Studies in Literature, Grade 12, University Preparation

Review Test on Sir Christopher Marlowe’s Tragedy of Doctor Faustus

Part One: Background to the play, the era, and the playwright (8 marks)

1. For people in Renaissance England, the paradigm of virtue was no longer a doctor of
theology such as Faustus, but rather

A. an explorer such as Sir Walter Raleigh.

B. a powerful monarch such as Henry VIII.
C. an artist and scientist such as Leonardo da Vinci.
D. a gifted and eloquent writer such as Christopher Marlowe.

2. According to Sylvan Barnet in his preface to the Signet edition of the play, the
historical figure upon whom Marlowe based his protagonist

A. was the fifteenth-century necromancer Simon Magnus.

B. received a degree in metaphysics at Wittenberg University.
C. assisted Martin Luther in leading the Protestant Reformation.
D. indulged in ridiculous practical jokes and extravagant acts of magic.

3. Like William Shakespeare, Sir Christopher Marlowe

A. is today only admired for his historical tragedies.

B. was scorned by his contemporaries as a blaspheming atheist.
C. was born in the seventh year of the reign of Queen Elizabeth I.
D. owned a share and acted in a prominent London theatre company.

4. However, unlike Shakespeare Marlowe

A. was recognized for a time as London’s leading playwright.

B. served as a confidential agent for the English government.
C. achieved success in dramatic as well as non-dramatic verse.
D. made extensive use of Blank Verse for his plays’ noble characters.

5. At a public performance of Doctor Faustus, the audience could have numbered up to

A.1300. B. 1800. C. 2300. D. 5500.

OVER.
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Review Test on Sir Christopher Marlowe’s Tragedy of Doctor Faustus Page Two
 Part One: Background to the play, the era, and the playwright (continued)

6. Like the Witches in Shakespeare’s Macbeth, in this play (it is generally believed) the
Seven Deadly Sins entered and exited the stage

A. from the inner stage.

B. through the groundlings.
C. by ropes suspended from the shadow.
D. through a trap-door from the cellarage.

7. During the late Elizabethan period, London authorities often attempted to close the
public playhouses because they considered these buildings

A. centres of vice, crime, immorality, and lewdness.

B. a breeding ground for rats, known to cause the Plague.
C. were frequented only by whores, cut-purses, and other riff-raff.
D. were financed and run by men of questionable and even criminal backgrounds.

8. The violence of the Elizabethan stage is a reflection of such English social customs as

A. hanging, drawing, and quartering traitors.

B. dunking accused witches in village ponds.
C. bull-fighting, bear-baiting, and cock-fighting.
D. beheading Scottish and Welsh rebels captured in battle.

Part Two: Dramatic Terminology (16 marks)

9. The play’s climax comes in which of these scenes?

A. IV, i. B. IV, vii. C. IV, viii. D. V, ii.

10. The fourth scene of the first act provides punning on which word?

A. lice.
B. mutton.
C. placket.
D. familiar.

OVER.
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Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Three
 Part Two: Dramatic Terminology (continued)

11. The bawdy humour of I, iv, was intended to appeal primarily to those in the

A. pit.
B. orchestra.
C. galleries.
D. Lords’ Room.

12. An example of foreshadowing is

A. “Whereby he is in danger to be damned.”

B. “All places shall be hell that is not heaven.”
C. “By desp’rate thoughts against Jove’s deity.”
D. “What might the staying of my blood portend?”

13. “I see there’s virtue in my heavenly words” contains an example of

A. sarcasm.
B. innuendo.
C. verbal irony.
D. dramatic irony.

14. An example of a Classical Allusion is

A. “We’ll canvass every quiddity thereof.”

B. “the white breasts of the Queen of Love.”
C. “as Indian Moors obey their Spanish lords.”
D. “like Almain rutters with their horsemen’s staves.”

15. Marlowe uses all of the following to provide comic relief except

A. the third and fourth scenes.

B. Wagner and the two scholars in I, ii.
C. Faustus, Valdes, and Cornelius in I, i.
D. Faustus and the deed that he must sign in blood.

