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=//The Tragical History of Doctor Faustus// =

By Christopher Marlowe



. Themes and Motifs  Faustus is filled with themes and motifs of the spiritual and the supernatural. Marlowe used themes such as sin, human limitation, redemption, and the battle between good and evil. The play shows what happens when people fall into sin. It revolves around Faustus' disdain of human limitation, which causes him to sell his soul to the devil for twenty-four years of debauchery. The theme of making a pact with the devil has been used since the 4th century (Wikipedia). It is meant to show how fallible human nature is and for what people are willing to sell themselves for, to be free from boundaries. Redemption plays a key role in the play and ties in with Faustus' battle between good and evil. Marlowe uses good and evil angels who try to persuade and show Faustus the consequences and merits of his choices. The good angel constantly tries to make Faustus repent for selling his soul, but he doesn't care or is blind to it. Finally, redemption is important because at the end of his time of debauchery, Faustus pleads to God to come if he could be saved. The play ends inconclusively, leaving doubt as to Faustus' damnation or salvation.

These themes and motifs have been used in popular culture: [] []

Fields of Individual Expertise
__**Kayla Rodriguez**__- Government Organization, The Monarchy and Identity.
 * __Rachel Lebowitz__**- Author's identity
 * __Harrison Frick__**- Law, Crime, Punishment and Identity
 * __Elizabeth Payne__**- Religious Beliefs, Practices, and Identity
 * __Natalie Ariza__**- Art, Architecture, and Identity

**. Author's Identity** The main thing we know about Christopher Marlowe is how much we do not know. He may have been a spy. He may have been an atheist; he may have been a Catholic. He may have been executed; his death may have been accidental; he may have faked his death. Certain scholars even believe that he wrote some or all of what are currently known as Shakespeare’s works.

Lagretta Lenker’s article “Looking for Marlowe” discusses the work of several other Marlowe scholars. Lenker states that, “Each work also acknowledges and participates in a shift in the focus of Marlowe scholarship from… Marlowe’s sketchy but oh-so-intriguing biography to an attempt to forge a more singularly critical response to his poems and plays” (Lenker, 214).

Lenker discusses the work of three other writers. David Riggs’ __The World of Christopher Marlowe__ considers what is known of Marlowe in light of not only the themes and plots of his plays and poems, but “conjectures about how the times in which his subject lived influenced his art” (Lenker, 215). Riggs explores the effects of his Cambridge education, Renaissance views on homosexuality and religion, and his government service (which was most likely spying for the Queen). The __Cambridge Companion__, edited by Patrick Cheney, considers the Marlowe chronology, “his characteristic linking of literature and violence” (Lenker, 218), his effect on the popularity of blank verse, and his “fascination with the new learning” (Lenker, 220). Park Honan’s __Christopher Marlowe: Poet and Spy__ “connects the playwright’s double life as literary genius and secret agent” (Lenker, 220). Lenker contends that “Honan persuasively argues that these seemingly disparate professions are, in reality, extremely complimentary and that Marlowe profited at both ‘jobs’ by his engagement in each” (Lenker, 220)

**Religious Beliefs, Practices, and Identity**



Roman Catholicism was the main religion during the early 1500’s and it was the state religion

of England, until King Henry the 8th started the Protestant Church, using the ideals of Martin

Luther (a German priest). During the Elizabethan era, the main religion was Protestantism

because the queen herself was a Protestant, and it would allow people to be free from the

influence of the Pope. However, there were still Roman Catholics living in England, even though

the English government had forbidden Catholic worship, so the religion was driven to small

communities where Roman Catholicism would be practiced in secret. This led to religious and

political strife between the Protestants and the Roman Catholics that continued through the early

to the late 1600s. 


 * Religion by Elizabeth Payne**

Article: "Catholicism, conformity, and the community in the Elizabethan diocese of Durham"

