor in". state is overturned = ie. power (ie. great men) or government is overthrown.1,7 Nor in the pomp of proud audacious deeds, = greatness. 6 Intends our Muse to vaunt his heavenly verse: 6: line 6 is actually the opening sentence's independent clause: "(does) our poet (Muse)1 intend to display (vaunt)2 his sublime (heavenly)1 verse." Cunningham and Sugden assume the play's opening lines refer to the plots of other lost and unidentified plays. Boas 12 cites an earlier source for the suggestion that lines 3-5 refer to Marlowe's own Tamburlaine plays. vaunt = the 1604 quarto prints daunt, almost universally 6  emended to vaunt (from the 1609 reissue of the play); Bevington,14 though, keeps daunt, assigning it the meaning of "control"; we may note that the collocation of vaunt and verse was common in the era. Only this, gentlemen, − we must perform = the Chorus ignores the women in the audience. 8 The form of Faustus' fortunes, good or bad: = substance or representation; note the wordplay of perform and form, and even fortune, as well as the alliteration of these words along with Faustus. To patient judgments we appeal our plaud, 9: To = ie. "to your", meaning the audience members. appeal our plaud = appeal for applause; Elizabethan dramatists frequently and explicitly begged for their audience's approval. 10 And speak for Faustus in his infancy. = ie. describe. Now is he born, his parents base of stock, = of low lineage. 12 In Germany, within a town called Rhodes: 12: Germany at the time was, as it had been throughout the early modern period, a collection of numerous small sovereign polities. Rhodes, or Roda (modern Stadtroda), in the modern German state of Thuringia, was in the 16th century a part of the Duchy of Saxe-Altenburg. It is the traditional birthplace of Faust.10 Of riper years, to Wertenberg he went, 13: Of riper years = "when (he was) a little older". Wertenberg = Marlowe erroneously employs Wertenberg to mean Wittenberg, a city on the Elbe River in Saxony, about 55 miles south-west of Berlin. Wittenberg was famous throughout Europe for its university.10 The name Wertenberg was normally used in this era to refer to the duchy of Würrtemberg in south-west Germany. 14 Whereas his kinsmen chiefly brought him up. 14: "where (whereas) he was raised by relatives." The History explains that Faust's father was too poor to support him, so he was sent to be raised by his rich but childless uncle, a resident of Wittenberg. So soon he profits in divinity, 15: at Wittenberg, he successfully studied divinity, or theology. profits = makes progress in.4 16 The fruitful plot of scholarism graced, 16: Faustus' studies adorned (graced)4 the fertile piece of land or garden (fruitful plot) which represents scholarship or learning. That shortly he was graced with doctor's name, 17: "so that he soon received his doctorate degree". graced = actually a technical term, referring to Cambridge University's official sanction for a student to receive his degree; Boas notes Marlowe's own name appears in the school's Grace Book in 1584 and 1587 for his Bachelor's and Master's degrees respectively. Note also how Faustus uses the same word, graced, in both lines 16 and 17, but how it has a different meaning in each instance, an example of a figure of speech known as antaclasis. 18 Excelling all whose sweet delight disputes 18-19: Faustus was preeminent in his ability to discuss and 7  In heavenly matters of theology; debate theology with those who take great pleasure in engaging in such disputes. 20 Till swoln with cunning of a self-conceit 20: Faustus soon began to think unduly highly of his own self-worth. cunning = generally meaning "knowledge" or "learning" throughout the play.3 of a self-conceit = out of arrogance.4,13 His waxen wings did mount above his reach, 21-22: metaphorically, Faustus' hubris drove Providence to 22 And, melting, heavens conspired his overthrow; work his downfall. The specific reference is to the myth of Daedalus, the famous Athenian craftsman, and his son Icarus, who were held in prison by King Minos of Crete. Daedalus fashioned wings for himself and his son out of feathers held together with wax, and the pair used the wings to fly away and escape Crete. Icarus, unfortunately, did not heed his father's advice not to fly too high, and the sun melted the young man's wings, causing him to plunge to his death in the sea. waxen = covered with wax. above his reach = (1) "beyond his abilities", referring to Icarus, and (2) "beyond what was best for him", referring to Faustus, as a metaphor for his pride. heavens = heavens, like Heaven, is almost always pronounced in a single syllable, with the medial v essentially omitted: hea'ns / Hea'n. overthrow = ruin. For, falling to a devilish exercise, 23: "for, engaging in the arts of the devil"; Note how falling punningly alludes to the literal falling of Icarus in the previous two lines. 24 And glutted more with learning's golden gifts, 24-25: having filled his mind with beneficial knowledge, He surfeits upon cursèd negromancy; Faustus now pursues, to his own ultimate detriment, the study of sorcery; the metaphoric image is of a diner stuffing himself pleasantly with good fare, but, unable to resist overeating, sickens himself with unseemly and excessive consumption. more = so the 1604 quarto; often emended to 1609's now. negromancy = older and commonly-used form of the word "necromancy", the art of raising spirits, especially of the dead; it is from negromancy (also often written as nigromancy) that the term "black arts" was derived.7 Most editors emend negromancy to necromancy. 