OVER.

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Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Four

Part Two: Dramatic Terminology (continued)

16. Marlowe intends Mephostophilis’s answers to Faustus’s enquiries in I, iii, to be

A. verbally ironic.
B. situationally ironic.
C. examples of hyperbole.
D. examples of oxymoron.

17. Faustus’s ambitions as expressed in I, iii, 101-113, are ironic in that they are

A. not within the power of a fallen angel to grant.

B. never realised, although they are within his power.
C. essentially humanitarian and altruistic in intention.
D. perfectly consistent with the ideals of Renaissance Humanism.

18. “For such a dreadful night was never seen” (V, iii, 2) contains an example of

A. pun.
B. parallelism.
C. pathetic fallacy.
D. sententious saying.

19. When the Pope in Act Three, Scene Three, swears, “Damned be this soul forever for
this deed” (line 90), Marlowe is employing

A. innuendo.
B. verbal irony.
C. dramatic irony.
D. situational irony.

20. In the scene with Helen of Troy we hear the most poetic speech of the play;
however, Faustus’s passionate language is ironic because

A. he is incapable of experiencing love.

B. love of self has jaded his relationships.
C. he himself has recognised that such as she are mere illusions.
D. Mephostophilis has told us that he is using her to lure Faustus away from God.
OVER.
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Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Five

Part Two: Dramatic Terminology (continued)

21. Marlowe provides the best example of time telescoping in

A. I, iii.
B. IV, ii.
C. IV. v
D. V, ii.

22. The play’s most significant conflict from an Elizabethan perspective is

A. physical
B. man vs. man
C. man vs. nature
D. man vs. himself

23. The play’s theme is given explicitly in the lines

A. Homo fuge! Wither should I fly?

B. ...for where we are is hell / And where hell is here must we ever be.
C. ...by aspiring pride and insolence, ...God threw him from the face of heaven.
D. When I behold the heavens, then I repent,
And curse the wicked Mephostophilis,
Because thou hast deprived me of those joys.

24. The fourth scene between Wagner and the Clown, provides all of these except

A. satire on Faustus’ dabbling in magic.

B. comic counterpointing of the previous scene.
C. comic relief after the serious preceding scene.
D. ironic commentary on Faustus’s futile attempt to cheat the Devil.

25. This passage constitutes

A. a chorus.
B. a dialogue.
C. a soliloquy.
D. an extended aside.
OVER.
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Six

Part Three: Explication of a Passage (see p. 99 for V, ii, 140-197)

26. The dramatic tension in this passage is created by our anxiety as to whether Faustus
A. will be torn limb from limb on stage.
B. will be saved by the intervention of Christ.
C. loves God more than himself or his powers.
D. can somehow cheat the Devil of his bargain.

27. Between lines 140 and 170 we have an excellent example of

A. soliloquy.
B. apostrophe.
C. dramatic irony.
D. time telescoping.

28. “Who pulls me down?” asks Faustus in line 152; the answer is,

A. “God.”
B. “himself.”
C. “Lucifer.”
D. “Mephostophilis.”

29. In lines 181-6, it is most ironic that the man who has aspired to godhead

A. would rather be an animal.

B. has commanded devils and demons.
C. now fears destruction by those whom he has served.
D. and mastered all Christian doctrines should quote a pagan philosopher.

Part Four: General Criticism (26 marks)

30. The play conforms to the Aristotelian Unity of

A. Time.
B. Place.
C. Action
D. none of these.
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Seven

Part Four: General Criticism (continued)

31. The purpose of the Chorus in the very first scene is to

A. fill in the details of setting and antecedent action.

B. settle the audience down with a humorous speech.
C. comment on Faustus’ folly in selling his soul o the Devil.
D. provide the reaction of an average person to the hero’s plight.

32. Aristotle might have criticized Marlowe’s choice of a tragic hero, for Faustus

A. does not suffer an irreversible doom.

B. is not really responsible for his suffering.
C. was not of noble birth or national importance.
D. does not fall due to some innate flaw in his nature.