English Reformation During the 1500’s England’s main religion was Catholicism and all religious practices were conducted by the Pope and the Roman Catholic Church. However, the people were starting to stray from the beaten path that was set out for them by the Church due to drastic social and political changes during the period, such as the rise of nationalism, the creation of a common law (a justice system that uses a court and a jury of peers instead of a religious based judicial system), the invention of the printing press in 1454 that had eventually led to the mass productions of the Bible, and the growing education among the middle class society. But the movement had started in the late 1520’s when Henry the 8th (king of England) had wanted to get a divorce from his first wife: Catherine of Aragon so he could marry Anne Boleyn, the Catholic Church had forbidden divorce so Henry tried to convince Pope Clement the 7th to annul the marriage, but the Pope refused due to the Catholic Canon Law and because Catherine of Aragon’s family had very strong ties to the Catholic Church. Due to the Popes’ refusal to grant King Henry an annulment, he had decided to remove the Church of England from the Roman Catholics and in 1534 he passed the Act of Supremacy thereby changing the official religion of England to Protestantism and making King Henry the Supreme Head of the Church of England. Because the official religion was changed, anything and/or anyone that is Catholic was banned from England and anyone that resisted was killed. After King Henry died in 1547, his son Edward the 6th was made king until he died in 1553, then Mary the 1st became queen and she had attempted to make Catholicism the main religion of England again, but she died in 1558 without an heir. After this event Elizabeth the 1st became queen and had made the main religion of England Protestantism again, but due to the fact that she remained queen for over forty years, England was able to have religious stability, and during her reign playwrights like William Shakespeare and Christopher Marlowe were able to produce their works and plays in England.

Characteristics of the English Renaissance The English Renaissance was a part of the cultural spread of the arts and sciences that emerged from the Renaissance, which had originated in Italy. However, the English Renaissance had some differences to its Italian counter-part. The English Renaissance occurred between the late fifteenth century and early sixteenth century when a group of English clerics and government officials traveled to Italy and witnessed the revival of the arts and intellectual movements (Norton 488). The English were enthralled by the restoration of philosophy and artifacts from the Greek and Roman era. The universal focus of both Renaissance is the focus on Classical Greek and Roman philosophies and ideals. Many writers during this time wrote on ideals, set, or make allusions to the Greek or Roman era. The idea of making Greek and Roman references, in relation to ‘Doctor Faustus’, Mephastophilis conjures Helen of Troy as an indication that Lucifer’s army of demons are coming for Faustus. The essay “Sculpture and the Art in Elizabethan and Jacobean Drama”, written by Wilson F. Engel III, discusses the use of art and sculptures in Elizabethan performances. Engel shows how sculptures and art were used within different plays to highlight certain themes and bring a more emotional response from the audience (Engel 3). The Renaissance, both English and Italian, was a time of sculptures, paintings, and grand architecture. In this context it was natural to place images of such artwork in literature and play a subtle yet central role symbol within written works. Artwork was even used in plays to show the spiritual and political thought of the authors. This fierce focus on the classics prompted the main difference of English Renaissance from Italian; a focus on spiritual and political ideology through literature rather than visual arts.  During the age of Elizabeth, painting was dominated by portraiture, particularly in the form of miniatures, while elaborate textiles and embroidery prevailed in the decorative arts, and sculpture found its place within the confines of tomb and architectural decoration (Metmuseum). Portraits were typically ornate and it was used as a display of wealth and class. The depiction of wealth and luxury in paintings is thought to be brought from the aftermath of //The Wars of the Roses,// 1455-1485. It was a civil war between the houses of York and Lancaster to decide who would inherit the throne and established the House of Tudor (WarsoftheRoses). Furthermore, it added to the emphasis of the court in Elizabethan era, which had never happened in England before. Architecture was also prominent during the English Renaissance.
 * Art, Architecture, and Identity in the English Renaissance **



The architecture of the English Renaissance/Elizabethan era was also meant to be a display of wealth and class. The façade of the buildings built during this time were characterized by mullioned windows, Tudor style chimneys, gables and loggia. Elizabethan architecture was influenced mainly by Flemish and Italian architecture (ElizabethanEnglandLife). Everything was built to show symmetry.



<span style="background-color: #840606; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 120%; text-align: center;">**Law, Crime, Punishment and Identity** Article Summary Article: "Calvinist Conceptions of Hell in Marlowe's Doctor Faustus"

