Chapter iv-b-PhD

Chapter IV - 2nd part + Conclusion PhD

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It is worth nothing that in both ages and societies, the sixteenth and the modern, man is the pivot of any incomprehensible phenomenon. Faustus caused all the evil by his contract with the devil, while Conchis is the same omni power emanating all types of unique and rueful elements and encouraged by the seeker Nicholas "Urfe takes part in the godgame of self-discovery which obviates the, barbarism within his own self-construction." ('Herachtus Against the Barbarians, John Fowles's The Magus', p. 69). The giant is followed by others, more scaring figures such as a witch carrying a dead cat, a man in a fierce crocodile head, a short abnormal wild man, a female figure dressed like a winged vampire, a horrid, ragged black African and a female in three sects fish, woman and bird, in addition to other black shapes moving around like witch doctors in white and black. As Walter Allen commented:

The Magus is concerned with the familiar obsession of modernism - with the hope that beyond the ordinary, contingent and disillusioned world of real life there lies a shifting of classes, the shifting of power, and the effects of these on the assumptions by which men and women live. (Contemporary Literary Criticism Vol. 4, ed: Carolyn Riley 'The Achievement of John Fowles', by Walter Allen in Encounter August, 1970, p. 67).

To add to the frightening atmosphere, the room was suddenly flooded with bright light and the figures started to rip off their masks. There were all races German, British, Scandinavian; elderly intelligent men and young eager students. The unmasked faces looked perfectly normal as the eldest one addressed Nicholas explaining that they were doctors and students of psychology who were requested by Maurice Conchis to share in his experiments. They belonged to various nationalities and looked presentable. Nicholas watched, amazed, shocked and yet wholly interested. The old doctor talked to him in a very polite and illuminating tone:

Well, so, Mr. Urfe, you will have guessed our secret by now. We are an international group of psychologists … For various reasons the path of research in which we are all especially interested requires us to have subjects that are not volunteers that are not even aware that they are subjects of an experiment … it is better that the subject should not even at its conclusion be informed of its purpose. (The Magus, p. 506).

They have recorded all his mental, psychic and physical reactions and reached valuable and important information. They wished to express "our appreciation of the normality you have shown in all the peculiar mazes through which we have made you run." (The Magus, p. 507). This praise meant nothing to Nicholas at the moment since he felt deceived and prohibited from taking an active part or understanding the procedures. He felt like a helpless victim of a vicious web where Conchis was his only master and god. To his surprise they give him the choice to punish them or to vent his rage on one of them whom they call the scape-goat. This is Lily, or, in reality, Dr. Maxwell, whom they tie to a pole and prepare a knotted lash for him to whip her, he may, on the other hand, choose to forgive them and just be set free. Nicholas felt that the idea of flogging Lily was absurd and that he was still being fooled and laughed at. "The whole situation with all its gratuitously sadistic undertones, was a trap a false dilemma." (The Magus, p. 516). He could not inflict such a painful cruel penalty; he hit the whip across the table and handed it to Conchis.

In spite of his rage, despair and frustration he could now return the gaze of all those present in the room; whether real identities or actors, it did not really matter any more.

I sensed a moment of comprehension between all of us, a strange sort of mutual respect; … a dim conviction of having entered some deeper, wiser society than I could without danger speak in … I felt myself almost physically dwindling. (The Magus, p. 519).

Nicholas may have suffered physical pain and humiliation but he learnt to be more modest intellectually and to accept fact and fantasy without the sense of a bragging pride. The rest of his humiliation continued physically, but then Conchis faced him saying "You are now elect, … Learn to smile … it meant: Learn to be cruel, learn to be dry, learn to survive." (The Magus, p. 531). He has gained something worthwhile, which granted him like any Faustian hero: an Omni power. After this culmination of the mysterious game "the godgame in The Magus … a changed Nicholas can confront his world with the knowledge that he too has the power to control the game." ('Herachtus Against the Barbarians, John Fowles's The Magus', p. 70). The whole performance was like a crucifixion that hurts, but left him wiser, free and purged.