33. To a Renaissance audience it would seem that Faustus was destroyed by

A. gross sensuality.
B. Fortune’s False Wheel.
C. his overactive imagination.
D. his overweening lust for power.

34. The line “A greater subject fitteth Faustus’ wit” suggests that

A. Faustus’s initial mistake was vanity.

B. the powers of darkness know his weakness.
C. Faustus holds Christian doctrine in contempt.
D. medicine will not allow Faustus sufficient scope.

35. Faustus’ reasoning about the consequences of sin fails to take into account God’s

A. grace.
B. omnipotence.
C. omnipresence.
D. commandments.

OVER.

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Part Four: General Criticism (continued)

36. Marlowe intends the Good Angel to be a

A. personification of Faustus’s better nature.

B. metaphysical externalization of Faustus’ intellect
C. divine messenger sent to redeem Faustus’s immortal soul.
D. hallucination consequent upon too much reading and experimentation.

37. The Evil Angel first tempts Faustus to become like a

A. god.
B. devil.
C. emperor.
D. magician.

38. I n I, i, 75-94, Faustus’s motivation for practicing necromancy is his desire to

A. luxuriate in wealth and power.

B. benefit his native land and city.
C. “reign soul king of all our provinces.”
D. enjoy unlimited carnal pleasures and youth.

39. Faustus describes as “unpleasant, harsh, contemptible and vild”

A. law.
B. theology.
C. the Ten Commandments.
D. the offer of Mephostophilis.

40. Faustus’s ambition is spurred on by

A. Cornelius and Valdes.

B. Wagner and Beelzebub.
C. the works of Bacon and Albanus.
D. his vision of the Seven Deadly Sins.

OVER.

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Nine

Part Four: General Criticism (continued)

41. When Mephostophilis appears as a Franciscan at Faustus’s command, Marlowe is

A. alluding to the recent trial of a monk for treason.

B. satirizing the abuses of that order by the time of the Reformation.
C. directly attacking the superstition of contemporary Catholic Germany.
D. paying an elaborate compliment to this order founded by St. Francis of Asissi.
42. Mephostophilis first appears to Faustus because

A. of Faustus’ powerful incantation.

B. Lucifer commanded him to do so.
C. God had already damned Faustus.
D. he knew a mortal soul was in danger.

43. Although Sir Philip Sydney in his Defense of Poesy (1595) had severely criticized
“mixing clowns and kings” in one play, Marlowe added such characters as Robin and
Dick to do all of the following except

A. to contrast the lofty intellectual protagonist.

B. to show how much like them Faustus gradually becomes.
C. to give the audience a norm against which to judge Faustus.
D. to ridicule the lack of sensitivity and education of the lower orders.

44. Which of the following references does NOT help us to date the play’s action?

A. ...the fiery keel at Antwerp bridge.

B. Amongst the rest the Emperor is one,/ Carolus the Fifth.
C. And from America the golden fleece/ That yearly stuffs old Philip’s treasury.
D. And as Pope Alexander, our progenitor,/ Trod on the neck of German Frederick.

45. In this play, Lucifer, Beelzebub, and Mephostophilis

A. rise through a trap door in the stage.

B. control both the weather and men’s fortunes.
C. are only lesser ministers of the Infernal Powers.
D. were played by young boys rather than mature actors.
OVER.
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Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Ten

Part Four: General Criticism (continued)

46. Although the devils may be taken as “independent external creatures,” they are also

A. symbols of Faustus’ overweening pride.

B. emblematic of the sins Faustus commits.
C. ministers of a hostile and alien cosmos.
D. a demonstration of the powers of Nemesis.

47. The Vintner of the subplot, introduced in III, iii, parallels a character in the main plot,
A. Bruno.
B. a friar.
C. a wench.
D. The Pope.

