Doctor Faustus Essays: Critical Analysis of Faustus :: Doctor Faustus Essays

Critical Analysis of Doctor Faustus         In this essay the full of life approach on (Mythological and Archetypal Approach) contend a big role in forming my opinion of the signet classic book, Doctor Faustus  It is to my knowledge that mythology does not meet our current standards of factual reality, but unlike the sixteenth century which this play was presented, men like Faustus saw myth as fundamental and a dramatic representation of the deepest instinctual life in the universe.     This play is astir(predicate) how Faustus puts on a performance for the Emperor and the Duke of Vanholt.  The main thesis or climax of this play is when Faustus two friends Valdes and Cornelius who are magicians, teaches him the ways of magic.  Faustus uses this magic to summon up a devil named Mephistophilis.  Faustus signs over his soul to Lucifer (Satan), in return to keep Mephistophilis for 24 years.  We also see what happens when ma gic power gets in the terms hands when Mephistophilis punishes Robin, who is a clown and his friend Ralph for trying to make magic with a book they have stolen from Faustus.  In the beginning angels visit Faustus, and each quantify he wonders whether or not to repent, but the devil appears and warns him not too by tempting him of magic to posses.  In the end of the play the two nigh(a) and evil angels have been replaced by an old man, who urges Faustus to repent?  But it is to late for and the play ends with the devil carrying him off the hell.      The main reason why I picked this critical approach is because this play has established a significant relationship to archetypes and its patterns.  Such things as archetype images played an important role in this play.  For example on (page 32, line 8) it speaks of a circle, referring to the protection of Jehovah.  As an archetype image it refers to wholeness and unity.  Also between (line s 16-24), Mephistophilis wants to put away with the trinity of Jehovah, by saying, Hail pot likker of fire, air, water and the word welkin on (page 31 line 4).  This implies to the first and second images of archetype images.  Other major keys that exist in the critical outline of this play are the number seven, which is said to be the most potent of all symbolic numbers.  In the play seven is related to the seven foul sins pride, covetness, envy, wrath, gluttony, sloth, and lechery.