<span style="font-family: Arial,Helvetica,sans-serif; line-height: 200%;">“Calvinist conceptions of Hell in Marlowe’s Doctor Faustus”, by Adrian Streete examines the correlation between the writings of John Calvin and Christopher Marlowe’s play, “The Tragic History of Doctor Faustus.” The most direct similarity comes in act 2 when Faustus and Mephistopheles disagree on the exact location of Hell. This idea of Hell is very similar to that of Calvin. Faustus is told that Hell is everywhere and exists only with the absence of God in one’s life. Calvin felt that “ Hell exists when there is no peace with God” (Streete) and that few understand how miserable a guilty conscience is. This is part of the punishment of committing a sin. When Faustus says “'O, no end is limited to damned souls',” it is clear Marlowe was influenced by Calvin’s ideology. This punishment Faustus will endure will be the greatest suffering of all, the vacancy of God in his life. This will affect him worse than any other punishment and Marlowe and Calvin are certain of that. Crime and Punishment during the early 17th Century <span style="font-family: Arial,Helvetica,sans-serif;"> Christopher Marlowe wrote “The Tragic History of Doctor Faustus” in the early 1600’s. During this time punishment could be very harsh and extremely humiliating. Many times it was done as a public event to make an example of the criminal and discourage others from following in his or her path. This punishment was also dealt with the goal of repentance of the convicted. Whipping was the most common form of punishment, but branding, cutting off ears, and placing people in the pillory were also administered for small crimes such as theft and adultery. The branding would allow the authorities to know which subjects had committed their crimes previously and would therefore be dealt with mercilessly. More extreme forms of chastisement were banishment and hangings for murderers and repeat offenders. These hangings were also done in public and many that attended said that they were deeply spiritual experiences. This contrasts with Faustus’ situation where he was punished in a way that kept the spiritual aspect of his life absent. Therefore, his death/punishment would lack the presence of God, which is the opposite of the accounts from the 1600’s. Another brutal punishment, designated for the worst criminals of all and those who committed crimes against the country, was where the criminal would be dragged to the place of execution on a sled, where they were hanged until they were almost dead, then taken down, quartered alive, dismembered, and disemboweled. This excruciating torture is similar to the torture Mephastophilis describes when he tells Faustus about Hell, “Think’st thou that I, who saw the face of God,  And tasted the eternal joys of heaven,  Am not tormented with ten thousand hells In being deprived of everlasting bliss?” Even though he is evil demon, he still hates being in Hell where God is never present, yet Faustus is still inclined to sell his soul to Lucifer for twenty four years of super human knowledge and power.

- Harrison Frick



<span style="background-color: #840606; color: #ffffff; display: block; font-family: 'Times New Roman',Times,serif; font-size: 130%; text-align: center;">Government Organization, The Monarchy and Identity

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In 1558 Queen Elizabeth I began her reign over England which will later be referenced as the Golden Age in English history and more commonly: the Elizabethan era. Through her political skills and personal power she was able to bring the monarchy up to create a more stable and structured government. The newly found stability in the government allowed the arts and more specifically literature and drama to flourish like it never had prior to this period. It was during this time that playwrights such as William Shakespeare and Christopher Marlowe achieved the world renowned credit that we associate with them today.======

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The structure of the English government in the Elizabethan period is quite different than it is today. The government consisted of national, regional, county and community bodies. The National bodies included the Monarch, Privy Council and the Parliament. The monarch could be viewed as the ultimate ruler and decider, all laws required her consent but for the most part she could not pass laws on her own. The exception to that was the Royal Proclamation which allowed the queen to make laws without anyone else’s consent; no other part of government had that power. The second part of the National government was the Privy Council. The Privy Council was a group of advisors whose main purpose was to provide the queen with numerous opinions so that she could decide on the issue at hand. Elizabeth cut down the council which originally stood at fifty members eventually down to thirteen. The Secretary of State who was the person closest to the monarch is the leader of the Council. The third section of National government was the Parliament. The Parliament was a group of representatives divided into the House of Lords (upper house, nobility and higher clergy members) and the House of Commons (lower house, common people). The main function of the Parliament was dealing with financial matters. Beneath the National government there were bodies concerning the ruling and peace keeping in regions, counties and communities that made up the lower bodies of government.======



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When Queen Elizabeth took the crown the country was in a state of religious unrest and the discord between the Protestants and the Catholics was greatly affecting the foundation of the English way. Elizabeth sought to create a compromise but leaned toward Pro-Protestant view of her father’s. She was able to solve the religious problems in her country for the most part while still making it a primarily protestant country and maintaining the devotion of the entire English society. Elizabeth’s greatest achievement is being able to maintain a great relationship with her people and earn popularity throughout her entire life. There were few people that disliked her but one of her biggest competitors and enemies was Mary of Scotland. Mary became Queen of Scotland after her father died and was forced to abdicate her thrown in 1567. She was the granddaughter of Henry VIII elder sister Margaret and therefore she felt she had a rightful claim to the English throne. After suspected plotting against Elizabeth and her government Mary was executed in 1687. Mary of Scotland was known for her merciless execution of Protestants and devotion to the Catholic cause. After she was executed Catholic Europe reacted quickly and her death was one of the contributing factors of the Spanish Armada the following year.======