48. Although Dr. Faustus is a product of the Renaissance, it seems Mediaeval in that it

A. suggests that man’s soul is not fettered by God.

B. justifies God’s limitations on human ambitions.
C. eloquently demonstrates Hell as a physical reality.
D. indicates that untrammelled free-will is destructive.

49. Marlowe’s protagonist is the type of magician that the Renaissance termed

A. Hermetic (scientific).
B. a conjuror (diabolic).
C. a magnus (astrologer).
D. a clown (country-dweller).

50. Dr. Faustus dreams at the beginning of the play of obtaining all the following kinds
of power except

A. public.
B. artistic.
C. private.
D. supernatural.
OVER.
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Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Eleven

Part Four: General Criticism (continued)

51. Like the author of the play, Faustus may justly be accused of being

A. an atheist.
B. an agnostic.
C. an Epicurean.
D. a Machiavellian.

52. The protagonist of this Renaissance drama differs markedly from that of Mediaeval
play Everyman in that Marlowe’s character is very much

A. a hedonist.
B. a stereotype.
C. an individual.
D. conscience-stricken.

53. Just as Everyman’s friends gradually desert him as he makes his way to the grave, so
in Marlowe’s play

A. the protagonists fellow scholars abandon him to his own thoughts.

B. Wagner loses touch with the feelings and aspirations of his employer.
C. Mephostophilis, Lucifer and Beelzebub no longer bother to visit Faustus.
D. the Emperor of Germany and the Duke of Saxony cease to patronize the hero.

54. The weakest part in the play Doctor Faustus structurally and dramatically is the

A. end.
B. middle.
C. prologue.
D. beginning.

55. Surprisingly, in a play in which there is not one murder there are fifteen references to
that staple of the Elizabethan stage,

A. fire.
B. gold.
C. blood.
D. weapons. OVER.
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Review Test on Christopher Marlowe’s Tragedy of Doctor Faustus Page Twelve

Part Five: Matching

56. his lines constitute 38% of the play: A. Pride

57. abjuring the Trinity and drawing a B. Gluttony

magic circle:
C. Mephostophilis
58. Faustus’ signing his pact with Lucifer
“Consummatum est”: D. Faustus

59. To Christians, it is a sacrament, to E. a Jehovah anagram

Mephostophilis, a ceremonial toy:
F. The Gospel of John (xix, 30)
60. The leader of the Seven Deadly Sins:
 G. marriage

H. communion

I. priesthood
-----------------------------------------------------------------------------------------------------------

English 12 Academic Stream Dr. P. V. Allingham

DRAMA STUDY: DOCTOR FAUSTUS

Name.................................................... Block.... Score....../60

Multiple-Choice (55 marks) Taxonomical Levels: Knowledge, Understanding, HMP

Part One: Background, Sources & Texts, Elizabethan Theatre (8)

1. 2. 3. 4.

5. 6. 7. 8. Score:. /8

Part Two: Understanding and Applying Dramatic Terminology (16)

9. 10. 11. 12. 13. 14.

 15. 16. 17. 18. 19. 20.

21. 22. 23. 24. Score:. /16

Part Three: Explication of a Passage (5): Higher Mental Processes

25. _ 26. 27. 28. 29. Score:. /5

Part Four: General Criticism (26): Knowledge, Application, Higher Mental Processes

30. 31. 32. 33. 34. 35.

36. 37. 38. 39. 40. 41.

42. 43. 44. 45. 46. 47.

48. 49. 50. 51. 52. 53.

54. 55. Score:. /26

Part Five: Matching based on Vocabulary (5): Knowledge, Application

56. 57. 58. 59. 60. Score:. /5

English 12 Academic Stream Dr. P. V. Allingham

DRAMA STUDY: DOCTOR FAUSTUS

Name............K...E....Y................... Block.... Score....../60

Multiple-Choice (55 marks) Taxonomical Levels: Knowledge, Understanding, HMP

Part One: Background, Sources & Texts, Elizabethan Theatre (8)

1. A 2. A 3. C 4. B

5. C 6. D 7. A 8. A Score:. 8 /8

Part Two: Understanding and Applying Dramatic Terminology (16)

