Doctor Faustus (Marlowe) Summary
Doctor Faustus, a talented German scholar at Wittenburg, rails against the limits of human
knowledge. He has learned everything he can learn, or so he thinks, from the conventional
academic disciplines. All of these things have left him unsatisfied, so now he turns to magic. A
Good Angle and an Evil Angel arrive, representing Faustus' choice between Christian conscience
and the path to damnation. The former advises him to leave off this pursuit of magic, and the
latter tempts him. From two fellow scholars, Valdes and Cornelius, Faustus learns the
fundamentals of the black arts. He thrills at the power he will have, and the great feats he'll
perform. He summons the devil Mephostophilis. They flesh out the terms of their agreement,
with Mephostophilis representing Lucifer. Faustus will sell his soul, in exchange for twenty-four
years of power, with Mephostophilis as servant to his every whim.
In a comic relief scene, we learn that Faustus' servant Wagner has gleaned some magic learning.
He uses it to convince Robin the Clown to be his servant.
Before the time comes to sign the contract, Faustus has misgivings, but he puts them aside.
Mephostophilis returns, and Faustus signs away his soul, writing with his own blood. The words
"Homo fuge" ("Fly, man) appear on his arm, and Faustus is seized by fear. Mephostophilis
distracts him with a dance of devils. Faustus requests a wife, a demand Mephostophilis denies,
but he does give Faustus books full of knowledge.
Some time has passed. Faustus curses Mephostophilis for depriving him of heaven, although he
has seen many wonders. He manages to torment Mephostophilis, he can't stomach mention of
God, and the devil flees. The Good Angel and Evil Angel arrive again. The Good Angel tells him
to repent, and the Evil Angel tells him to stick to his wicked ways. Lucifer, Belzebub, and
Mephostophilis return, to intimidate Faustus. He is cowed by them, and agrees to speak and think
no more of God. They delight him with a pageant of the Seven Deadly Sins, and then Lucifer
promises to show Faustus hell. Meanwhile, Robin the Clown has gotten one of Faustus' magic
books.
Faustus has explored the heavens and the earth from a chariot drawn by dragons, and is now
flying to Rome, where the feast honoring St. Peter is about to be celebrated. Mephostophilis and
Faustus wait for the Pope, depicted as an arrogant, decidedly unholy man. They play a series of
tricks, by using magic to disguise themselves and make themselves invisible, before leaving.
The Chorus returns to tell us that Faustus returns home, where his vast knowledge of astronomy
and his abilities earn him wide renown. Meanwhile, Robin the Clown has also learned magic,
and uses it to impress his friend Rafe and summon Mephostophilis, who doesn't seem too happy
to be called.
At the court of Charles V, Faustus performs illusions that delight the Emperor. He also
humiliates a knight named Benvolio. When Benvolio and his friends try to avenge the
humiliation, Faustus has his devils hurt them and cruelly transform them, so that horns grow on
their heads.
Faustus swindles a Horse-courser, and when the Horse-courser returns, Faustus plays a
frightening trick on him. Faustus then goes off to serve the Duke of Vanholt. Robin the Clown,
his friend Dick, the Horse-courser, and a Carter all meet. They all have been swindled or hurt by
Faustus' magic. They go off to the court of the Duke to settle scores with Faustus.
Faustus entertains the Duke and Duchess with petty illusions, before Robin the Clown and his
band of ruffians arrives. Faustus toys with them, besting them with magic, to the delight of the
Duke and Duchess.
Faustus' twenty-four years are running out. Wagner tells the audience that he thinks Faustus
prepares for death. He has made his will, leaving all to Wagner. But even as death approaches,
Faustus spends his days feasting and drinking with the other students. For the delight of his
fellow scholars, Faustus summons a spirit to take the shape of Helen of Troy. Later, an Old Man
enters, warning Faustus to repent. Faustus opts for pleasure instead, and asks Mephostophilis to
bring Helen of Troy to him, to be his love and comfort during these last days. Mephostophilis
readily agrees.
Later, Faustus tells his scholar friends that he is damned, and that his power came at the price of
his soul. Concerned, the Scholars exit, leaving Faustus to meet his fate.
As the hour approaches, Mephostophilis taunts Faustus. Faustus blames Mephostophilis for his
damnation, and the devil proudly takes credit for it. The Good and Evil Angel arrive, and the
Good Angel abandons Faustus. The gates of Hell open. The Evil Angel taunts Faustus, naming
the horrible tortures seen there.
The Clock strikes eleven. Faustus gives a final, frenzied monologue, regretting his choices. At
midnight the devils enter. As Faustus begs God and the devil for mercy, the devils drag him
away. Later, the Scholar friends find Faustus' body, torn to pieces.
