Marlowe’s use of classical allusion with the appearance being in spirit form only, on stage these characters have no dialogue, and hence their portrayal, considering they have been dead for many centuries, would have appeared supernatural and eerie which once again is resonant to the storyline. However, when the emperor examines the wart on the neck of Alexander’s paramour, Marlowe himself is advocating his own cynicism at the feats performed by Faustus, the implication is...
Marlowe’s use of classical allusion with the appearance being in spirit form only, on stage these characters have no dialogue, and hence their portrayal, considering they have been dead for many centuries, would have appeared supernatural and eerie which once again is resonant to the storyline.
However, when the emperor examines the wart on the neck of Alexander’s paramour, Marlowe himself is advocating his own cynicism at the feats performed by Faustus, the implication is more of an anti-climax than one of awe. When reference is made to the mythical ‘Acteon and Diana’. The narrative in the play refers to the fable where the Goddess Diana is bathing and is accidentally seen by Acteon (hunter) whom in anger she transforms into a stag and then in turn he becomes the hunted. This allusion while drawing on the mythical component of the play adds a comical element when Faustus’s retaliates at the mockery made by the knight, humiliating him with the appearance of horns on his head.’ I faith that’s as true Diana turned me to a stag’.