26 Nothing so sweet as magic is to him, = "there is nothing as". Which he prefers before his chiefest bliss: = literally meaning "his greatest happiness", but here the sense is "attaining Heaven" or "his salvation". As Samuel Johnson's dictionary put it, bliss is the joy of "blessed souls", which is contrasted with any felicity Faustus' blasphemous activities night bring him. 28 And this the man that in his study sits. = ie. "here is the man", introducing Faustus. 30 [Exit.] 8  SCENE I. Faustus’ Study. Faustus discovered. = revealed; a curtain is likely pulled back, perhaps by the Chorus,3 to uncover the scene. Faustus sits with a pile of books in front of him, some of which he will pick up and peruse briefly before setting down again.7 1 Faust. Settle thy studies, Faustus, and begin = "decide which field of study you want to pursue";7 Faustus addresses himself. 2 To sound the depth of that thou wilt profess: 2: "to explore to its fullest level that field of study (ie. theology) you profess to undertake or be an expert in;" Gollancz,4 however, suggests that thou wilt profess means "that which you will teach (ie. be a professor of)." sound the depth = measure the depth of a body of water, a metaphor. Having commenced, be a divine in shew, 3: "having graduated with a doctorate (commenced), pub- licly act as if you are a practicing theologian (divine)". shew = usual form of "show". 4 Yet level at the end of every art, 4: "yet (privately) work to accomplish the ultimate goal (end) of other fields of study"; Faustus will consider the value of immersing himself in other subjects. level = aim, like a weapon. And live and die in Aristotle's works. = Aristotle (384-322 B.C.), the great Greek philosopher, was much concerned with how things worked, and knowledge in general, and his studies encompassed everything that could be considered science in his time, including biology, geology, mathematics and physics; Faustus' interest in Aristotle thus makes perfect sense. Earlier editors have noted the domination of Aristotle from the 13th through the 16th centuries in the academic study of logic. 6 Sweet Analytics, 'tis thou hast ravished me! 6: Analytics = Aristotle's word for logic. His Prior Analytics dealt with formal deductive reasoning and syllogism. 7 ravished me = ie. "filled me with ecstacy."1 Bene disserere est finis logices. 7: Latin: "to argue well is the goal of logic."4 Though Faustus attributes the line to Aristotle, the sentiment was likely derived from another source, perhaps from the works of the 16th century French logician Petrus Ramus. 7 Unless otherwise indicated, all Latin translations are from Gollancz. 8 Is to dispute well logic's chiefest end? 8: dispute = formally debate a thesis, a common exercise in medieval universities.1,12 end = goal, point. Affords this art no greater miracle? 9: basically, "is that all there is to the study of logic?" 10 Then read no more; thou hast attained that end: 10: as Faustus has achieved the goal of becoming an expert in disputation, he can quit his studies in that area. A greater subject fitteth Faustus' wit: = cleverness, intelligence. 12 Bid Economy farewell, and Galen come, 12: Economy = so all the quartos but 1604's, which prints Oncoymaeon. The allusion is to a work disputably attributed 9  to Aristotle, Oeconomica, usually translated in English as Economics; Faustus is simply bidding farewell to his studies of philosophy, and rededicates himself to the study of medicine, a field in which he has already proven himself to be highly talented. An intriguing alternate interpretation (one which is adopted by many modern editors) comes from Bullen,8 who suggests Oncaymaeon is a corruption, ie. an error, for on cai me on, which is Greek for "being and not being"; the phrase would still function as a stand-in for philosophy. and Galen come = "and bring on Galen"; Galen was the famous 2nd century A.D. Roman physician, whose writings on medicine were still considered definitive well into the Middle Ages.7 Seeing, Ubi desinit philosophus, ibi incipit medicus: 13: Latin: "where the philosopher leaves off, there the physician begins." The line is from Aristotle. 14 Be a physician, Faustus, heap up gold, = ie. "get rich". And be etérnized for some wondrous cure: = immortalized. 16 Summum bonum medicinae sanitas, 16: "the supreme good of medicine is health"; from Aristotle's Nicomachean Ethics. The end of physic is our body's health. = aim of medicine. 18 Why, Faustus, hast thou not attained that end? 18-26: Faustus bemoans the fact that his great success in curing many illnesses has not brought complete satisfaction to his restless soul. Is not thy common talk sound aphorisms? 19: "have not your words become trustworthy medical maxims?"7 20 Are not thy bills hung up as monuments, 20: "are not your advertisements or posters (bills) still hanging as memorials (of cures he has effected)". Ward notes that travelling physicians commonly used advertising posters to solicit business. Bullen, however, defines bills as "medical prescriptions", and Bevington sees hung up as monuments as metaphorical, meaning "now the talk of Europe". Whereby whole cities have escaped the plague, 22 And thousand desperate maladies been eased? Yet art thou still but Faustus, and a man. 23: "yet (despite your successes) you are still only Faustus, a mere mortal." 24 Wouldst thou make man to live eternally, = "if only you could". Or, being dead, raise them to life again, 26 Then this profession were to be esteemed. Physic, farewell! Where is Justinian? 