9. D 10. D 11. A 12. A 13. D 14. B

15. D 16. B 17. B 18. C 19. C 20. C

21. D 22. D 23. C 24. D Score:. 16 /16

 Part Three: Explication of a Passage (5): Higher Mental Processes

25. B 26. D 27. B 28. B 29. A Score:. 5 /5

Part Four: General Criticism (26): Knowledge, Application, Higher Mental Processes

30. D 31. C 32. C 33. C 34. A 35. E

36. A 37. A 38. B 39. C 40. E 41. B

42. C 43. D 44. B 45. A 46. A 47. D

48. B 49. B 50. B 51. C 52. C 53. A

54. B 55. C Score:. /26

Part Five: Matching based on Vocabulary (5): Knowledge, Application

56. A 57. E 58. F 59. G 60. A Score:. /5

Studies in Literature, Grade 12, University Preparation

Model Unit Plan for

Sir Christopher Marlowe’s

Tragedy of Doctor Faustus

Included in this package:

1. Overall and Specific Expectations for Studies in Literature, Grade 12 (UP)

2. Grade Eleven English: Ontario Curriculum–Forms of Texts/Elements of Style

3. Some Oral and Visual Communication Expectations, Gr. 8, 10, 12;

Some Reading and Critical Thinking Expectations, Gr. 8, 10, 12.
4. Teachers First Unit Plan on Christopher Marlowe’s Dr. Faustus

5. Medieval Cosmos (diagram)

6. 1550 to 1599: Historical Background Chart

7. Soliloquy (notes suitable for overhead transparency)

8. ED 4280 Unit Planning Portfolio: Assignment, Notes, Rubric

9. Notes on Marlowe and The Tragicall History of Doctor Faustus, inc. 1967 Film

10. Test Matrix and Test for The Tragedy of Dr. Faustus (60 marks, objective)

Project, Presentation, and Composition Ideas for the Faustus Unit:

Critical and Creative Responses: Collaborative and Individual

1. David Letterman interviews Sir Christopher Marlowe, William Shakespeare, and

Ben Jonson about the Elizabethan theatre. The assignment involves research, role
play, and oral presentation (4 students required). Ontario curricular goals met: * select,
use, and adapt reading strategies to interpret challenging literary texts (e.g., research the
social, cultural, and political context of a literary period before reading; reread a text to
identify connections among ideas, incidents, characters, images, and themes; research
critical assessments of an author’s work).* adapt a character, scene, or idea from a
literary text for presentation in another form or medium (e.g., role-play characters from
a novel in a trial situation; use ideas and themes from a poem as the basis of a short
story).

2. Individual short essay assignment in which students compare Marlowe’s pastoral

lyric “Come with Me and Be My Love” to the “Helen” effusion by Faustus (“Was
this the face that launched a thousand ships. . . my paramour.” V. i. 96-115). Ontario
curricular goals met: * analyse a range of literary works, with an emphasis on in-depth
study of
particular genres, authors, themes, time periods, or countries;
* analyse literary texts in performance or recorded on film or tape;
* select, use, and adapt reading strategies to interpret challenging literary texts (e.g.,
research the social, cultural, and political context of a literary period before reading;
reread a text to identify connections among ideas, incidents, characters, images, and
 themes; research critical assessments of an author’s work);
* analyse how literary texts provide insight into diverse human experiences and
perspectives
(e.g., compare the representations of heroes in a range of poems and novels).

3. After students have viewed and discussed the film Damn Yankees and the 1967 Richard
Burton version of Doctor Faustus, have two teams of students debate which is the more
effective treatment of the ‘making a pact with the Devil’ motif. Ontario curricular goals
met:
* assess the extent to which their created or adapted works expand understanding of
ideas, themes, and issues in the original literary texts (e.g., use a class-developed
rubric
to assess the effectiveness of the created or adapted works; make an oral presentation
explaining how the work created or adapted underlines the continuing relevance of the
original text).
* explain how representation, form, style, and techniques in media works convey
messages
with social, ideological, and political implications;
* explain the relationship between media works and their audiences (The Ontario
Curriculum Grades 11 and 12, p. 48).