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Aside from establishing Protestantism as her country’s religion, Elizabeth’s reign helped to bridge the gap between local politics and national government. In his article for Durham University, Neil Younger analyzes a letter that William Lambarde wrote on the politics of enforcement in Elizabethan England. Lambarde served as a member of the House of Commons for Parliament from 1563-1567 and served as the Justice of Peace for Kent. In the letter, Lambarde expresses his opposing views for a national policy that affects the individual provinces. His letter provides insight into the relationship between the central government and the smaller government and essentially the voice of the people. After analyzing this letter it is clear that the Queen did not enlist fear in her subjects but rather made them feel comfortable enough to speak up about something that they didn’t agree with. It also shows that the communication line between the lower class and the monarchy is a fluid path from one side to the other. This communication line illustrates “the limited extent of the council’s ability to dictate what went on in the militia and indeed in the local government as a whole”. It shows the power that the local governments really did have over the policies that were being placed on them in the Elizabethan Era. The article also goes onto explain the stance that Lambarde had on the role of Catholics in the community. It explains that important government affairs such as militia should be controlled by those who are loyal to the crown and Catholics shouldn’t be trusted because they aren’t loyal to the Protestant regime. This sense of pride and protectiveness over the crown radiates through the upper class royalty all the way down to the lower class society. This letter is insight into the inner workings of the government and the complex considerations of Elizabethan England. “The law was, inevitably, only part of the story: administration was politics, and personal animosities, personal willingness, the extent to which an individual was trusted or distrusted, and inevitable his or her religion all came into the equation.”======

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This idea that there is more that makes up the man than where he lives and what social class he is in is the basic concept of the Renaissance. Humankind and Individualism was celebrated through art as well as politics. Marlowe uses this concept to create Doctor Faustus who embodies the Renaissance man. Ordinary men like Faustus can be ambitious and strive to achieve greater things that no other man has ever tried. Faustus seeks wealth, knowledge and political power with such ambition that at first it inspires awe. But once he gets everything he asked for it’s as if Faustus becomes mediocre, he no longer has the ambition and the zeal that the play started off with. He finally gets the power and instead of using it for great things he uses it to play meaningless pranks. This play can be seen as a warning to those who try to achieve greatness without God’s blessing or a warning that ambition is good but selfishness can only lead to bad things. The Renaissance man is a man who is realistic, unique and ambitious but absolute power will only corrupt.======

<span style="display: block; font-family: 'Times New Roman',Times,serif; font-size: 130%; text-align: center;">**<span style="background-color: #8f0505; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 120%; text-align: center;">Missing Passage **

<span style="display: block; font-family: Arial,Helvetica,sans-serif; font-size: 156%; text-align: center;">**Scene 6.5** [Enter Faustus and Mephistopheles]


 * Faustus** Ah! Look on Mephistopheles at Paris, //le belle bijou//! Faustus has not come in many a year, but //Le Marais// holds so many opportunities to visit mischief on the nobles.


 * Mephastophilis** I do not disagree. Many nobles find their way into hell.

There! That noble there! Ne’er have I met a man as frigid as he.
 * Faustus** All the better for cheer. The nobles will now do more than play cards and dance.


 * Mephastophilis** //Monsieur Delacroix,// as dull as his wit and less than his wealth. Off to buy a jewel for his wife, I believe. A perfect target to raise our cheer, do you not think?


 * Faustus** Nay, Mephistopheles. But we shall see what he can offer. So let him be blind to us and begin our merriment.


 * Delacroix** A marvelous gem.


 * Jeweler** //Oui monsieur,// and what is the occasion of such purchase?


 * Delacroix** I pay court to a lovely lady and wish to gain her favours.


 * Jeweler** I had heard that thou wert married, //monsieur//.


 * Delacroix** My wife has gone to the countryside, to visit her family. Business keeps me here in London, but why not add some pleasure to it as well?


 * Faustus** Mayhap not so dull anymore. Perhaps we should spark something to raise our interest further.