With the end of this breathtaking experiment, Nicholas returns to his school, but he is still full of questions and eagerly revisits the villa. He finds it deserted, but he manages to enter one of chambers and discovers various scraps of papers with poems, comments and literary pieces handwritten by Lily; one of them is a fairy story of extreme importance entitled 'The Prince and the Magician'. It relates the adventures of a young prince who was taught by his father not to believe in God or in princesses or even in the presence of islands in this world. One day he left to another country and was surprised to see different islands all around. An old man approached and explained that these were real islands, and the creatures on them were princesses. Consequently, the prince thought that then this old man must be a god. He rushed to his father blaming him for deceiving him; but the father continued the farce by claiming that the old man was merely a magician who made you imagine that there are islands and princesses. On confronting the old man with his father's words, the former told him that it is your father the King who is a magician. The King, later on, admitted this fact saying, " there is no truth beyond magic." (The Magus, p. 552).

This simple story evinced the omni power of Conchis who could alter everything and create an atmosphere of magic and unreality; it was all beyond bounds of reason or logical limits. The multiple symbols exploited by Conchis were stressed further on as Nicholas observed a very interesting thing in an old antique shop window. He saw five old Tarot cards and his attention was promptly drawn to one of them that portrayed a man dressed exactly like Conchis, and under it was written 'the sorcerer'. This reminded him of all that he had passed through, and threw some light on the nature of that man who resorted to all means of magic, hypnotism, art, supernatural, metaphysical, classic or modern schemes to mystify his victims, who, strangely enough, were held in suspense; but in an enjoyable anxiety. Fowles pulls the thread of mystery and confusion through the whole novel, as every chapter ends with an attraction exciting both protagonist and reader.

Nicholas could never give up research concerning Conchis and the twins; he wished to gain more information to alleviate his rage at being exploited and deceived especially by the two girls. In the past, he used to be the one to fool around targeting any girl at his own pleasure. He admits his anger saying, "It's not the lesson. The manner of it." (The Magus, p.627). He was also tricked into believing that his girlfriend Alison had committed suicide, but he discovers that she is still alive, and that she too had shared in the game believing that it was for his advantage. They try to renew their relationship, but to no avail, everything became futile "the world had disappeared and we were falling through space." (The Magus, p. 654). Nicholas attempted to explain his own position as he stood motionless:

Perhaps it had all been to bring me to this, to give me my last lesson and final ordeal … the task of turning lions and unicorns and magi and other mythical monsters into stone statues … It was logical, the perfect climax to the godgame … All waits suspended. (The Magus, p. 655-656).

They end in silence, a continuous waiting in suspense without any tangible solution. Nicholas has passed through mystery, magic, hypnotism, psychological tests and analysis, strange localities and fearsome visions, yet he never gives up the constant curious rush towards the unknown. "In revising the novel Fowles made the thrust of the last chapter even clearer increasing the emphasis on the elements of choice and freedom in the situation of Nicholas Urfe." ('Art, Truth, and John Fowles's The Magus', p. 55). The proud, selfish, arrogant and restless young man had to be cruelly treated by the conjuror in order to achieve a certain maturity even if everything seems elusive at the end. "Nicholas has changed as a result of his experiences in the godgame … He is the judge, he is in control of his own destiny." ('Heractus against the Barbarians, John Fowles's The Magus', p. 85). Nicholas Urfe does not end stronger but humbler and certainly he would look before he leapt into any pit.

The novel ends with the translation of two verses from a Roman lyric poem 'The Celebration of Venus', celebrating spring and love,

Let those love now who've never loved; let those who've loved, love yet again. (Translation of the last lines of The Magus - John Fowles Home Page).

Even this conclusion is a riddle and caused various interpretations by critics and led readers to yearn for more revelations after the six hundred pages of hilarious breath taking events and inexplicable reactions. Fowles himself added to this final mystery when he was asked by a sick dying reader who sent him a letter from hospital and wished Nicholas and Alison to reunite: Fowles answered that they did. Later on, an old woman sent him a horrid letter inquiring about this couple and blaming him for not clarifying the end: he replied that they never saw each other again. This is a quality that renders Fowles a brilliant, classic, modern and remarkable author, whose complicated works offer a challenge as well as an entertainment with an open end.

The hero of The Magus as well as Dr. Faustus sought knowledge and freedom. They both suffered each in his own manner. As mentioned Faustus craved physical pleasures and shut himself from all forms of social or divine forgiveness, while Nicholas's thirst for the mysterious led him to various spiritual and psychological feats. They both had a freedom of choice, Nicholas ends exhausted and worn out mentally but he has matured and learnt to curb the overpowering needs or to be a judge and a master himself. While Faustus's tragedy lies in his final realization of his own limitations his change into a powerless servant of the devil who awaits punishment and damnation. Both were preys of the disciples of omni powers, Mephistopheles and Conchis who engulfed them into the intricate web of sin and magic.