Epilogue. The Chorus emphasizes that Faustus is gone, his once-great potential wasted. The
Chorus warns the audience to remember his fall, and the lessons it offers.
PARADISE LOST ~ A BRIEF SUMMARY
. � 1999 . New Arts Library . All rights reserved
The following summary is copyright protected. It may be quoted in part or whole, so long as the source is credited, which is NEW ARTS LIBRARY.
INTRODUCTION
Paradise Lost is about Adam and Eve--how they came to be created and how they came to lose
their place in the Garden of Eden, also called Paradise. It's the same story you find in the first
pages of Genesis, expanded by Milton into a very long, detailed, narrative poem. It also includes
the story of the origin of Satan. Originally, he was called Lucifer, an angel in heaven who led his
followers in a war against God, and was ultimately sent with them to hell. Thirst for revenge led
him to cause man's downfall by turning into a serpent and tempting Eve to eat the forbidden
fruit.
SUMMARY
The story opens in hell, where Satan and his followers are recovering from defeat in a war they
waged against God. They build a palace, called Pandemonium, where they hold council to
determine whether or not to return to battle. Instead they decide to explore a new world
prophecied to be created, where a safer course of revenge can be planned. Satan undertakes the
mission alone. At the gate of hell, he meets his offspring, Sin and Death, who unbar the gates for
him. He journeys across chaos till he sees the new universe floating near the larger globe which
is heaven. God sees Satan flying towards this world and foretells the fall of man. His Son, who
sits at his right hand, offers to sacrifice himself for man's salvation. Meanwhile, Satan enters the
new universe. He flies to the sun, where he tricks an angel, Uriel, into showing him the way to
man's home.
Satan gains entrance into the Garden of Eden, where he finds Adam and Eve and becomes
jealous of them. He overhears them speak of God's commandment that they should not eat the
forbidden fruit. Uriel warns Gabriel and his angels, who are guarding the gate of Paradise, of
Satan's presence. Satan is apprehended by them and banished from Eden. God sends Raphael to
warn Adam and Eve about Satan. Raphael recounts to them how jealousy against the Son of God
led a once favored angel to wage war against God in heaven, and how the Son, Messiah, cast him
and his followers into hell. He relates how the world was created so mankind could one day
replace the fallen angels in heaven.
Satan returns to earth, and enters a serpent. Finding Eve alone he induces her to eat the fruit of
the forbidden tree. Adam, resigned to join in her fate, eats also. Their innocence is lost and they
become aware of their nakedness. In shame and despair, they become hostile to each other. The
Son of God descends to earth to judge the sinners, mercifully delaying their sentence of death.
Sin and Death, sensing Satan's success, build a highway to earth, their new home. Upon his
return to hell, instead of a celebration of victory, Satan and his crew are turned into serpents as
punishment. Adam reconciles with Eve. God sends Michael to expel the pair from Paradise, but
first to reveal to Adam future events resulting from his sin. Adam is saddened by these visions,
but ultimately revived by revelations of the future coming of the Savior of mankind. In sadness,
mitigated with hope, Adam and Eve are sent away from the Garden of Paradise.
man's home.
Satan gains entrance into the Garden of Eden, where he finds Adam and Eve and becomes
jealous of them. He overhears them speak of God's commandment that they should not eat the
forbidden fruit. Uriel warns Gabriel and his angels, who are guarding the gate of Paradise, of
Satan's presence. Satan is apprehended by them and banished from Eden. God sends Raphael to
warn Adam and Eve about Satan. Raphael recounts to them how jealousy against the Son of God
led a once favored angel to wage war against God in heaven, and how the Son, Messiah, cast him
and his followers into hell. He relates how the world was created so mankind could one day
replace the fallen angels in heaven.
Satan returns to earth, and enters a serpent. Finding Eve alone he induces her to eat the fruit of
the forbidden tree. Adam, resigned to join in her fate, eats also. Their innocence is lost and they
become aware of their nakedness. In shame and despair, they become hostile to each other. The
Son of God descends to earth to judge the sinners, mercifully delaying their sentence of death.
Sin and Death, sensing Satan's success, build a highway to earth, their new home. Upon his
return to hell, instead of a celebration of victory, Satan and his crew are turned into serpents as
punishment. Adam reconciles with Eve. God sends Michael to expel the pair from Paradise, but
first to reveal to Adam future events resulting from his sin. Adam is saddened by these visions,
but ultimately revived by revelations of the future coming of the Savior of mankind. In sadness,
mitigated with hope, Adam and Eve are sent away from the Garden of Paradise.