[ **Mephastophilis**: //sets firecrackers at// **//Monsieur Delacroix’s//** back. Delacroix looks past **Faustus** and **Mephistophilis**]


 * Delacroix** //Mon Dieu!// How now, what was that which burned me?


 * Jeweler** I saw nothing, noble sir. Perhaps ‘twas simply the bite of a gnat.


 * Delacroix** Mayhap thou art right. No matter, I shall continue my purchase of this fine bauble.


 * Faustus** ‘Tis fine, indeed. I’ll have’t.

[//Snatch it]//


 * Delacroix** What, again! Someone has stolen the gem.


 * Jeweler** //Monsieur//, do not try to play the innocent. You shall be damned for your sins. Pay for the jewel or be arrested.

––— (Natalie)


 * Delacroix** Thou must be mad, //homme commun//.


 * Jeweler** Mad, am I? Enlighten your fair jeweler of how gems disappear.


 * Faustus** I enjoy where this is going.


 * Delacroix** I did not steal that gem. I swear by Jove, I speak only the truest words.

[**Mephastophilis**: //steals another gem//]


 * Jeweler** Thou tell me now that the second Gem, my eyes laid upon minutes ago, is somewhere other than the pocket of Delacroix himself?

[**Mephastophilis**: //hands the gems to Faustus who places them in Delacroix’s back pocket//]


 * Delacroix** If thou trust me not, then see for thyself.

[**Jeweler** //searches Delacroix’s pockets and discovers the gem;//**//. Delacr//**//oi////**x** is horrified.//]


 * Jeweler** Aha! I may be //un homme commun//, but unlike thee a thief I am not. The authorities will be alerted.

[**Mistress**: //walks in to see Delacroix being accused of theft//]


 * Delacroix** Sir, certainly there is an explanation for this.


 * Mistress** **// Monsieur //** Delacroix! How couldst thou. If you are in such high regard in the eyes of the mighty, then why must you resort to the acts of the classless?


 * Delacroix** I have been set up! Though you lay the blame at my feet, I am a man of perfect integrity, who fears God and avoids evil. Ne’er have I stolen, nor do I have the need.

––— (Harrison)


 * Faustus:** Perfect integrity?.. Is that not his mistress that he has lain with and purchased lavish gifts for, and __not__ his very own wife?


 * Mephastophilis:** That I have already uttered. In no time at all they will make their way to the land of the condemned. This one needs to keep a strong lookout. I may steal his soul right now and forever it may be damned!


 * Faustus:** Well, whilst his soul remains in our presence let us force his dancing shoes

//(The jeweler is standing behind the counter inscribing a note to the nearest authorities. Right as Delacroix is about to explain to his mistress what was happening he catches a glimpse of the jewel on the desk next to her)//


 * Delacroix:** Aha! There it its!

//(**Delacroix** reaches for it but in a flash in vanishes once more. He trips over his own feet into his mistress out of shock and embarrassment)//


 * Mistress:** You have lost all of your senses!


 * Delacroix:** I swear it to he who reigns in heaven! I am no thief, I-

//(Interrupted by another glimpse of the precious gem by her feet, he dives for it so as to catch it before it disappears. Within two seconds they are both crashing onto the floor and the jewel is nowhere to be seen)//


 * Mistress:** WHAT, ARE YOU POSSESSED! You lunatic! Aid me off this fifthy earth instantly


 * Jeweler:** First to steal in front of my own eyes twice! And now violent acts towards ladies? That is it. I will ne'er cease to wait here until they come to drag you back to hell!

//(the Jeweler grabs Delacroix by the collar and he is now too ashamed to say another word)//


 * Faustus:** What a simpleminded human being, he is lucky we do not do this to him every day for the rest of his life! Ahahahaha!

(Kayla)

[//enter several officers of the law//]


 * Officer 1** Come with us, monsieur. This most grave theft must be punished.


 * Delacroix** I stole naught! I am innocent of any evil!


 * Faustus** I shall help myself to more of these pretty gems, and so must Mephistophilis.

[**//Faustus//** //snatches a handful of gems, **Mephastophilis** does the same//]


 * Officer 2** We shall see, monsieur. Please come quietly, or we must needs use force.


 * Delacroix** //(defeatedly)// Very well.

[**//Delacroix//** //is dragged before a magistrate; the **jeweler** follows, **Faustus** and **Mephistopheles** follow invisibly//]


 * Officer 1** Your honour, this man stands accused of the theft of several precious gems.