OVER.

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Faustus Unit: Critical and Creative Responses: Collaborative and Individual Page Two

4. Instead or merely reading the first two acts of the play (or assigning that reading), have
students sign up for reader’s theatre dramatizations of key scenes in those acts.
Each group should have a prologue to introduce the scene and an epilogue that
discusses the scene’s contributions to the play.

Number of students Scene Characters

6 I, i Wagner, Faustus, two Angels, Valdes, Cornelius

3 I, iii Faustus, a devil, Mephostophilis
4 II, i Faustus, two Angels, Mephostophilis
13 II, ii Two Angels, Faustus, Lucifer, Belzebub, Sins.

Ontario curricular goals met:

* describe how authors use rhetorical and literary devices, such as pun, caricature,
cliché,
hyperbole, antithesis, paradox, wit, sarcasm, and invective, to enhance the meaning of
texts.
* design and create, individually or collaboratively, literary or media works in response
to
literary texts (e.g., write a satire exposing the human foibles and social follies of
characters
in literary texts; write and perform an original short play extending a theme in
literature);
* assess the extent to which their created or adapted works expand understanding of
ideas, themes, and issues in the original literary texts (e.g., use a class-developed
rubric
to assess the effectiveness of the created or adapted works; make an oral presentation
explaining how the work created or adapted underlines the continuing relevance of the
original text).

5. Write and perform a radio-play about a typical Canadian teenager’s making a

Faustian pact in order to become a successful hockey player or rock star. Ontario
curricular goals met: * design and create, individually or collaboratively, literary or
media works in response to literary texts (e.g., write a satire exposing the human foibles
and social follies of characters in literary texts; write and perform an original short play
extending a theme in literature).

6. Write the personal journal or diary of Dr. Faustus, Wagner, or Mephostophilis,

taking into account all events in the play in which that character takes a part. Ontario
curriculum goals met: * adapt a character, scene, or idea from a literary text for
presentation in another form or medium (e.g., role-play characters from a novel in a
trial situation; use ideas and themes from a poem as the basis of a short story).
OVER.

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Faustus Unit: Critical and Creative Responses: Collaborative and Individual Page
Three

7. Compare the role of the Chorus in the film adaptation or Dr. Faustus to that of
another video adaptation of an Elizabethan play, such as Branagh’s Henry V or Baz
Luhrmann’s Romeo and Juliet. Ontario curriculum goals met: *assess the extent to
which their created or adapted works expand understanding of ideas, themes, and issues
in the original literary texts (e.g., use a class-developed rubric to assess the effectiveness
of the created or adapted works; make an oral presentation explaining how the work
created or adapted underlines the continuing relevance of the original text).

8.Compare Faustus as an Aristotelian tragic hero to the protagonist of a modern

tragedy such as Willy Loman in Death of a Salesman or John Proctor in The
Crucible. Ontario curriculum goals met:* produce critical responses to interpretations of
texts and theories of literary criticism (e.g., analyse a particular interpretation of a novel
to identify significant evidence from the text that is not included in the interpretation;
debate the critical view that meaning resides solely in the text).

9. Analyze Richard B. Sewall’s “Tragic Forum” or Sidney Lamb’s chapter on

Marlowe from Tragedy (1965) in terms of thesis, textual proof, and points of
argument. Ontario curriculum goals met: * Explain how elements of informational texts
contribute to meaning.

10. Have five groups (one for each of the plays five acts) present tableaux of what
they feel are the most significant moments in each of the five acts. Ontario curriculum
goals met:* design and create, individually or collaboratively, literary or media works in
response
to literary texts (e.g., write a satire exposing the human foibles and social follies of
characters in literary texts; write and perform an original short play extending a theme
in literature).

