Marlowe, Christopher. Doctor Faustus. 2d edn. Eds. David Scott Kastan and Matthew Hunter. Norton Critical Edition. New York: W. W. Norton, 2023. ISBN 978-1-324-043-86-7.
Reviewed by Pauline Goodson
Christopher Marlowe’s Doctor Faustus (1604) is one of the most enduring works of the English Renaissance, exploring themes of ambition, spirituality, damnation, and, of course, the supernatural. While the origination of the term “Faustian pact” may be lost to most in modern times, its continued use in colloquial conversation even centuries later illustrates the lasting impact of Marlowe’s masterpiece. The second Norton Critical Edition, edited by David Scott Kastan and Matthew Hunter, offers readers not only the full text of the play in two versions but also a broad array of critical and historical commentary. This edition is particularly valuable for both newcomers and scholars, as it delves thoroughly into the play’s and playwright’s histories, complexities, and the centuries-long assessment of each.
First performed in the late sixteenth century, Doctor Faustus tells the tragic story of a renowned German scholar, Dr. Faustus, who is discontented with the limitations of earthly scholarship and signs away his soul to the devil in exchange for twenty-four years of occult powers and knowledge. As Faustus indulges in worldly pleasures with the aid of the demon Mephistopheles, his fate becomes increasingly daunting and real. At his tragic end, the audience contemplates morality, the limits of human knowledge, and, quite simply, the inevitable consequences of making bargains with the devil, so to speak (the “Faustian pact”). Marlowe’s tale of hubris and spiritual despair still resonates today, and on top of that, the added critical materials in this edition allow for a deeper understanding of the play in its original context.
A major component of the enduring relevance of Marlowe’s 400-year-old play is the complexity and intrigue of its main character. Faustus is a deeply conflicted character, driven by both an audacious thirst for knowledge and a more subtle but evident desire for power. This characterization is enduring and can be recognized in modern individuals of prominence. Faustus’s uncertainty of what follows death, and, therefore, the consequences of one’s decisions in life, presents itself throughout the play. His regret and fear become more palpable the closer he is to his demise, which is a striking one as its brutality introduces a real horror that Faustus’s doubt had made ambiguous until that point. The ending also illustrates an enduring truth that no matter how ambitious or powerful we are in life, humans are destined to die and discover what follows. In this case, the devilish consequences of bartering one’s soul reflect the beliefs of Marlowe’s contemporaries. This edition’s supplementary materials discuss the play’s connection to Renaissance humanism and the Protestant Reformation, enhancing the reader’s understanding of Faustus as a character of Marlowe’s time, caught between religion and intellectual ideologies. The character of Mephistopheles, in contrast to Faust, serves as both a tempter and a tragic figure in his own right, having been condemned to eternal hell through his alliance with Lucifer’s rebellion. The interplay between Faustus’s mortal, internal struggles and the supernatural, external manipulations of Mephistopheles serves as a key tension throughout the play and reflects the complex spiritual battles often associated with thoughts on the salvation or damnation of the human soul.
In alignment with these themes of complexity and tension, there is more than one way to read Doctor Faustus: the editors provided two versions of the famous play, one of which is considered the original piece written by Marlowe (A-text) and the other is an edited version by his contemporaries (B-text) that noticeably elongates the play. The editors introduce these versions as independent pieces meant to inspire different reading experiences. They are brief and clear in their intentions for the reader’s experience, which I believe is helpful priming for an experienced reader of English Renaissance plays. A scholar or avid reader would be able to identify the differences concisely explained by the editorial introduction, and, therefore, notice the unique contributions each makes to the reader’s understanding of the play’s themes. A less familiar reader, on the other hand, might benefit from engaging with the context and criticism before delving into the main texts, similar to how Shakespeare, whose prominence arose not long after Marlowe, is introduced to modern students. These materials would better facilitate a novice reader’s comprehension of the play’s contents and the significant differences of the A- and B-texts.
Overall, I found this critical edition of Doctor Faustus to be an engaging read. The combination of the play’s text with historical context and critical essays made it an intellectually enriching experience, as well as an amusing one at times. While the language and themes of the play can be challenging for novice readers, the accompanying materials provide a deeper insight into Marlowe’s work and a chance to approach the text with diverse perspectives and intentions. I would highly recommend this edition to casual literature fans as well as instructors who want to give students ample opportunity to explore the complexities of the play, its author, and its reception. Doctor Faustus remains a powerful exploration of human ambition and the consequences of overreaching, and this second Norton Critical Edition offers a comprehensive look at Marlowe’s masterpiece, providing both novice readers and scholars with the tools to appreciate it.
Pauline Goodson, Ph.D. is a full-time postdoctoral research associate in the Psychological Sciences department at Rice University, and a part-time reader of classical literature.
Cover image: From the Archive of the British Library, Shelfmark 638.i.23
This review was solicited by SEL Studies in English Literature 1500–1900. A review copy of Doctor Faustus (Norton, 2023) was provided by the publisher.