CONCLUSION

The Faustian theme, as we thoroughly stated, is part of the collective mind of humanity. Its constituents merge a lot of ideas that occupy a large area in the history of human culture and its artistic creations. It is full of challenge, aspirations, evil connotations, theology, mythology and psychological twists.

Faustus main features were his search for knowledge, his sinful challenge to heavenly powers, his disregard of financial gains, his ambition towards a God-like state, his attack on religious symbols, his dilemma and his swaying between good and evil, and finally his damnation. Yet, what is notable is that the Faustian character is, in almost all cases, destined towards hell or hellish situations.

Tracing the impact of the Faustian theme and its implications has been a subject of both research and debate by a large number of scholarly figures, not to mention artists of all sorts as actors, music composers, painters and sculptures. (View Appendix for more details). Thus, making a contribution had to be something more than discussing the theme and comparing it to what is similar, in its literary genre, the contribution this time may be dissecting the Faustian theme and exposing its main components and the development the theme gained when applied to a narrative, mainly a novel. Moreover, another dimension has been added to the Faustian theme, on the basis of seeking and trying to acquire the sacred powers of God, whatever the Omni quality sought for presents, especially revenge.

The components of the Faustian theme have been curtailed into three main issues surrounded by an eagerness to trespass one of the heavenly gates; the power of Creation, Revenge, and the supernatural powers presented through acquiring unique Magical powers. In this analysis, a certain order has been followed. The authors selected for this thesis were of unique reputation of their own in addition to the selection of an equal presentation of male and female points of view regarding the similar effect of the Faustian theme on both sexes. Thus, the first novel belongs to the beginnings of the nineteenth century written by Mary Shelley, the second and third belong to the mid nineteenth century written by Emily Bronte and Nathaniel Hawthorne, while the fourth novel belongs to the outdated twentieth century written by John Fowles. While the first novel discussed one of the most powerful Faustian aspirations; that of Creation, the second presented the new Faustian dimension of revenge seekers and the third delved into the world of illusion and magic.

In Marlow's Doctor Faustus, the hero wanted to raise Helen of Troy, and succeeded in recalling Mephistopheles, and, the doctor's eagerness of power had no limit. Similarly, Victor Frankenstein, Mary Shelley's hero wanted to create a human being and to raise the dead. Both heroes longed for knowledge and Omni qualities. While Faustus wanted the power of magic, absolute power and ultimate knowledge, Frankenstein was seeking the elixir of life and a God-like rank among human beings. Both heroes did not care for wealth and were not willing to accept their limitations. They were rebellious characters that thought 'rules are made to be broken' and that life and death were passable borders. Faustus called for the devil and delved into a horrible contract that exchanged his soul with twenty-four cheap years that promised an assumed God-like state, yet, the deal proved to be worthless and Faustus was, only, able to master some tricks and commune with the devil, shaped as Helen of Troy and fall into an endless swirl of pride and despair. Doctor Victor Frankenstein, on the other hand, spent a long time in gathering and linking body parts, and was able to form a huge form of a human being and by means of electricity and other measures life has been bestowed to the creature. Throughout the process, Frankenstein made it clear that, like Faustus, he cared for knowledge and superiority, the ability to create and overcome the borders of death and life. As both Faustian heroes succeeded in their first attempt, both failed in its consequences. What Victor thought would lead him to attain his goals of superiority and Omni potentials turned out to be another example of failure. The monster transformed to be another Mephistopheles capable of destruction and revenge and assisted by a deformed body that can endure inhuman conditions. All those loved by doctor Victor were murdered and his own life was as tragic as that of the real Faustus.

Mary Shelley portrayed the first corner of the triangular Faustian theme. Moreover, the novel made a swift transition to the second corner of the triangle, where it enabled doctor Victor and his monster to be transformed into two revenge seekers. Both characters devoted themselves to the soul purpose of revenge. Nevertheless, the author did not ignore presenting a female figure that takes the role of Faustus's Helen. Victor lost his wife on their wedding day and the monster lost his mate just before the moment of its creation.