27: realizing that the study of medicine (physic) is not as 28 fulfilling as he would like it to be, Faustus abandons that road, and reconsiders investigating law. Justinian = great Byzantine emperor (born c.482 A.D., ruled 527-565), who among other accomplishments famously reorganized and codified the empire's entire legal corpus. Faustus takes up and reads from one of the Byzantine law books. [Reads] 30 Si una eademque res legatus duobus, alter rem, 30-31: "If any one thing is left by will to two persons, one alter valorem rei, etc. shall (take) the thing, and the other (shall take) the value of the thing." Ward notes this is not exactly what Justinian's code says on the subject; rather, the code directs the parties 10  to divide the bequest. etc. = Faustus may actually mumble the word et cetera, perhaps as an indication of his impatience with the text. We note that &c is added from the later quartos. 32 A pretty case of paltry legacies! 33: "a nice pair (case) of worthless bequests (legacies)!" 34 [Reads] 36 Exhaereditare filium non potest pater, nisi − 36: "a father cannot disinherit his son, except"; another misquote of the Byzantine Code.7 38 Such is the subject of the institute, = Faustus has been reading from the Institutiones Justiniani, or the Institutes, a treatise which students read to intro- duce them to Roman law.15 And universal body of the law: = so all the quartos but 1604's, which prints Church; the latter is kept by Bevington, who explains that Church refers to canon law, which when written, was based largely on the laws of Justinian. 40 His study fits a mercenary drudge, 40: ie. "the study of Justinian (His study) is appropriate only for one who is no better than a hired slave". Who aims at nothing but external trash; 41: "whose goal is no higher than to make a bit of money to make himself appear prosperous." trash = commonly used as a contemptuous word for money and the superficial trappings money can buy. 42 Too servile and illiberal for me. 42: servile = work fitting only for a slave. illiberal = unrefined or not fit for gentlemen.1 When all is done, divinity is best: 43: Faustus accepts the fact that his initially-chosen field is the most intellectually satisfying after all. done = ie. "said and done".14 44 Jerome's Bible, Faustus; view it well. = St. Jerome (c.340-420 A.D.), who had studied Hebrew, was ordered by the pope to translate the Bible into Latin; this version, known as the Vulgate, became the church's authorized text, a copy of which Faustus picks up. 46 [Reads] Stipendium peccati mors est. 47: this is the exact Vulgate wording of the first part of 48 Romans 6:23: "the wages of sin is death." Ha! 50 Stipendium, etc. 52 The reward of sin is death: that's hard. = ie. damnation. = ie. "this is an unforgiving precept!" 54 [Reads] Si peccasse negamus, fallimur, et nulla est in nobis veritas; 55: a not-exact rendering of 1 John 1:8 in the Vulgate, which actually states, Si dixerimus quoniam peccatum non habemus, ipsi nos seducimus, et veritas in nobis non est: "If we say we have no sin, we deceive ourselves and the truth is not in us." More importantly, Faustus ignores the succeeding ideas expressed in both this verse and the one following Romans 6:23, in which the Bible explicitly states that despite the existence of sin, God in His mercy can still grant eternal life. 56 11  If we say that we have no sin, we deceive ourselves, 57-62: Faustus is unhappy to accept a theology in which eternal death is inevitable, since to sin is unavoidable. 58 and there's no truth in us. Why, then, belike we must = it seems. sin, and so consequently die: 60 Ay, we must die an everlasting death. = ie. "and be eternally damned". What doctrine call you this, Che sera, sera, = "what will be, will be"; this still-popular Italian phrase suggests complacent acceptance of events or outcomes over which one has no control. 62 What will be, shall be? Divinity, adieu! These metaphysics of magiciäns, 63f: the doctor decides that the study of the black arts, which consist in part of raising the dead, is the best course to pursue. metaphysics = literally subjects studied beyond physics,13 here meaning "the study of supernatural things", such as God, angels and other spirits.31 magicians = those who engage in sorcery or conjuring.1 64 And negromantic books are heavenly; = books relating to the raising of spirits; Faustus' use of the adjective heavenly is delightfully subversive. Lines, circles, scenes, letters, and characters; 65: Faustus lists some of the tools of necromantic rituals: Lines = drawn lines were a tool in the art of geomancy, or divination.1 circles = a necromancer normally stood within a drawn circle in order to summon spirits; the circle would protect the magician from those spirits which are evil.7 scenes = Gollancz suggests the meaning "diagrams". The original word in the 1604 edition, sceanes, has been emended to scenes by most editors, but some omit it altogether. letters = "the magical combination of letters taken from the several forms of the divine name" (Ward, p. 135). characters = magical symbols or signs "appropriated to good spirits of various kinds", which were used to protect one against "evil influence" (Ward, p. 135). 66 Ay, these are those that Faustus most desires. O, what a world of profit and delight, 68 Of power, of honour, of omnipotence, = a monosyllable here: po'er. Is promised to the studious artizan! = skilled artist13 or practitioner of the higher arts.12 70 All things that move between the quiet poles 70: poetically, "all living things on earth". quiet poles = the north and south poles are motion- less relative to the world that spins between them on the earth's axis.13 Shall be at my command: emperors and kings 72 Are but obeyèd in their several provinces, = only. = individual states or principalities. Nor can they raise the wind, or rend the clouds; 74 But his dominion that exceeds in this, 74-75: "but for one who excels (exceeds) in these practices, Stretcheth as far as doth the mind of man; his rule extends over a region (dominions) that is un- limited in size." 76 A sound magician is a mighty god: = skilled.1 Here, Faustus, try thy brains to gain a deity! 