A Christmas Carol Summary
Ebenezer Scrooge, a miserly, cold-hearted creditor, continues his stingy, greedy ways on
Christmas Eve. He rejects a Christmas dinner invitation, and all the good tidings of the holiday,
from his jolly nephew, Fred; he yells at charity workers; and he overworks his employee, Bob
Cratchit. At night, Scrooge's former partner Jacob Marley, dead for seven years, visits him in the
form of a ghost. Marley's spirit has been wandering since he died as punishment for being
consumed with business and not with people while alive. He has come to warn Scrooge and
perhaps save him from the same fate. He tells him Three Spirits will come to him over the next
three nights.
Scrooge falls asleep and wakes up to find the Ghost of Christmas Past, a small, elderly figure.
The Ghost shows Scrooge scenes from the past that trace Scrooge's development from a young
boy, lonely but with the potential for happiness, to a young man with the first traces of greed that
would deny love in his life. Scrooge shows newfound emotion when revisiting these scenes,
often crying from identification with his former neglected self.
Scrooge goes to sleep and is awakened by the Ghost of Christmas Present, a giant with a life
span of one day. He shows Scrooge several current scenes of Christmas joy and charity, then
shows him the Cratchit household. The Ghost informs Scrooge that unless the future is changed,
the Cratchit's crippled and good-hearted young son, Tiny Tim, will die. He also shows Scrooge
the party at Fred's house. Finally, a ragged boy and girl crawl out from the Ghost's robes. The
Ghost calls them Ignorance and Want and warns Scrooge to beware of Ignorance.
The silent, black-clad Ghost of Christmas Yet To Come replaces the other ghost. He shows
Scrooge several scenes of people discussing someone's death; no one seems pained by the death,
and most are happy about it. Scrooge does not know, however, who the man is. He learns that
Tiny Tim has died, but the Cratchits maintain their unity and love. Scrooge finally discovers that
he is the one who has died and whose death has only pleased people. He expresses the hope that
these scenes of the future can be changed, and vows to incorporate the lessons of the past,
present, and future into his adoption of the Christmas spirit.
Scrooge wakes up in his bedroom and learns that the whole adventure took only one night, not
threeit is Christmas Day. In addition to smiling and being friendly to everyone he sees, he sends
a large turkey to the Cratchits, gives a sizable donation to the charity worker he previously
insulted, and has a wonderful time at Fred's party. The next day he gives Cratchit a raise.
Scrooge continues his kindly ways after Christmas, befriending everyone and becoming a second
father to Tiny Tim, who does not die. He never sees the ghosts again, but he keeps the spirit of
Christmas alive in his heart as well as anyone.
Tennyson's Poems Summary and Analysis of
"Crossing the Bar"
The sunset and evening star have come; it is time to go to sea. The fullness of the tide will
peacefully draw home the speaker. Soon it is even later: twilight and the evening bell, and then
darkness. It truly is time to go, without sadness. The stream may take him far beyond “Time and
Place,” hopefully to his ultimate destination where he will see his “Pilot face to face” after
crossing the bar.
Analysis
This short but evocative poem is often placed at the end of volumes of Tennyson’s poems, as he
requested. He wrote it in 1889 when he was 80 years old and recovering from a serious illness at
sea, crossing the Solent from Aldworth to Farringford on the Isle of Wight, off the mainland of
England. It is said that Tennyson composed it in twenty minutes. Tennyson’s illness and old age
may have contributed to this very personal and memorable meditation on death.
The poem contains four stanzas of four lines each, with a traditional ABAB rhyme scheme. It is
written as an elegy, utilizing an extended metaphor of a sailor crossing the sandbar between the
tidal area and the sea to represent a human being passing from life to existence beyond death.
The poem opens by evoking the fall of night, a reference to the poet being in the twilight of his
years. The evening star points his way, and he feels the “clear call” of death. He is almost ready;
the poem is tinged with excitement and acceptance. He expects the tide will be full, carrying him
smoothly and peacefully out of life, just as it carried him in. This process reflects his internal
contentment with his absorption into the natural process of life and death. There should be “no
moaning” when the time finally comes.
In the last two stanzas, the time has come; it is moments away from darkness. He expects no
sadness, whether it is his or that of others, when he departs. The reason not to mourn is that he
has hope to see his Pilot, that is, God, face to face once he has passed into the afterlife.