The transition towards vengeful characters enabled the processing of the theme and the thesis to the mid nineteenth century that flashed a spotlight on the revenge seeker figure. In Wuthering Heights and The Scarlet Letter, we witness two figures each is a revenge seeker. Yet, seeking revenge is not a fatal crime by either human or theological standards so what makes both revenge seekers Faustian figures or linked to the Faustian triangle? What ranks them and enables them to fill the second corner is the quality of revenge the heroes seek. Their revenge was not of the sort of 'an eye for an eye'; it passed these limits and aimed towards the ultimate revenge. Heathcliff in Wuthering Heights, felt humiliation, disappeared, and returned to avenge his pride and his lost love. Extending his revenge to all surrounding humans and seeking more after death, establishes Bronte's hero as a true vindictive figure that deserves sympathy, yet ranks among other devilish figures as Faustus's Mephistopheles, both Frankenstein and his monster, and his fellow Faustian revenge seeker, Roger Chillingworth. Roger, in The Scarlet Letter, was humiliated and his pride has been eternally hurt, thus he never willed to accept less than Omni revenge. Both novels overflow with phrases that link the heroes, directly and indirectly, to the devil. Furthermore, both clarify that the heroes followed the Faustian steps. They aspired for an Omni potential of revenge, achieved partial success that did not lead to satiating their vengeful natures, and reached the damned state of any daring being seeking the heavenly forbidden.

The supernatural elements that are always acquainted with the Faustian frame are not missing from the revenge-seekers' novels; ghosts, spirits and mysterious symbols complete the necessary Faustian components. In addition, there is the beautiful female figure that beholds each Faustian hero and the existence of any sort of evil by her side whether in the consequences of the relation with her or, the mental or physical torture linked to this relation.

Forwarding to the third and last corner of the Faustian theme, The Magus of the twentieth century wins his position among other Faustian heroes. The novel shows Nicholas's quest and Conchis's world of supernatural and magical appearances. Moreover, it presents the power of magic and acquiring its capabilities in addition to its seemingly God-like abilities in a dream like experience where Nicholas had the power of choice. The novel is full of female figures and ends with an exception in comparison to other Faustian based works of art; Conchis has disappeared and Nicholas could gain a second chance in life. It seems that the development in all secular fields has led to the possibility of an open end or an unexpected delay in the eternal damnation of the Faustian figure. In other words, the twentieth century has succeeded in establishing itself as the century that most encouraged challenging the forbidden gates of heaven and thus giving the aspiring Faustian figures a chance and a pause…

The overall study is a panoramic representation that shows the semi-identical components of the Faustian artistic frame in the human heritage. The novels viewed and the dramatic presentations involved in our comparison show similar ways of composing the Faustian idea as any mythological tale or legendary myth. Nevertheless, the study's main target was to identify the clear borderlines of a Faustian thematic triangle and pinpoint the three corners realized in any Faustian figure. The present moment shows a triangular Faustian representation; according to the twentieth century knowledge the three dimensional shape is acknowledged, yet, the challenge of new discoveries could reinforce the theory of a fourth dimension; the dimension of time that already exists and adds the elements of mystery to the future possibilities of the Faustian implications.

Finally, whatever the Faustian theme reflects, presents or unravels through the course of future human progress, the final words in Marlow's Doctor Faustus, spoken by the chorus, should be regarded as an eternal borderline that, in its depth, provides a temptation to trespass it.

Cut is the branch that might have grown full

straight,

And burned is Apollo's laurel bough,

That sometime grew within this learned man.

Faustus is gone. Regard his hellish fall,

Whose fiendful fortune may exhort the wise

Only to wonder at unlawful things,

Whose deepness doth entice such forward wits,

To practise more than heavenly power permits.

Terminat hora diem, Terminat Author opus

Finis *

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APPENDIX

Musical treatments of the Faust theme

· Berlioz, Damnation of Faust

· Busoni opera

· Gounod, Opera

· Lizst, Faust Symphony

· Schumann Boito, Mephstophele

· Wagner, Faust overture

Puppet Play

· Calderon: El magico prodigioso

· The Beauty of The Devil

Non-German Faustus

· George Sand: A Woman's View of the Faust Legend

· Stephen Vincent Benet: The Devil & Dan'l Webster

Faustus Land Marks

· Thomas Mann: Dr. Faustus.

· Klaus Mann: Mephisto.