77: here = ie. studying the black arts.14 try = test or apply.1,14 gain a deity = become a god, ie. "attain the god- like powers of a sorcerer."4 78 12  Enter Wagner. Entering Character: Wagner is a student at the university 80 who works as Faustus' servant. Wagner, commend me to my dearest friends, 82 The German Valdes and Cornelius; 82: the two named characters are magicians and followers Request them earnestly to visit me. of the dark arts; why Valdes is redundantly referred to as 84 German, when all the characters are German, is unknown. Wag. I will, sir. 86 [Exit Wagner.] 88 Faust. Their conference will be a greater help to me 89-90: "a discussion (conference) with them will help me 90 Than all my labours, plod I ne'er so fast. move much more speedily with this project than my working on it alone, no matter how quickly I toil (plod). Line 89 is a good example of an alexandrine, a line with six iambs, and thus twelve syllables. 92 Enter Good Angel and Evil Angel. 92: the image of competing supernatural advisors, representing "conscience" and "temptation" respectively, has remained popular to the modern day; it is a convenient and entertaining short-hand manner in which to illustrate the internal debate that occurs when one is trying to decide on a course of action - one moral, one not so much. The angels appear whenever Faustus is at a spiritual crossroads, wavering between whether to follow or reject God. 94 Good Ang. O, Faustus, lay that damnèd book aside, = ie. Faustus' book of magic. And gaze not on it, lest it tempt thy soul, 96 And heap God's heavy wrath upon thy head! Read, read the Scriptures: − that is blasphemy. = "this here", ie. the book of magic. 98 Evil Ang. Go forward, Faustus, in that famous art 100 Wherein all Nature's treasury is contained: Be thou on earth as Jove is in the sky, = the name of Jove (king of the Roman gods) was sometimes used, as here, to refer to the Christian God. 3 102 Lord and commander of these elements. = ie. on earth; Marlovian characters frequently refer to the four elements that were believed to comprise the entire material world - air, earth, fire and water; 104 [Exeunt Angels.] 106 Faust. How am I glutted with conceit of this! 106: "how I am satiated (glutted) with desires at the thought of this, ie. becoming a magician!"13 Faustus is leaning strongly towards following the advice of the Evil Angel. Shall I make spirits fetch me what I please, 108 Resolve me of all ambiguities, 108: "tell me what to do when I am in doubt", or "answer all questions that I pose".1 Perform what desperate enterprise I will? = command. 110 I'll have them fly to India for gold, 110: the wealth of India's gold mines was proverbial, and frequently referred to by Marlowe in particular. Note that them in lines 110, 114, 116 and 118, and they in line 120, all refer to the spirits of line 107. Ransack the oceän for orient pearl, = lustrous pearls. 112 And search all corners of the new-found world = reference to the western hemisphere, which had still only been "discovered" for Europeans within the last century. For pleasant fruits and princely delicates; = delicacies. 13 114 I'll have them read me strange philosophy, = "teach me" or "lecture me on". And tell the secrets of all foreign kings; = ie. "tell me"; Boas observes the connection between this line and Marlowe's own work as a spy for Queen Elizabeth's secret service; is it possibly an inside joke from our normally staid playwright? 116 I'll have them wall all Germany with brass, 116: Faustus imagines the construction of a strong protective wall built around the entire German nation, as opposed to around only individual cities, as was historically done. And make swift Rhine circle fair Wertenberg; 117: Germany's mighty Rhine River actually flows 200 miles away from Wittenberg. circle = encircle. 118 I'll have them fill the public schools with silk, = ie. the class-rooms at Wittenberg's university.4,5 Wherewith the students shall be bravely clad; 119: Wherewith = with which. bravely clad = finely dressed; universities of the time usually prohibited dressing up for students.12 120 I'll levy soldiers with the coin they bring, 120: "I'll raise an army with the riches my spirits will bring me". And chase the Prince of Parma from our land, 121: the Prince of Parma was Alexander Farnese (born 1545, Duke of Parma 1586-1592). The greatest general of the late 16th century, Farnese, who had been raised in Spain, served as head of the Spanish forces fighting to maintain control of the Netherlands for Spain's King Philip II from 1578 on. Having conquered all of the southern Dutch lands by 1586, his advance north was halted by Philip after he appealed to the king for permission to try to take Holland and Zeeland, both of which were assailable only by water, and protected in part by the English.15 In referring to the Netherlands as our land, Faustus means "our Empire", referring to the Holy Roman Empire, part of which the Netherlands remained until the Peace of Westphalia (1648), when it finally received its independence.4 122 And reign sole king of all our provinces; = ie. the whole of the Netherlands, which included modern Holland, Luxembourg and Belgium, and which was known as the Seventeen Provinces.10 Yea, stranger engines for the brunt of war, 123-5: an inverted sentence: Faustus will cause his spirits to invent new machines of war (engines), which shall be even more terrible than those fire-ships used in the siege of Antwerp (see the next note at line 124 below). brunt = heat, shock or violence of war;7 but the OED cites this line for its definition of brunt as "attack". 124 Than was the fiery keel at Antwerp's bridge, 124: during the Spanish siege of Antwerp through 1584-5, Alexander Farnese built a bridge of boats on the Scheldt River to cut the port-city off from supply by sea; the besieged citizens famously sent against this bridge a ship filled with heavy stones and explosive material (called a "fire-ship"), which, blowing up when it smashed into the bridge, temporarily destroyed it, but the bridge was quickly rebuilt, and the starving Antwerpians finally surrendered on 14  17 August 1585.10,15 I'll make my servile spirits to invent. = ie. servant spirits, those working for Faustus. 126 Enter Valdes and Cornelius. Entering Characters: as stated above, Valdes and 128 Cornelius are sorcerers. While Valdes' real-life counterpart is unknown, Cornelius is tentatively agreed by most editors to be the German-born Henry Cornelius Agrippa Von Nettesheim (1486-1535), famous European polymath and polyglot. Knowledgeable in eight languages, Agrippa served as a soldier and worked as a physician, historiographer, theologian and lecturer for various courts and universities throughout Europe. His heretical opinions brought him into repeated trouble with the church. He may be most well remembered today for his published works, which included De occulta philosophia (written 1510, publication delayed by antagonistic forces until 1531), a defense of the use of magic as a way to achieve a greater understanding of God and nature.15 Come, German Valdes, and Cornelius, 130 And make me blest with your sage conference. = wise conversation. Valdes, sweet Valdes, and Cornelius, 132 Know that your words have woon me at the last 132-3: it appears that Faustus' guests have for some time To practice magic and concealèd arts: been trying to convince the doctor to try his hand at sorcery. woon = common form of won; that it should be sounded to approach rhyming with moon is supported by contemporary lines such as "Ladyes should be...woo(e)d and woon", and "when Loue hath woon, where it did woo"; Paul Meier, in his website dedicated to Elizabethan pronunciation (www.paulmeier.com/OP.pdf), observes that in this era, double-o words like woo and woon likely were pronounced in both of two ways, viz. rhyming with modern wood or modern moon. Regardless, woon is universally emended to won. 134 Yet not your words only, but mine own fantasy, = imagination. That will receive no object; for my head = "will entertain no objections"; Bevington, however, suggests "will think of nothing else." 136 But ruminates on negromantic skill. = necromantic, as earlier. Philosophy is odious and obscure; 137: odious = repugnant. obscure = the sense is "too ambiguous or vague for me".1 138 Both law and physic are for petty wits; = medicine. = small minds. Divinity is basest of the three, 139: "Divinity is lower or worse than the other three". 140 Unpleasant, harsh, contemptible, and vild: = vile. 'Tis magic, magic, that hath ravished me. 142 Then, gentle friends, aid me in this attempt, And I, that have with concise syllogisms 142: that = who. concise = precise, ie. in few words. syllogisms = syllogism is a term of logic, referring to a conclusion drawn necessarily from two premises containing a common middle term: for example: (1) all men are animals; (2) all animals are alive; (3) therefore, all men are alive. 15 144 Gravelled the pastors of the German church, 144: Gravelled = stumped.2 the German church = by the middle of the 16th century, most of the northern German states had embraced Lutherism.10 And made the flowering pride of Wertenberg = referring either to the best citizens of Wittenberg or the students of the university;7 flowering could mean "distinguished"1 or "blossoming".24 146 Swarm to my problems, as th' infernal spirits 146: problems = a term of art referring to questions On sweet Musaeus when he came to hell, proposed for debate.1 146-7: as th'…Musaeus = "just as the souls of the departed now residing in Hades did swarm on Musaeus". Musaeus = famous singer of Ancient Greece; the reference here is to Book Six of the Aeneid, in which Aeneas, having descended into Hades to seek the soul of his father Anchises, approached a crowd of spirits and addressed the musician, who is described as "(holding) the center of that huge throng" (Fagle, p. 204).33 148 Will be as cunning as Agrippa was, 148: the grammatical subject of this verb predicate is I, way back in line 143: "And I...(lots of dependent clauses)...Will be as cunning..." cunning = knowledgeable or skillful. Agrippa was = if we accept the proposition that Faustus' guest is the famous magician Cornelius Agrippa, then the reference to him in the past-tense in this line is certainly puzzling; it is possible that Faustus is referring to his guest in the third person; but some editors have suggested an alternative interpretation, that Faustus' guest Cornelius is not the famous Agrippa, but someone as fictitious as Valdes is. In the end, it does not matter greatly, as both Valdes and Cornelius disappear from the play after this scene. Whose shadows made all Europe honour him. = ie. the spirits (shadows) raised by Agrippa, who gave instructions for "divination by means of the shades of the dead" (Waltrous, p. 14).9 As a historical matter, Faustus' description of Agrippa's influence in Europe is greatly exaggerated. 150 Val. Faustus, these books, thy wit, and our experience, = innate intelligence. 152 Shall make all nations to canónize us. = glorify, treat as saints.1 As Indian Moors obey their Spanish lords, 153: though the term Moors was normally applied to those North Africans who invaded and conquered Spain in the 8th century, the reference here is to the Indians of North America, who were generally known to have been subjugated by the Spanish; the word Moor was sometimes used, as here, by dramatists to refer to darker races in general. 