11. One minute monologues: answering questions in role.

12. Who am I? Twenty questions for 35 parts. In this guessing game, each student
has drawn a character’s name out of hat. In turn, each one comes forward and the
class has to guess the identity of the student in twenty or fewer questions. Ontario
curriculum goals met:* read and demonstrate an understanding of a range of literary
texts from various periods and countries.

OVER.

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Faustus Unit: Critical and Creative Responses: Collaborative and Individual Page
Four

13. Reader Response Journals. The issues presented in the play that might serve as
topics for reflection include the following, which might be assigned as is or worked
up into statements or questions to which students would respond:

 Temptation
 internal conflict
 dilemma - choosing between equally attractive or unpleasant choices
 wasting one’s talent
 practical jokes
 nationalism
  currying favour with the rich and powerful
 satisfying social institutions
 is there an afterlife?
 repentance
 forgiveness
 bad bargains
 desire for forbidden pleasures
 addiction
 pride gets in the way
 being your own worst enemy.

14. Obituary Posters: Write two obituaries, one for Sir Christopher Marlowe (based
on at least one print and one internet source) and one for Doctor Faustus, with
pictures. The assignment requires some non-fiction study (composing a concise
biographical sketch from a variety of print and on-line resources) and the ability to
synthesize an interpretation of an entire literary work in the study of a single character.
This assignment might be given to pairs of students. The class should brainstorm
points for an appropriate marking rubric.

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Orally-delivered Pop Quiz: Act One Of Dr. Faustus

These questions will be asked orally so students’ answers will necessarily be brief.
N.B. Answers are given in italics.

1. Why does Wagner use the word “sirrah” when addressing Robin in I. iv?
The word is used with social inferiors to put them in their place.

2. What does the expression “Zounds” mean? By God’s wounds.

3. Who are Bannio and Belcher? Two devils who serve Wagner.
4. For whom does Mephostophilis work before his pact with Faustus? Lucifer.

5. For how long will Faustus enjoy supernatural powers? 24 years.

6. Name one thing that Faustus says he will do for his native city once he has magic
powers.
Any one of the following is a satisfactory answer:
A. Make the Rhine circle the town.
B. The schools will be provided with silk for student’s clothing.
C. Expel the Spanish invaders from the Low Counties.
D. Wall all Germany with brass.

7. Translate the Italian expression “Che sera,sera.” Whatever will be will be.

8. Why does the Chorus refer to us, his audience, as “gentles”?

Flattering our intelligence and level of education.

9. What Aristotelian term describes Faustus’ “self-conceit” that leads to his damnation?
Tragic flaw or Hamartia.

10. In what German university town is much of the play set? Wittenburg.

11. According to Mephostophilis what is “the shortest act for conjuring” up a devil?
Praying to the Prince of Hell (Satan or Lucifer).

TABLE OF CONTENTS
Model Unit Plan for Sir Christopher Marlowe’s
Tragedy of Doctor Faustus
Topic Pages
1. Overall and Specific Expectations for Studies in Literature, Grade 12 (UP).. 1 to 4

2. Grade Eleven English: Ontario Curriculum–Forms of Texts/Elements of Style 5

3. Some Oral and Visual Communication Expectations, Gr. 8, 10, 12;

Some Reading and Critical Thinking Expectations, Gr. 8, 10, 12.. .. .. 6

4. Teachers First Unit Plan on Christopher Marlowe’s Dr. Faustus.. .. .. 7 to 20

5. Medieval Cosmos (diagram).. .. .. .. .. .. .. .. 21

6. 1550 to 1599: Historical Background Chart.. .. .. .. .. .. 22

7. Soliloquy (notes suitable for overhead transparency).. .. .. .. 23

8. Diagrams of Elizabethan Theatre; cloze history.. .. .. .. .. 24 to 26

9. ED 4280 Unit Planning Portfolio: Assignment, Notes, Rubric.. .. .. 27 to 31

10. Notes on Marlowe and The Tragicall History of Doctor Faustus.. .. 32 to 44

11. Notes on Aristotelian tragedy, Dramatic Terminology, Drama Analysis .. 45 to 47

12. