Misused Power: Supporting Characters and Parallel Themes in Doctor Faustus
Written March 15, 2005

Power corrupts, and absolute power corrupts absolutely.

While Lord Acton’s renowned warning doesn’t dominate Marlowe’s Doctor Faustus, it certainly resonates in the text. Faustus’ downward spiral into damnation is fuelled by repeated misuse of the great powers that he has exchanged his soul for, implying that power is a corrupting force amongst humanity. This theme of power misuse is significantly augmented and expanded by a secondary narrative which is steadily developed through the play’s supporting characters – those who possess power and those who do not. As the text progresses and Faustus’ goals slide from grandiose and ambitious to finicky and base, the characters around him demonstrate parallel abuses of power in their words and actions, revealing and emphasizing the important concept of human power corruption in the play. This secondary narrative is developed through three distinct sections of Doctor Faustus, each of which focuses on a different example of power misuse: the haughty, vengeful Pope who demonstrates that even holy power can corrupt, the hypocritical German Emperor who loves power for its own sake, regardless of its origin, and the frivolous Duke who delights in silly displays and amenities. Each of these powerful characters is accompanied by lesser individuals who suffer at the hands of Faustus’ machinations, clearly demonstrating the repercussions of power misuse. All of these secondary characters play an important role in emphasizing the theme of power corruption within Doctor Faustus, and their parallel narratives bolster the prevailing notion that human beings are susceptible to many different manifestations of control.

While power can be a difficult term to define, the writings of Michel Foucault are useful when addressing the concept within the context of a play such as Doctor Faustus. While many theorists exclusively see power as a system of structures and institutional devices from a macro perspective, Foucault was more interested in the micro-politics of interpersonal actions and relations. In “The Politics of Truth,” Michele Barrett notes that “Foucault saw power … as something that is exercised rather than possessed; it is not attached to agents and interests but is incorporated in numerous practices. Power is not exclusively negative, either, but produces pleasure and meaning as well as more coercive dimensions – why else, asks Foucault, would power be so seductive and powerful?” (Barrett 135). From this analysis of Foucault’s perspective, we can take two helpful perspectives: that power is manifested in the interactions of individuals as well as in large structural regimes, and that power provides enough pleasure that it can easily turn into a negative influence. In fact, Foucault often referred to the “regime of power-knowledge-pleasure” (Foucault 11), intimately linking ideas of power with corresponding values of knowledge and personal pleasure. When Foucault’s concepts are applied to a theatrical text such as Doctor Faustus, power becomes more than just the social station of each character – power is a series of relations exhibited in every action, in each word. Thus the harsh words of the Pope for his befuddled Cardinals can be construed as a power manoeuvre, just as Faustus’ ‘horning’ of Benvolio is a demonstration of power relations in action. And just as Foucault cautions against, the powerful characters in Doctor Faustus inevitably turn their strength to the seductive tasks of excessive pleasure and coercion – misusing power.

Nowhere in the play is power as readily and limitlessly available to a character as it is to Faustus himself. When Faustus comes to comprehend the possibilities at his disposal, he is understandably excited:

Faustus. Sweet Mephostophilis, thou pleasest me.
Whilst I am here on earth let me be cloyed
With all things that delight the heart of man.
My four and twenty years of liberty
I’ll spend in pleasure and in dalliance,
That Faustus’ name, whilst this bright frame doth stand
May be admired through the furthest land. (3.1.58-64)

It is interesting to note that, at this point – directly prior to his encounter with the Pope – Faustus is centred on the idea of his power as a tool for personal pleasure and fame. Yet, when first presented with the notion of satanic power, Faustus is far more grandiose in his plans:

Faustus. Could’st thou make men to live eternally
Or being dead raise them to life again, (1.1.22-23)

Clearly Faustus has contracted the sphere of reality that he intends to influence with his power by the time he travels to Rome , switching from resurrection and eternal life to personal pleasures and fame. As the play progresses, Faustus’ goals become even more mundane and simplistic to the point where he is content to use his power to trick tradesmen out of petty cash. G.K. Hunter notes Faustus’ shrinking ambition in his paper, “Five-Act Structure in Doctor Faustus”. Just as medieval encyclopaedias are divided into hierarchical topics; the Creator, the heavens, the atmosphere, the earth and the individual, Hunter suggests that the five acts in Doctor Faustus are similarly composed. As the text progresses, Faustus’ use of power steadily departs from lofty ideals and becomes increasingly base – falling from the heavens down to the simple pleasures of the physical world. Hunter notes this shrinking ambition: “In each case we have a reduction in the area covered, an increasing remoteness from first causes” (Hunter 172). This overarching theme becomes the framework for parallel narratives of misused power, exhibited by the play’s supporting characters. If Faustus and the use of his powers gradually becomes less ambitious and increasingly trite or malicious as each act passes, so too do the examples of power in the minor characters that surround him on his journey. As Faustus’ corruption in the face of power becomes more and more blatant, the supporting narrative driven by the powerful and powerless on the fringes reveals important degrees of human susceptibility to power which augments the pointed message of Faustus’ own downfall.