 * Magistrate** What has he to say for himself?


 * Delacroix** Monsieur, I am innocent! Do not believe these deceivers, they seek to destroy a virtuous man!


 * Jeweler** What, virtuous?! You seek the favor of another while your wife is away! Thief! Lecherous adulterer!


 * Delacroix** I would be most grateful if you would dismiss their slanderous claims…


 * Magistrate** Thou durst attempt to bribe me? I greatly doubt your innocence. If you were so virtuous as you claim, you would never attempt such.


 * Delacroix** Bribery was never my intention, //monsieur//! I simply wished your honour to know that I would not be ungrateful.


 * Faustus** Mephistopheles, slip some of the fine jeweler’s handiwork into //monsieur// Delacroix’s pocket. We shall drop him in the thick of it, make no mistake about it!

–— Elizabeth


 * Delacroix** Your honour, truly I have never stolen in my life. Why should one such as I steal? I have no need of such thievery.


 * Magistrate** Hast thou any proofs of thine innocence?

[**//Faustus//** //steps out from the shadows, now visible//]


 * Faustus** Your honour, I am Faustus. I assure you, he is most certainly a thief. Even now he carries stolen jewels in his pockets!

//[**Faustus** walks forward, reaches into **Delacroix’s** pockets, revealing the jewels as he pulls out his hand//]


 * Faustus** You see, he is a thief and a liar!


 * Jeweler** You rogue! I will have your head, Delacroix!


 * Magistrate** That is proof beyond all doubts. Officers, take him to the prison.


 * Delacroix** No, I am innocent! Do not take me to that most horrible place! Noooooooo!

[**//Delacroix//** //is dragged away//]

blood, and he would have left with more of my jewels in his pockets! How can I ever repay you?
 * Jeweler** Thank you, //monsieur// Faustus. I feared that Delacroix would escape because of his noble


 * Faustus** There is no need, good sir. Think nothing of it.


 * Jeweler** No, I insist! Take these gems as thanks.


 * Faustus** Very well.

[//the gems join the others in his pocket//]


 * Jeweler** Fare thee well, monsieur Faustus. Go with God.


 * Faustus** Farewell.


 * Mephastopheles** You shall never again go with God if you do not repent.


 * Faustus** What care I for God?

—— Rachel

<span style="background-color: #670404; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 16pt; text-align: center;">**Contemporary Version** [Enter Faustus and Mephastophilis]


 * Faustus** Ah! Look Mephastophilis, Paris the most beautiful city ever. I haven’t been here in years. The rich district of Paris, //Le Marais// is full of nobles to fool.


 * Mephastophilis** Agreed. Most of them are going to hell either way.


 * Faustus** All the better for our fun. We’ll make them do more than gamble and dance. There! That noble there! I have never seen a man as stiff as him.


 * Mephastophilis** //Monsieur Delacroix//, he is as boring as he is dull and is worth less than his fortune. I believe he is buying a jewel for his wife. I think he is a perfect target for our mischief, do you?


 * Faustus** I do not think so, Mephistophilis. But, let us see what happens. Make us invisible so we can start our fun.


 * Delacroix** A lovely gem.


 * Jeweler** //Oui monsieur,// and what is the occasion of this purchase.


 * Delacroix** I’m dating a great girl and I want to get into her pants.


 * Jeweler** Aren’t you married?


 * Delacroix** my wife went to see her family in the countryside. I’m stuck here for business, so why not add a little fun?


 * Faustus** Maybe he is not as dull as we thought. We just need to add a little something to spark our interest more**.**

[Mephastophilis //sets firecrackers at Monsieur Delacroix’s// back; //Delacroix// looks past Faustus and Mephistophilis]


 * Delacroix** //Mon Dieu!// What burned me?


 * Jeweler** I didn’t see anything. Maybe it was just a bug bite.


 * Delacroix** Maybe you’re right. Never mind, I will finish paying for this lovely jewel.


 * Faustus** It is very lovely. I’ll take it.

[ //Snatch it]//


 * Delacroix** What was that? Someone has stolen the gem.


 * Jeweler** //Monsieur,// if you try to be coy you will be damned. Pay for the jewel or I will have you arrested.

—– Natalie


 * Delacroix** You must be crazy, common man.


 * Jeweler** Me, crazy? Then tell me where the gem went.


 * Faustus** I enjoy where this is going.