154 So shall the subjects of every element 154: ie. "so shall the spirits that arise from each of the ele- ments, such as fire-spirits, water-spirits, etc." subjects = the bodily forms assumed by spirits.7 Be always serviceable to us three; = ie. "be always ready to serve". 156 Like lions shall they guard us when we please; 156-164: Valdes imagines the many ways the three of them can profit from their necromancy, and includes in his 16  musings some of the forms their spirits can be commanded to take. Like lions = "in the shapes of lions"; spirits were known to appear at times in the guise of wild animals.7 Like Almain rutters with their horsemen's staves, 157: Almain rutters = German cavalry; Marlowe had used this collocation in Tamburlaine, Part II. staves = plural for "staff", meaning "lances" or "long pikes".4 158 Or Lapland giants, trotting by our sides; 158: Or Lapland giants = ie. "or they shall appear to us taking the forms of the giants of Lapland"; Sugden notes the curious superstition that there were giants in Lapland, when in fact the natives of that land were known for their diminutive size, averaging about 5 feet in height (in Tamburlaine, Part I, Marlowe had written of the giants in Grantland, ie. Greenland). The mention of Lapland is particularly apropos here, as the Lapps possessed a reputation for skill in magic, particularly their ability to raise winds.10 trotting by our sides = Valdes imagines his spirits acting as footmen, those servants who ran alongside the moving carriages of the great and wealthy. Sometimes like women, or unwedded maids, 159-161: Valdes fantasizes of their spirits appearing to them 160 Shadowing more beauty in their airy brows as women so beautiful that they harbour (shadow)12 more Than have the white breasts of the queen of love: beauty in their lofty, ethereal or celestial foreheads (airy brows) than the goddess of love, Venus, has in her breasts; though Ward suggests shadowing in line 160 might mean "imaging forth". have the = so two of the post-1604 quartos; the 1604 quarto prints in their, which many editors emend to in the. 162 From Venice shall they drag huge argosies, = heavy trading ships. And from America the golden fleece 163-4: allusion to the great wealth the Spanish and their king 164 That yearly stuffs old Philip's treasury; Philip II were amassing from the new world, and specifically to the annual convoy of ships (called the "plate-fleet")1 that transported silver from the Americas to Spain. Possession of the golden fleece was of course the goal of Jason and his Argonauts in their trip to Colchis, on the eastern shore of the Black Sea. old = does not refer to the king's age, but instead simply signifies England's familiarity with this sovereign, as in "good old Philip".7 If learnèd Faustus will be resolute. = determined, steadfast (in his pursuit or efforts). 166 Faust. Valdes, as resolute am I in this 168 As thou to live: therefore object it not. 168: thou = ie. "you are". object it not = ie. "do not suggest that I may not be resolute."7 170 Corn. The miracles that magic will perform Will make thee vow to study nothing else. = "persuade you to swear". 172 He that is grounded in astrology, Enriched with tongues, well seen in minerals, 173: Enriched with tongues = learned in languages, spe- cifically Latin, the language spoken by spirits.12 seen = versed, ie. educated.1,7 17  minerals = mineralogy1 or alchemy.14 174 Hath all the principles magic doth require: = rudiments, fundamental precepts.4,7 Then doubt not, Faustus, but to be renowmed, = common alternate form of renowned. 176 And more frequented for this mystery 176: frequented = consulted; frequented is stressed on its second syllable: fre-QUEN-ted. mystery = ie. secret skill (in the black arts).1 Than heretofore the Delphian oracle. 177: "than the Delphic oracle was ever consulted;" this most famous oracle of ancient Greece was located in the town of Delphi; for a fee, one could ask a question of the priestess, who would transmit an answer from Apollo. 178 The spirits tell me they can dry the sea, And fetch the treasure of all foreign wracks, = common alternate form of wrecks. 180 Ay, all the wealth that our forefathers hid Within the massy entrails of the earth: = heavy with precious metals.4 182 Then tell me, Faustus, what shall we three want? = lack. 184 Faust. Nothing, Cornelius. O, this cheers my soul! Come, shew me some demonstrations magical, = show. 186 That I may conjure in some lusty grove, = pleasant. And have these joys in full possessiön. 188 Val. Then haste thee to some solitary grove, 190 And bear wise Bacon's and Albanus' works, 190: Bacon's works = the works of Roger Bacon (1214?- 1294), English philosopher. A great student of science and knowledge, Bacon became legendary for his studies of alchemy as well as perhaps the black arts, and wrote prodigiously about his work. Bacon was frequently portrayed in English literature as a necromancer and possessor of a talking brass head, such as in Robert Greene's 1590 play, Friar Bacon and Friar Bungay.17 Albanus' works = the works of Pietro D'Abano (1250- 1316), Italian physician and philosopher. D'Abano dabbled in astrology, and developed a reputation for skill in magic. Said to be in possession of the philosopher's stone, D'Abano was charged and acquitted of practicing witchcraft by the Inquisition. A second trial ended when D'Abano died of natural causes before it was completed.15 Some later editors of the play substitute Albertus for Albanus; the reference would be to Saint Albertus Magnus, ie. Albert the Great (c.1206-1280), also a contemporary of Bacon's. Albert was, like Bacon, an indefatigable student of nature. Though he had joined the Dominican order as a teenager, Albert too was ascribed the power of sorcery, 18 and legends have passed down that he was the possessor of the philosopher's stone, and had invented the first "android", or robot.19 Cunningham notes the burdensomeness of Valdes' assignment: Bacon's works were said to number 121, and Albertus filled 21 "thick folios" with his efforts. The Hebrew Psalter, and New Testament; 191: Ward notes that the use of the Book of Psalms (Hebrew Psalter) and the first verses of the Gospel of St. John were mentioned frequently in books of witchcraft.7 Indeed, Cornelius Agrippa himself, in his Occult Philosophy of Geomancy (published in English in 1655) wrote that after reading "any Prayers, Psalms or Gospels...let him invocate 18  the Spirit which he desireth, etc." Hebrew Psalter refers specifically to St. Jerome's translation of the Book of Psalms as it appears in the Vulgate. 