20th Century Faustus

· John Hersey: Too Far To Walk

· Mikhail Bulgakov: The Master and Margarita

· Lunatscharski: Faust and the City

· Kerouac, Jack: Doctor Sax: Faust Part III

Classified as Faustus on Film

· BEDAZZLED

"You fill me with inertia" sneers Peter Cook's George Spiggott to a lascivious groupie, in the course of the old "seven wishes vs your soul" gambit he plays on frustratedly suicidal burger ­ flipper Dudley Moore, allowing the "Beyond The Fringe" alumni to send "swinging London" through the meat-grinder, with Cook fiend ripping out the last pages of Agatha Christie paperbacks; Hell a seedy night club reached by a power ­ diving elevator; and the Seven Deadly Sins personified.

Directed by Stanley Donen. Written by Peter Cook, from a story by Dudley Moore and Cook. UK, 1967, color, scope, 107 minutes.

· DAMN YANKEES

"Whatever Lola wants, Lola gets" throatily warbles Gwen Verdon, repeating her Broadway triumph in her only Hollywood musical starring role, as she puts the moves on an erstwhile middle ­ aged diehard Washington Senators (remember them?) fan, now transformed by Devil Ray Walston into slugging sensation Tab Hunter. His temptation: the ultimate beating out the then ­ mighty Yankees for the AL pennant! But for that, of course, "You Gotta Have Heart." Bob Fosse adapted his own stage choreography, and duets with Verdon to "Who's got the Pain?'' (their only movie appearance together.)

Directed by George Abbott and Stanley Donen. Written by Abbott, from the play by Douglas Wallop and Abbott, from "The Year the Yankees Lost the Pennant" by Wallop. USA, 1958, color, scope, 110 minutes.

· ALIAS NICK BEAL

Ray Milland's Nick Beal just seems to keep appearing ­ admit tedly during a thunderstorm or two ­ when crusading DA Thomas Mitchell needs help in cleaning up the town, en route to that governor's mansion ­ but then he demands a reckoning. Strikingly unusual "is the Devil's use of good to further his evil purposes, tather than preying on the lower instincts such as greed or desire" ­ Ivan Butler. Clever scripting by Jonathan Latimer, creator of the "Bill Crane" mysteries, adaptor of The Glass Key and The Big Clock, and mainstay of the "Perry Mason" series.

Directed by John Farrow. Written by Jonathan Latimer, from a story by Mindret Lord. With. USA, 1949, b&w, 93 minutes.

· DR. FAUSTUS

Filmic embellishment of Richard Burton's mid ­ stardom return to his alma mater, the Oxford Union Dramatic Society, and Marlowe's pre ­ Shakespeare classic, as the 16th century alche mist accepts the soul tradeoff for Elizabeth Taylor's "face that launched a thousand ships"; with a grave compassionate Mephistopheles "played with astonishing authority and depth by a young American philosopy Andreas Teuber. Almost wholly successful ... grandeur and awe, and true sense of tragic doom" ­ Ivan Butler, Religion In The Cinema .

Directed by Richard Burton and Neville Coghill. Written by Neville Coghill, from the play by Christopher Marlowe. UK, 1967, color, 93 minutes.

· THE DEVIL AND DANIEL WEBSTER

ALL THAT MONEY CAN BUY

Ante ­ bellum New Hampshire farmer James Craig's Jabez Stone, fed to the gills with a miser's stranglehold on his mortgage, allows as how, for two cents, he'd sell his soul to the devil, and ­ say, who is that Mr. Scratch, and where'd he come from? Pulitzer ­ Prize winning poet Benet's co ­ adaptation of his classic short story provides vintage Americana, and one of Walter Huston's greatest roles as the stogie ­ puffing Dev... ­ uh, Mr Scratch. Bernard Herrmann's memorable score was his sole Oscar winner, beating his own second 1941 nomina tion, for Citizen Kane.

Directed by William Dieterle. Written by Dan Totheroh and Stephen Vincent Benet, from the story by Benet. USA, 1941, b&w, 112 minutes.

· FAUST

Mephistopheles spreads his cloak, enveloping the town, and plague spreads across the land; the alchemist Faust makes his fatal Pact, and is immediately borne aloft in a dizzying aerial flight across a whole countryside of studio ­ built miniatures; and then, strikingly, a comic, even grotesque ballet for four; and then, moving from low comedy to the final tragedy: Murnau's treatment of the classic legend is perhaps his most dazzingly pictorial work and one of the heights of the silent film. With Emil Jannings surprisingly restrained as the demon; and Gsta Ekman (later Ingrid Bergman's co ­ star in Intermezzo ) as Faust.