 * Delacroix** didn’t steal it! I swear to God I’m telling the truth.

[**Mephastophilis**: //steals another gem//]


 * Jeweler** You are telling me that the gem I saw minutes ago is somewhere other than your pocket?

[**Mephastophilis**: //hands the gems to Faustus who places them in Delacroix’s back pocket//]


 * Delacroix** ** If you don’t believe me then check for yourself. **

[**Jeweler**: //searches Delacroix’s pockets and discovers the gems//**//.//** Delacroix**: horrified.**// ] //


 * Jeweler** Aha! I may be a common man but I am no thief. I will tell the authorities of your actions.

[**Mistress**: //walks in to see Delacroix being accused of theft//]


 * Delacroix** Sir, I’m sure there is an explanation for this.


 * Mistress** ** Mister ** Delacroix! How could you? If you are so wealthy then why must you steal?


 * Delacroix** I have been set up! Even though you’re blaming me, I am a man of perfect integrity, who fears God and avoids evil. I have never stolen anything because I have no need to.

——Harrison


 * Faustus:** Perfect integrity? Is that not his mistress… Not his wife that he is buying this lavish gift for?


 * Mephastophilis:** Like I said, they are all damned in some way or another. If he wasn’t careful I’d take his soul right this instant.


 * Faustus:** Let make him dance a little shall we?

//(The jeweler is standing behind the counter reaching for the phone to call the police. Just as Delacroix is about to explain to his mistress what was happening he catches a glimpse of the jewel on the desk next to her)//


 * Delacroix:** Ah! There it is!

//(Delacroix reaches for it but in a flash in disappears again. He trips over his own feet into his mistress out of shock and embarrassment)//


 * Mistress:** You are out of your mind!


 * Delacroix:** I swear it was right there! I am no thief, I-

//(Interrupted by another glimpse of the precious gem by her feet, he dives for it so as to catch it before it disappears. Within two seconds they are both crashing onto the floor and the jewel is nowhere to be seen)//


 * Mistress:** WHAT DO YOU THINK YOU ARE DOING! You idiot! Help me off the floor. Have you lost your mind?!


 * Jeweler:** First to steal in front of my own eyes twice! And now pushing ladies? That is it. We are waiting here until they come to drag your ass to hell where you belong!

//(the Jeweler grabs Delacroix by the collar and Delacroix is now too ashamed to say another word)//


 * Faustus:** What a simple minded human being, he’s lucky we don’t do this to him every day for the rest of his life! Hahahaha.

(Kayla)

[//enter several police officers//]


 * Officer 1** Come on, sir. You’re under arrest.


 * Delacroix** I didn’t steal anything! I’m innocent!


 * Faustus** I’ll steal some more of the jewels, and you should too, Mephistopheles.

[**//Faustus//** //steals a handful of gems, **Mephastophilis** does the same//]


 * Officer 2** We’ll see. Come along quietly now.


 * Delacroix** Okay.

[**//Delacroix//** //is brought before a judge; the **jeweler** follows, **Faustus** and **Mephistopheles** follow invisibly//]


 * Officer 1** Your honor, this man stands accused of grand theft of several jewels.


 * Judge** What does he have to say in his defense?


 * Delacroix** I’m innocent! It was a setup, they’re trying to destroy the reputation of a virtuous man!


 * Jeweler** What, you? You’re not virtuous at all! You’re cheating on your wife! Thief! Lecherous adulterer!


 * Delacroix** I would be very grateful if you dismissed their slanderous claims…


 * Judge** How dare you try to bribe me! I seriously doubt your innocence. If you were as virtuous as you claim, you would never try that.


 * Delacroix** I wasn’t trying to bribe you! I just wanted you to know that I would not be ungrateful.


 * Faustus** Mephistopheles, slip a few jewels into Delacroix’s pocket. We’ll get him in deep sh!t.

–— Elizabeth


 * Delacroix** Your honor, I have never stolen in my life. I’m rich enough that I have no need to.


 * Judge** Do you have any proof of your innocence?


 * Faustus** Your honor, my name is Faustus. I assure you, he is definitely a thief. Even now he has stolen gems in his pockets!

//[**Faustus** walks forward; he reaches into **Delacroix’s** pockets, revealing the jewels as he pulls out his hand//]


 * Faustus** You see, he is a thief and a liar!


 * Jeweler** You b@$t@rd! I’ll have your head for this, Delacroix!