192 And whatsoever else is requisite = necessary. We will inform thee ere our conference cease. = before. = discussion concludes. 194 Corn. Valdes, first let him know the words of art; = verbal formulas for conjuring. 196 And then, all other ceremonies learned, Faustus may try his cunning by himself. = "test his skill". 198 Val. First I'll instruct thee in the rudiments, = basic principles. 200 And then wilt thou be perfecter than I. = more perfect, a word used regularly throughout the 17th century. 202 Faust. Then come and dine with me, and, after meat, = food, ie. eating. We'll canvass every quiddity thereof; 203: "we'll thoroughly explore the characteristics of magic;" quiddity is a term from philosophy, meaning "essence" or "quality".20 204 For, ere I sleep, I'll try what I can do: = before. = ie. "test out my skills." This night I'll conjure, though I die therefore. = "for it."4 206 [Exeunt.] SCENE II. Before Faustus’ House. Enter two Scholars. 1 1st Schol. I wonder what's become of Faustus, that = who. 2 was wont to make our schools ring with sic probo. 2: wont = accustomed. sic probo = "thus I prove it", the sense being "the sounds of his logic." 4 2nd Schol. That shall we know, for see, here comes his boy. = servant, especially a poor student.13 6 Enter Wagner. 8 1st Schol. How now, sirrah! where's thy master? = common form of address for a servant. 10 Wag. God in Heaven knows. 12 2nd Schol. Why, dost not thou know? 14 Wag. Yes, I know; but that follows not. 15: "yes, I know where he is; just because I said 'God knows where he is' doesn't necessarily mean that I don't know." As a servant to Europe's foremost logician, Wagner assumes to practice the sophistry - the use of deliberately hyper- technical, and sometimes deceptive, reasoning - which he has learned from his master. follows = can be inferred, a term from logic. 16 1st Schol. Go to, sirrah! leave your jesting, and tell = common phrase meaning "get out of here!" = cease. 19 18 us where he is. 20 Wag. That follows not necessary by force of 20-22: That follows…upon't = "your response is not one argument, that you, being licentiates, should stand that logically follows, and so you, who are on your way 22 upon't: therefore acknowledge your error, and be to getting your doctorates, should not insist on or rest on attentive. it (stand upon't)." 24 licentiates = those possessing a degree between a Bachelor's on the one hand and the higher degrees of Doctorate or Master's on the other.1,4 2nd Schol. Why, didst thou not say thou knewst? 26 Wag. Have you any witness on't? 28 1st Schol. Yes, sirrah, I heard you. 30 Wag. Ask my fellow if I be a thief. 31: a common retort to one who presumes to rely on the 32 word of an interested or prejudiced individual;1 Wagner's point is that just as a thief who swears his partner is not a thief lacks credibility, so the 2nd Scholar cannot depend on the 1st Scholar's attestation that he heard Wagner say he knew where Faustus was; or, to quote Ward, "His evidence is worthless, for he is no better than I." Wagner is extra-cheeky in indirectly comparing the Scholars to thieves. fellow = companion. 2nd Schol. Well, you will not tell us? 34 Wag. Yes, sir, I will tell you: yet, if you were not 36 dunces, you would never ask me such a question; for = dunce has a dual meaning here: (1) a follower of the great medieval theologian and philosopher, Duns Scot (c.1265-1308), and hence meaning "one skilled in logic",1,25 and (2) a dullard, the common modern meaning. is not he corpus naturale? and is not that mobile? 37: corpus naturale = literally a "natural body". is not that mobile = "as such, is he not one that can move around?" - with the implication that Faustus could be anywhere.14 The line is a Latin-based joke, as corpus natural sens mobile, according to Ward, was a phrase used to describe the subject of physics generally. 38 then wherefore should you ask me such a question? = why. But that I am by nature phlegmatic, slow to wrath, 39: that = ie. since. phlegmatic = slow to anger, imperturbable;1 in medieval physiology, phlegmatic was one of the four fundamental temperaments. 40 and prone to lechery (to love, I would say), it were 40: to love, I would say = ie. "Ahem! I mean, of course, I am prone to love, not lechery!" (humorous). it were not for you = "it would not be wise for you". not for you to come within forty foot of the place of 41-42: the place of execution = ie. Faustus' dining room, 42 execution, although I do not doubt to see you both but Wagner humorously refers to execution in its normal sense with hanged in line 43. hanged the next sessions. Thus having triumphed = court term. 20 44 over you, I will set my countenance like a precisian, = "I will now impersonate a Puritan (precisian)". Puritans, in part because of their antagonism to the stage, were the target of frequent mockery by dramatists of the era. countenance = face. and begin to speak thus: − Truly, my dear brethren, 45-50: Truly…brethren = Wagner gives a brief mock- Puritan-style sermon. 