Directed by F.W. Murnau. Written by Hans Kyser, from the works by Wolfgang von Goethe, Christopher Marlowe, and German folk sagas. Germany, 1926, b&w, 105 minutes.

· LA BEAUTé DU DIABLE

In this "Mediterranean version" set in 1830, the Faust legend ­ filmed in Italy ­ has a sunnier atmosphere than the norm, the quest is for pleasure more than for knowledge, and Gérard Philipe and Michel Simon as Faust and Mephistopheles each play both roles ­ for very good reasons, in René Clair's carefully rethought adaptation of the classic. Highlights include Simon's zestful delight in the minutiae of devilry, and the electrifying flash ­ forward ­ through ­ the ­ mirror sequence embodying Clair's ultimate criticism of progress and science. The revised ending caused shocked murmurs among "fair play" British reviewers.

Directed by René Clair. Written by Armand Salacrou and Clair. France, 1949, b&w, 96 minutes, French with titles.

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Wade, Mason ed., The Writings of Margret Fuller. New York: The Viking Press, 1941.

Wagenknecht, Edward Cavalcade of The American Novel. Calcutta: Oxford and IBH Publishing Company, n.d.

Waggoner, Hyatt Howe Hawthorne: A Critical Study. Cambridge: The Belknap Press of Harvard University Press, 1955.

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Periodicals

Barnum, Carol M. An Interview with John Fowles in Modern Fiction Studies, ed. William T. Stafford, Vol. ,31 - Spring 1985.

Ellen Mc Daniel, 'Games and Godgames in The Magus and The French Lieutenant's Woman' in Modern Fiction Studies, Vol. 31, Spring, 1985.

Gerber, John C. Form and Content in The Scarlet Letter, The New England Quarterly No, 17, 1944.

Holmes, Fredrick M. 'Art Truth and John Fowles' in Modern Fiction Studies, Vol. 31, Spring 1985.

Lindroth, James R. 'The Architecture of Revision: Fowles and The Agore' in Modern Fiction Studies, Vol. 31, 1985.

Lorenz, Paul H. 20^th Century Literature, J. F. Issue 'Herachtus Against the Barbarians, J. Fowles's The Magus', Vol. 42, Spring 1996.

Marowski, Daniel G. Jean C. Stine, ed. Contemporary Literary Criticism. Vol. 33, July, 1982.

Novak, Frank G. 'The Dialectics of Debasement in The Magus' in Modern Fiction Studies, Vol. 31, Spring, 1985.

Riley, Carolyn and Phyllis Carnel Mindelson Contemporary Literary Criticism, ed., Vol. 6. Theodore Solotaroff in the New York Times Book Review Nov 10, 1974.

Riley, Carolyn ed. 'The Achievement of John Fowles', by Walter Allen in Contemporary Literary Criticism, Vol. 4, Encounter August, 1970.

Semeka-Pankratov, Elena. Kodjak, Andrej, Pomorska, Krystyna, Rudy, Stephen (Editors).Myth in Literature. New York Slavic Papers (Volume V) Columbus, Ohio: Slavica Publishers, Inc, 1985.

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Encyclopaedias and Dictionaries

Cuddon, J. A. A Dictionary of Literary Terms. London: Penguin Books Ltd. 1990.

Encarta 99, Encyclopaedia CD issued by Microsoft Corporation, USA, 1999.

World Book Multimedia Encyclpedia - (International English Edition). Ireland: IBM International, 1999.

World Wide Web Sources

(Web pages may expire, change address and contents)

Amazon.com Inc, www.amazon.com, Literature & Fiction@amazon.com. 1996-9.

Chinese Myths and Fantasies, www.chinavista.com, n.d.

Dr. D. L. Ashliman's Folklore and Mythology Electronic Texts Page -http://www.pitt.edu/~dash/folktexts2.html, n.d.

Henry Holt and Company, Inc - www.jps.net/magusbob, 1998-9.

Monarch Notes, e-text introduction to Dr. Faustus, www.monarchnotes.com, n.d.

Watershed Online, www.watershed.com FAQ1,2,3,4,5, 2000.