 * Judge** That proves it. Take him away, officers.


 * Delacroix** No, I’m innocent! Do ’t take me to jail! Noooooooo!

[**//Delacroix//** //is dragged away//]

connections, and he would have left with more of my jewels in his pockets! How can I ever repay you?
 * Jeweler** Thank you, Faustus. I feared that Delacroix would escape just because of his money and


 * Faustus** There’s no need. It was nothing.


 * Jeweler** No, I insist! Take these gems as thanks.


 * Faustus** Very well.

[//the gems join the others in his pocket//]


 * Jeweler** Farewell, Faustus. Go with God.


 * Faustus** Goodbye.


 * Mephastopheles** You shall never again go with God if you do not repent.


 * Faustus** What do I care?

—— Rachel

<span style="background-color: #6d0303; color: #ffffff; display: block; font-family: 'Palatino Linotype','Book Antiqua',Palatino,serif; font-size: 144%; text-align: center;">Works Cited <span style="font-family: Arial,Helvetica,sans-serif;">"Colonial Period- Punishment." //<span style="font-family: Arial,Helvetica,sans-serif;">Jrank // <span style="font-family: Arial,Helvetica,sans-serif;">. Jrank, n.d. Web. 10 May 2010. <http://law.jrank.org/pages /11883/Colonial-Period-Punishment.html>.

<span style="font-family: Arial,Helvetica,sans-serif;">"Crime and Punishment in Elizabethan England," EyeWitness to History, www.eyewitnesstohistory.com (2001).

“Elizabethan Architecture.” Elizabethan England Life. Sarkis, 29 June. 2008. Web. 8 May. 2010.

<span style="font-family: Arial,Helvetica,sans-serif; font-size: 12pt;">Engel, Wilson F., III <span style="font-family: Arial,Helvetica,sans-serif;">. “Sculpture and the Art in Elizabethan and Jacobean Drama." Modern Language Studies 10.2 (1980): page 3-9. MLA International Biography. Web. 12 Feb.2010.

Gormley, Larry. “Wars of the Roses.” Gormley, Larry, 2008. Web. 8 May. 2010.

Streete, Adrian. "Calvinist conceptions of Hell in Marlowe’s Doctor Faustus." //<span style="font-family: Arial,Helvetica,sans-serif;">ProQuest // <span style="font-family: Arial,Helvetica,sans-serif;"> 47.4 (2000): 1-3. Web. 9 May 2010. <http://proquest.umi.com/pqdwebindex=32&did=67295545& SrchMode=1&sid=4&Fmt=3&VInst=PROD&VType=PQD&RQT=309&VName=PQD& TS=1273458577&clientId=17862>.

Voorhies, James. “Elizabethan England.” The Metropolitan Museum of Art, n.d. Web. 8 May. 2010.

"Doctor Faustus (play)." Wikipedia, 27 April 2010. Web. 1 May. 2010.

** Government organization, Monarchy and Identity **
Younger, Neil. "William Lambarde on the politics of enforcement in Elizabethan England." //Blackwell Publishing// 83.219 (2010): 69-82. Web. 10 May 2010. <http://web.ebscohost.com.libproxy.sdsu.edu/ehost/detail?vid=7&hid=9& sid=9bd23b21-5335-47e5-af50-19acc4d53cfd%40sessionmgr4& bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=hia&AN=46767221#db=hia&AN=46767221>.

First,. "Elizabethan Government." //Wikipedia//. N.p., n.d. Web. 10 May 2010. <http://en.wikipedia.org /wiki/Elizabethan_government>.

Briscoe, Alexandra. "Elizabeth I: An Overview." //BBC// (2009): n. pag. Web. 10 May 2010. <http://www.bbc.co.uk/history/british/tudors/elizabeth_i_01.shtml>.

"Elizabeth I (1558-1603 AD)." //Brittania//. Design and Development by SightLines, Inc., 2007. Web. [].<span style="font-family: 'Times New Roman','serif'; font-size: 12pt; line-height: 200%;"> Oates Rosamund. “Catholicism, conformity, and the community in the Elizabethan Diocese in Durham” Northern History 43.1 (2006): 53-76. Print. “English Reformation” Wikipedia.com. Wikipedia, n.d. web. n.d.

Lenker, Lagretta. "Looking for Christopher Marlowe." //College Literature// 34.1 (2007): 213-222. Web. 1 February 2010.