Think’st thou that Faustus is so fond to imagine
That after this life there is any pain?
Tush, these are trifles and mere old wives’ tales.
(See quotations,p. )
Faustus begins to waver in his conviction to sell his soul. The good angel tells him to abandon his plan and “think of heaven, and heavenly things,” but he dismisses the good angel’s words, saying that God does not love him (
Faustus decides to make the bargain, and he stabs his arm in order to write the deed in blood. However, when he tries to write the deed his blood congeals, making writing impossible. Mephastophilis goes to fetch fire in order to loosen the blood, and, while he is gone, Faustus endures another bout of indecision, as he wonders if his own blood is attempting to warn him not to sell his soul. When Mephastophilis returns, Faustus signs the deed and then discovers an inscription on his arm that reads “Homo fuge,” Latin for “O man, fly” (
After he turns in the deed, Faustus asks his new servant where hell is located, and Mephastophilis says that it has no exact location but exists everywhere. He continues explaining, saying that hell is everywhere that the damned are cut off from God eternally. Faustus remarks that he thinks hell is a myth. At Faustus’s request for a wife, Mephastophilis offers Faustus a she-devil, but Faustus refuses. Mephastophilis then gives him a book of magic spells and tells him to read it carefully.
Faustus once again wavers and leans toward repentance as he contemplates the wonders of heaven from which he has cut himself off. The good and evil angels appear again, and Faustus realizes that “[m]y heart’s so hardened I cannot repent!” (
Meanwhile, Robin, a stablehand, has found one of Faustus’s conjuring books, and he is trying to learn the spells. He calls in an innkeeper named Rafe, and the two go to a bar together, where Robin promises to conjure up any kind of wine that Rafe desires.
Even as he seals the bargain that promises his soul to hell, Faustus is repeatedly filled with misgivings, which are bluntly symbolized in the verbal duels between the good and evil angels. His body seems to rebel against the choices that he has made—his blood congeals, for example, preventing him from signing the compact, and a written warning telling him to fly away appears on his arm. Sometimes Faustus seems to understand the gravity of what he is doing: when Lucifer, Belzebub, and Mephastophilis appear to him, for example, he becomes suddenly afraid and exclaims, “O Faustus, they are come to fetch thy soul!” (
Amid all these signs, Faustus repeatedly considers repenting but each time decides against it. Sometimes it is the lure of knowledge and riches that prevents him from turning to God, but other times it seems to be his conviction—encouraged by the bad angel and Mephastophilis—that it is already too late for him, a conviction that persists throughout the play. He believes that God does not love him and that if he were to fly away to God, as the inscription on his arm seems to advise him to do, God would cast him down to hell. When Faustus appeals to Christ to save his soul, Lucifer declares that “Christ cannot save thy soul, for he is just,” and orders Faustus to cease thinking about God and think only of the devil (
At the same time, though, Faustus’s earlier blindness persists. We can see it in his delighted reaction to the appalling personifications of the Seven Deadly Sins, which he treats as sources of entertainment rather than of moral warning. Meanwhile, his willingness to dismiss the pains of hell continues, as he tells Mephastophilis that “I think hell’s a fable / . . . / Tush, these are trifles and mere old wives’ tales” (
Once Faustus has signed away his soul, his cosmos seems to become inverted, with Lucifer taking the place of God and blasphemy replacing piety. After Faustus has signed his deed, he swears by Lucifer rather than God: “Ay, take it; and the devil give thee good on’t” (
Meanwhile, the limits of the demonic gifts that Faustus has been given begin to emerge. He is given the gift of knowledge, and Mephastophilis willingly tells him the secrets of astronomy, but when Faustus asks who created the world, Mephastophilis refuses to answer. The symbolism is clear: all the worldly knowledge that Faustus has so strongly desired points inexorably upward, toward God. The central irony, of course, is that the pact he has made completely detaches him from God. With access to higher things thus closed off, Faustus has nowhere to go but down.