46 my master is within at dinner, with Valdes and Cornelius, as this wine, if it could speak, it would = Ward supposes Wagner is carrying a vessel of wine. 48 inform your worships: and so, the Lord bless you, preserve you, and keep you, my dear brethren, my 50 dear brethren! 52 [Exit Wagner.] 54 1st Schol. Nay, then, I fear he is fallen into that 54-56: 1st Scholar fears Faustus is studying the black arts damned art for which they two are infamous through with the notorious Valdes and Cornelius. 56 the world. 58 2nd Schol. Were he a stranger, and not allied to me, = "even if he were". = connected by friendship.4 yet should I grieve for him. But, come, let us go and 60 inform the Rector, and see if he by his grave counsel = the head of the university.1 can reclaim him. = "save him", ie. bring Faustus back from the dark side. 62 1st Schol. O, but I fear me nothing can reclaim him! = very common phrase for "I fear". 64 2nd Schol. Yet let us try what we can do. 66 [Exeunt.] SCENE III. A Grove. Enter Faustus to conjure. 1 Faust. Now that the gloomy shadow of the earth, 1-4: Faustus describes the approach of evening. gloomy shadow = ie. darkness. Bullen points out that these first four lines appear verbatim in the first scene of a 1594 published edition of The Taming of a Shrew, an alternative version to Shakespeare's treatment. 2 Longing to view Orion's drizzling look, = the well-known constellation is usually attended by stormy weather when it appears in late fall. Leaps from th' antartic world unto the sky, = antartic was a common variant spelling for antarctic, and could be used, as here, to refer to the southern half of the earth generally. 4 And dims the welkin with her pitchy breath, = sky. = black. Faustus, begin thine incantatiöns, 6 And try if devils will obey thy hest, = test. = commands. Seeing thou hast prayed and sacrificed to them. 8 Within this circle is Jehovah's name, 8-9: Ward notes that medieval Christian scholars accepted Forward and backward anagrammatized, the principles of the Hebrew Caballah, the mystical interpretation of the Old Testament. As part of the code, various letters of the many names of God were extracted and 21  arranged to form a single mystic name. this circle = as noted earlier, a magician summons spirits while standing within a drawn circle which protects him from any harm his conjuring may cause. anagrammatized = rearranged; the 1604 quarto alone prints agramathist here, which has been rejected by all editors. 10 The breviated names of holy saints, = ie. the abbreviated. Figures of every adjunct to the heavens, 11: diagrams of the arrangement of the stars. 7 Figures = horoscopes.1 every...heavens = "all the stars of the sky".4 12 And characters of signs and erring stars, 12: characters of signs = magical symbols of the Zodiac.4 erring stars = ie. the planets, which seem to be wandering (erring) randomly throughout the sky, compared to the fixed and predicable movement of the stars. By which the spirits are enforced to rise: = compelled. 14 Then fear not, Faustus, but be resolute, = Faustus refers back to Valdes' encouragement in line 165 And try the uttermost magic can perform. − of the opening scene. 16 Sint mihi dei Acherontis propitii! Valeat numen 17-25: "May the gods of Acheron be propitious to me! 18 triplex Jehovoe! Ignei, aerii, aquatani spiritus, May the three-fold deity of Jehovah prevail! Spirits of salvete! Orientis princeps Belzebub, inferni fire, air, and water, hail! Belzebub, prince of the East, 20 ardentis monarcha, et Demogorgon, propitiamus monarch of burning hell, and Demogorgon, we propitiate vos, ut appareat et surgat Mephistophilis...Quid you, that Mephistophilis may appear and arise…Why 22 tu moraris? per Jehovam, Gehennam, et dost thou tarry? By Jehovah, Gehenna, and the conse- consecratam aquam quam nunc spargo, signumque crated water which I now pour, and by the sign of the 24 crucis quod nunc facio, et per vota nostra, ipse cross which I now make, and by our prayers, may nunc surgat nobis dicatus Mephistophilis! Mephistophilis whom we have summoned now arise!"7 26 17-25: the incantation's translation is by Ward. the gods of Acheron = ie. "the infernal spirits";7 Acheron refers to the underworld in general, though originally Acheron was the name of a river on earth which flowed into Hades, then later identified by writers such as Homer as a river in Hades;29 the History, meanwhile, lists Acheron as one of the ten kingdoms of hell. 17-18: Valeat...Jehovoe = Barnet13 translates as "away with the trinity of Jehovah", a quite different interpretation than Ward's. Belzebub = or Beelzebub, written in this play with a single e to indicate the name is trisyllabic: BEL-ze-bub. A translation of "Lord of the flies", Beelzebub is identified as "the prince of the devils" in old Bibles such as the Geneva and King James. In the History, as in Faustus' invocation here, the doctor summons Mephistophilis "in the name of Belzebub". Mephistophilis later explains that Belzebub is the ruler of the northern kingdoms of hell. Prince of the East = in the History, Mephistophilis explains that all the devils of hell that serve Lucifer are called Oriental Princes. Demogorgon = one of the primary and more powerful demons or evil spirits.1,4 Quid tu moraris? = originally appears in the 1604 quarto 22  as quod tumeraris, without a question mark; much ink has been spilled on attempting to make sense of this corrupted and unintelligible part of the invocation, but the emendation to quid tu moraris - "why do you linger?" - in which Faustus expresses impatience that the demon has failed to respond to his conjuring, is as good a solution as any. 8 Gehennam = ie. Gehenna, a valley near Jerusalem used initially for idolatrous rites involving the sacrifice of children, then later for th