The main reason why I picked this critical approach is because this play has established a significant relationship to archetypes and its patterns. Such things as archetype images played an important role in this play. For example on (page 32, line 8) it speaks of a circle, referring to the protection of Jehovah. As an archetype image it refers to wholeness and unity. Also between (lines 16-24), Mephistophilis wants to put away with the trinity of Jehovah, by saying, "Hail spirits of fire, air, water" and the word welkin on (page 31 line 4). This implies to the first and second images of archetype images. Other major keys that exist in the critical analysis of this play are the number seven, which is said to be the most potent of all symbolic numbers. In the play seven is related to the seven deadly sins: pride, covetness, envy, wrath, gluttony, sloth, and lechery.
The most important critical analysis images of archetypes is the Wise Old Man, which is said to carry intuitions on one hand and moral qualities such as goodwill and a readiness to help on the other. In the play the old man showed these exact qualities. This old man appears when the main character is in a hopeless and desperate situation from which only faith and luck can help him. Unlike every other good ending, it was too late for the old man to help Faustus, and he was carried off to hell. The last of the archetypes was the trickster who was portrayed as the Satan or Lucifer in this play. He was the opposite of the wise old man and his primarily a divine being.
In closing, mythology plays a universal appeal in so many cultures. It is important to use in so many ways because it gives us morals and direction in life. Different cultures use myths to put order to their society and to have something to dwell on in times of good and bad. Unlike present day we look unto the Bible for the correct way of living.
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Applying the Psychoanalytical Approach to Dr. Faustus
Within the text of Christopher Marlowe's "Doctor Faustus," a reader notices the struggle between the superego and the id. Throughout the play, Faustus struggles with himself while Lucifer and Mephistopheles struggle with him. Though these huge conflicts take place in the text they aren't the greatest of situations when one tries to apply the psychoanalytical approach. The most obvious situation arrives with the introduction of the Seven Deadly Sins. They represent the constant struggle between the id and the superego. They add to the seduction of Dr. Faustus and the constant struggle in a chaotic Hell.
The id possesses most of the sins: Pride, Covetousness, Envy, Wrath, Gluttony and Lechery. All six of these sins show characteristics that are strong and powerful. Though these sound as if they were good characteristics, they are actually extremely over-bearing. When the sins explain who they are, they don't leave any room for argument. They just say who they are, and they take what they want. For example, Pride explains what he can do with a woman: "I can creep into every corner of a wench: sometimes, like periwig I sit upon her brow; next, like a necklace I hang about her neck; then, like a fan of feathers I kiss her..." (Marlowe, II.ii.120) Obviously, Pride feels powerful enough to take any woman he wants and perform with her any way he wants. With a sly and mischievous voice Pride states what he can do and no one can change it.
Another great representation of the id is Lechery or lust. Lechery just walks out and struts her stuff in front of Faustus. The reader realizes that her power is not in her words but in her presence. Even Lucifer notices her strength because he sends her away almost as fast as she comes in. "Away, to hell, away! On, piper!" (Marlowe, II.ii.177) Lechery closes the deal on Faustus. Her presence is so powerful that Faustus returns to the hands of Lucifer.
All six of these Seven Deadly Sins show their strength and power, for they don't back down, except to Lucifer. They do what they want and say what they please, because they are the angels of Lucifer, the most evil angel of them all. In achieving their goals they are very aggressive and Lucifer provides them all the freedom they need in order capture new souls like Faustus. Through this aggressiveness these six sins show their tendency toward the id.
On the other side of the seesaw, Sloth possesses no aggressiveness. He would rather sit and sleep than get up and do anything, whether it be talking, bathing or even eating. "Heigh-ho, I'll not speak a word more for a king's ransom." (Marlowe, II.ii.170) He is so lazy that the reader can even see Lucifer getting upset with him. This laziness perfectly depicts the superego. While all the other sins are aggressive, he would rather do nothing. Sitting back and doing nothing would be his way of life. Sloth's characteristics may not be as effective on Faustus, but Lucifer knows that there are other souls that will be convinced one day.