The first major encounter with power in a supporting character takes place in Rome , where Faustus comes face to face with the Pope. The Pope is a representation of one of the strongest powers in the world – he represents the Catholic Church and God. However, while the Pope should rightfully appear as a virtuous figure and perhaps take the role of a divine counter to the misdeeds of Faustus’ satanic power, he is portrayed as a harsh and prideful man. This is most clearly demonstrated when he is involved in humiliating Bruno and justifying his unilateral judgement:

Pope. Pope Julius did abuse the church’s rites
And therefore none of his decrees can stand.
Is not all power on earth bestowed on us?
And therefore though we would, we cannot err. (3.1.150-153)

Here the Pope claims supreme power and infallibility through his office but also negates the rulings of his predecessor, who held the same position of power. This is a fallacy, for if the Pope claims that he is infallible by appointment, how can he attack the performance of the man who previously had the same ostensible privileges? These interactions seem to be a means of consolidating personal power in the Vatican , ambitious manoeuvring which quickly leads to misuse of the divine power which the Pope commands. For example, the Pope is quick to level threats of excommunication against Germany , the nation which backed his opposition to the papacy. He haughtily commands that Bruno be forced to act as a footstool so that he can ascend to his seat. He speaks of vengeance and smiting and punishment. By Foucault’s standards, every word the Pope speaks echoes as a signifier of the superior power he possesses and the ways that it can be wielded against others:

Pope. To me and Peter shalt thou grov’lling lie
And crouch before the papal dignity! (3.1.95-96)

The Pope is clearly misusing the power vested in him, solidifying his newly acquired status within the Church. His complete inability to combat Faustus and Mephostophilis, beacons of satanic power where he should be an opposing representative of God, casts doubt on the legitimacy of his power and furthers questions of misuse. Shouldn’t the Pope be capable of countering Faustus’ power? He seems the likeliest choice as the highest figure in the Church. But instead, his power and influence are used to execute bewildered cardinals. The Pope is a powerful example of the corruption which power can bring to anyone, even one whose influence stems from God Himself.

Faustus’ parallel use of power during this portion of the text is interesting. While he engages in the tomfooleries of mocking the Pope, he also chooses to rescue Bruno from the Vatican ’s clutches and sends him safely on his way to Germany . In doing so, he implicates two innocent cardinals who are sentenced to death by the enraged Pope. It is important to note that the actions and consequences at work here are relatively grave: snatching a prisoner from the Church is a significant action and the repercussions of Faustus’ use of power results in two deaths. At this point in the play, the power relations at work are relatively strong: the Pope represents a great deal of worldly influence, even as a supporting character, and Faustus’ actions have significant results and implications on those around him. However, as the text progresses, Faustus’ use of power become increasingly trite and inconsequential and power manifestations seen in those around him become similarly blunted.The next example of power in a supporting character appears in the Emperor of Germany. Following Faustus’ actions in Rome , the Emperor greets Faustus warmly, stating:

Emperor. Thrice-learned Faustus, welcome to our court.
This deed of thine in setting Bruno free
From his and our professed enemy,
Shall add more excellence unto thine art
Than if by powerful necromantic spells
Thou could’st command the world’s obedience.
For ever be beloved of Carolus!
And if this Bruno thou hast late redeemed
In peace possess the triple diadem
And sit in Peter’s chair despite of chance,
Thou shalt be famous through all Italy
And honored of the German Emperor. (4.2.1-13)

This rather lengthy passage immediately establishes the Emperor as a hypocritical figure in a position of power. While he praises Faustus for rescuing Bruno and suggests that one day he may be able to help Bruno become the holiest power in the world, the Pope, the Emperor also recognizes Faustus’ mastery of the black arts. This simultaneous and even-handed acknowledgement of both holy and unholy power reveals a lack of dedication to either – the Emperor respects power, not its source. This hypocrisy casts doubt on the Emperor’s motives and ability to use power appropriately. Shortly after, the Emperor asks Faustus to show him a vision of Alexander and is delighted by its accuracy, exclaiming:

Emperor. Faustus, I see it plain!
And in this sight thou better pleasest me
Than if I gained another monarchy. (4.2.69-71)

The Emperor is delighted by Faustus’ display of unique power in displaying historical figures, to the point where he suggests that it eclipses his own power of monarchy in appeal. However, it is interesting to note that the Emperor makes promises to Faustus of bestowing fame and glory upon him – power relations at work. By suggesting that he can make Faustus famous, the Emperor is asserting his own powerful status and affirming that his mastery over the affairs of Germany is still absolute. Later, when Faustus sprouts horns on Benvolio’s head in a fit of spite, the Emperor expresses delight and approval: “This sport is excellent” (4.2.79). At this point, the Emperor appears to be more impressed by a show of power than the dignity and well-being of his subjects – a demonstration of questionable authority which, coupled with his hypocritical admiration of both holy and unholy force, paints him as a ruler who is preoccupied with power itself. The Emperor is a supporting character who exhibits human susceptibility to power and his interactions with Faustus, whom he sees as a fellow power-monger, reflect this and contribute to a parallel narrative.

