Faustus, meanwhile, meets a horse-courser and sells him his horse. Faustus gives the horse-courser a good price but warns him not to ride the horse into the water. Faustus begins to reflect on the pending expiration of his contract with Lucifer and falls asleep. The horse-courser reappears, sopping wet, complaining that when he rode his horse into a stream it turned into a heap of straw. He decides to get his money back and tries to wake Faustus by hollering in his ear. He then pulls on Faustus’s leg when Faustus will not wake. The leg breaks off, and Faustus wakes up, screaming bloody murder. The horse-courser takes the leg and runs off. Meanwhile, Faustus’s leg is immediately restored, and he laughs at the joke that he has played. Wagner then enters and tells Faustus that the Duke of Vanholt has summoned him. Faustus agrees to go, and they depart together.
Robin and Rafe have stopped for a drink in a tavern. They listen as a carter, or wagon-driver, and the horse-courser discuss Faustus. The carter explains that Faustus stopped him on the road and asked to buy some hay to eat. The carter agreed to sell him all he could eat for three farthings, and Faustus proceeded to eat the entire wagonload of hay. The horse-courser tells his own story, adding that he took Faustus’s leg as revenge and that he is keeping it at his home. Robin declares that he intends to seek out Faustus, but only after he has a few more drinks.
At the court of the Duke of Vanholt, Faustus’s skill at conjuring up beautiful illusions wins the duke’s favor. Faustus comments that the duchess has not seemed to enjoy the show and asks her what she would like. She tells him she would like a dish of ripe grapes, and Faustus has Mephastophilis bring her some grapes. (In the B text of Doctor Faustus, Robin, Dick, the carter, the horse-courser, and the hostess from the tavern burst in at this moment. They confront Faustus, and the horse-courser begins making jokes about what he assumes is Faustus’s wooden leg. Faustus then shows them his leg, which is whole and healthy, and they are amazed. Each then launches into a complaint about Faustus’s treatment of him, but Faustus uses magical charms to make them silent, and they depart.) The duke and duchess are much pleased with Faustus’s display, and they promise to reward Faustus greatly.
Faustus’s downward spiral, from tragic greatness to self-indulgent mediocrity, continues in these scenes. He continues his journey from court to court, arriving this time at Vanholt, a minor German duchy, to visit the duke and duchess. Over the course of the play we see Faustus go from the seat of the pope to the court of the emperor to the court of a minor nobleman. The power and importance of his hosts decreases from scene to scene, just as Faustus’s feats of magic grow ever more unimpressive. Just after he seals his pact with Mephastophilis, Faustus soars through the heavens on a chariot pulled by dragons to learn the secrets of astronomy; now, however, he is reduced to playing pointless tricks on the horse-courser and fetching out-of-season grapes to impress a bored noblewoman. Even his antagonists have grown increasingly ridiculous. In Rome, he faces the curses of the pope and his monks, which are strong enough to give even Mephastophilis pause; at the emperor’s court, Faustus is opposed by a collection of noblemen who are brave, if unintelligent. At Vanholt, though, he faces down an absurd collection of comical rogues, and the worst of it is that Faustus seems to have become one of them, a clown among clowns, taking pleasure in using his unlimited power to perform practical jokes and cast simple charms.
Selling one’s soul for power and glory may be foolish or wicked, but at least there is grandeur to the idea of it. Marlowe’s Faustus, however, has lost his hold on that doomed grandeur and has become pathetic. The meaning of his decline is ambiguous: perhaps part of the nature of a pact with Lucifer is that one cannot gain all that one hopes to gain from it. Or perhaps Marlowe is criticizing worldly ambition and, by extension, the entire modern project of the Renaissance, which pushed God to one side and sought mastery over nature and society. Along the lines of this interpretation, it seems that in Marlowe’s worldview the desire for complete knowledge about the world and power over it can ultimately be reduced to fetching grapes for the Duchess of Vanholt—in other words, to nothing.
Earlier in the play, when Faustus queries Mephastophilis about the nature of the world, Faustus sees his desire for knowledge reach a dead end at God, whose power he denies in favor of Lucifer. Knowledge of God is against Lucifer’s kingdom, according to Mephastophilis. But if the pursuit of knowledge leads inexorably to God, Marlowe suggests, then a man like Faustus, who tries to live without God, can ultimately go nowhere but down, into mediocrity.
There is no sign that Faustus himself is aware of the gulf between his earlier ambitions and his current state. He seems to take joy in his petty amusements, laughing uproariously when he confounds the horse-courser and leaping at the chance to visit the Duke of Vanholt. Still, his impending doom begins to weigh upon him. As he sits down to fall asleep, he remarks, “What art thou, Faustus, but a man condemned to die?” (