As many critics and readers have observed, this poem contains many of the same themes and
images that the poet has used throughout his oeuvre. There is the sea voyage, the solitary
mariner, the patterns of life and death, and the setting sun. Thus it combines themes from
“Ulysses” and “Tithonus,” as well as other poems (including an allusion to Donne’s “Meditation
17,” from which “For Whom the Bell Tolls” is taken), to provide a final statement about death.
In “Ulysses,” the hero yearns for life despite approaching death and fights vigorously against the
quiet, complacent passing into the afterlife or even the nothingness that Tithonus would
welcome. As critic David Sonstroem notes, “Tithonus” is about “rest and stasis rather than
adventure and motion, where “adventure or aspiration is undesirable and unnatural.” Tithonus
can no longer appreciate the journey or contemplate his existence with any hopefulness, whereas
the poet of “Crossing the Bar” expresses optimism because he not only will reach the end but
also may find what lies beyond.
Indeed, in “Crossing the Bar,” death is peaceful and natural, a welcome and fitting pause to a life
lived well. In other poems that use a sea voyage as a metaphor for death, Tennyson presents it as
more disturbing, more confusing; “The Lady of Shalott,” “Morte d’Arthur,” and “Lancelot and
Elaine” are all examples of the poet not yet seeing such a voyage as peaceful. Sonstroem writes
that “all these contradictions [among the earlier poems] vanish, yet all the allusions to the earlier
poems retain their relevance: Tithonus’ longing for death is to be granted, yet the death is seen in
terms of Ulysses’ desire—a sea-voyage of discovery.”
Some writers have chosen to see a bit of Hallam in the Pilot; after all, reflecting on his friend
Hallam's death guided so many of Tennyson’s thoughts about death. But given Tennyson’s
cultural context, it is very likely that the identity of the Pilot is the Christian God. Jesus is
considered the pilot of the Church and guides the Christian’s life. Seeing God face to face is a
Biblical theme. Furthermore, the wordplay of “crossing” a “bar” suggests the cross of Jesus, the
transformational event that, in Christianity, enables people to be reconciled to God and reach
Heaven, which is beyond the Earth’s “Time and Place.”
Sunset and evening star
And one clear call for me!
And may there be no moaning of the bar,
When I put out to sea,
But such a tide as moving seems asleep,
Too full for sound and foam,
When that which drew from out the boundless deep
Turns again home.
Twilight and evening bell,
And after that the dark!
And may there be no sadness of farewell,
When I embark;
For though from out our bourne of Time and Place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crossed the bar.
Summary
The speaker heralds the setting of the sun and the rise of the evening star, and hears that he is
being called. He hopes that the ocean will not make the mournful sound of waves beating against
a sand bar when he sets out to sea. Rather, he wishes for a tide that is so full that it cannot
contain sound or foam and therefore seems asleep when all that has been carried from the
boundless depths of the ocean returns back out to the depths.
The speaker announces the close of the day and the evening bell, which will be followed by
darkness. He hopes that no one will cry when he departs, because although he may be carried
beyond the limits of time and space as we know them, he retains the hope that he will look upon
the face of his “Pilot” when he has crossed the sand bar.
Form
This poem consists of four quatrain stanzas rhyming ABAB. The first and third lines of each
stanza are always a couple of beats longer than the second and fourth lines, although the line
lengths vary among the stanzas.
Commentary
Tennyson wrote “Crossing the Bar” in 1889, three years before he died. The poem describes his
placid and accepting attitude toward death. Although he followed this work with subsequent
poems, he requested that “Crossing the Bar” appear as the final poem in all collections of his
work.
Tennyson uses the metaphor of a sand bar to describe the barrier between life and death. A
sandbar is a ridge of sand built up by currents along a shore. In order to reach the shore, the
waves must crash against the sandbar, creating a sound that Tennyson describes as the “moaning
of the bar.” The bar is one of several images of liminality in Tennyson’s poetry: in “Ulysses,” the
hero desires “to sail beyond the sunset”; in “Tithonus”, the main character finds himself at the
“quiet limit of the world,” and regrets that he has asked to “pass beyond the goal of ordinance.”
The other important image in the poem is one of “crossing,” suggesting Christian connotations:
“crossing” refers both to “crossing over” into the next world, and to the act of “crossing” oneself
in the classic Catholic gesture of religious faith and devotion. The religious significance of
crossing was clearly familiar to Tennyson, for in an earlier poem of his, the knights and lords of
Camelot “crossed themselves for fear” when they saw the Lady of Shalott lying dead in her boat.
The cross was also where Jesus died; now as Tennyson himself dies, he evokes the image again.
So, too, does he hope to complement this metaphorical link with a spiritual one: he hopes that he
will “see [his] Pilot face to face.”