Faustus’ personal use of power in this section of the text is noticeably less ambitious than his actions in Rome . He plays tricks, growing horns on the heads of doubters, fooling attackers with a false head and finally ordering demons to thrash the three knights he particularly dislikes. The repercussions of this power misuse are less grave than the deaths of two cardinals: Benvolio, Martino and Frederick are left alive, albeit physically abused and sporting horned heads. Faustus’ power is used more petulantly in this section than during his rescue efforts in Rome , and the consequences are also less extreme. Additionally, the supporting character in this section, the Emperor, possesses less power than the Pope and his misuse of control is less flagrant than the Pope’s haughty threatening. The power relations exhibited by Faustus and those around him are constricting inwards at this point, becoming less potent and more inconsequential.

The final example of power misuse in a supporting character occurs in the Duke of Vanholt. The Duke is portrayed as a silly sort of power wielder, delighting in the amenities provided by the lifestyle and acquaintances that a powerful position offers. In fact, the Duke’s first lines of the play are:

Duke. Thanks master doctor, for these pleasant sights.
Nor know I how sufficiently to recompense your great deserts in erecting that
enchanted castle in the air, the sight whereof so delighted me,
As nothing in the world could please me more. (4.7.1-5)

Like the Emperor, the Duke is clearly fascinated by the frivolous manifestations of power which Faustus uses to demonstrate his status. However, the Duke’s indolence appears to go further still: he and his wife request that Faustus use his power to retrieve grapes. At the end of the scene, when Faustus has silenced all of the tradespeople who are accusing him, the Duke acknowledges the show of power in terms of personal convenience: “His artful sport drives all sad thought away” (4.7.134). All of the Duke’s interactions in the play suggest that he views power as a means to a specific, trite end, as a tool for acquiring all of his finicky, material desires. This serves as a third example of how power can be misused, as a self-serving device, a characterization which runs parallel to Faustus’ own actions. Interestingly enough, even though the Duke is lower in the power structure than the Emperor, he still exerts power when talking to Faustus:

Duke. Do as thou wilt, Faustus, I give thee leave.
Faustus. I thank your Grace. (4.7.57-58)

By giving Faustus permission to use his necromancy, the Duke is affirming his power to control his own environment despite the fact that Faustus certainly commands more strength. At this point, Faustus has been reduced to the comparative status of jester – his role is to amuse. His manifestations of power are superficial and whimsical: he tricks several tradesmen for apparently no reason other than to use his power maliciously, and then leads them on a ludicrous chase after his leg. Finally he chooses to mute them each in turn after toying with them, and mutes the innocent hostess as well, to the delight of the Duke and Duchess. At this point, nearing his demise, Faustus’ power is used for incredibly base and nonsensical reasons – to put on a show. Similarly, the type of power which the Duke seems to respect is that which is centred on his personal comforts. The power relations in the play have reached a significant low and the sphere of influence has contracted tightly around Faustus. Even the victims of power misuse are relatively tame in this section: they have merely been cheated and silenced, whereas previous victims were injured and killed. While there are consequences for supporting characters during each segment of Faustus’ journey, this final encounter demonstrates the growing impotence of his power despite increasingly destructive intentions. The Duke is an example of misused power, but not a very stark one; the tradesmen are examples of victims, but they are barely scratched. As Faustus’ ambitions wane, the supporting narrative of power misuse which runs through the play’s minor characters wanes as well. The power relations that Faustus encounters throughout his journey run parallel to his own decline.

While the three powerful supporting characters share overlapping traits and similar misuses of their authority, the severity of their corruption and magnitude of the power they possess certainly mirrors Faustus’ own narrative. The Pope, the Emperor and the Duke all display evidence of power’s ability to corrupt, and their respective servants demonstrate the repercussions of power misuse to varying degrees. These supporting characters and their relationship with power form a significant and important narrative which accompanies Faustus’ own experiences and, as Hunter suggests, build a scenario of constricting influence, of a declining spiral. Even as Faustus’ own narrative comes to a solitary end, these characters remain as a testament to power’s ability to corrupt humanity. The presence of these minor characters is extremely valuable in revealing and emphasizing this overarching theme within Doctor Faustus.

Works Cited

Barrett, Michele. Excerpts from “History, Discourse, ‘Truth’, and Power: Foucault’s Critique of Ideology” in The Politics of Truth: From Marx to Foucault. Pp. 123-156. Stanford: Stanford UP, 1991.

Foucault, Michel. “We Other Victorians” in The History of Sexuality, Volume 1. Pp. 3-13. New York : Vintage, 1980.

Hunter, G. K. “Five-Act Structure in Doctor Faustus” in Doctor Faustus. Ed. Sylvan Barnet. Pp. 162-179. New York : New American Library, 2001.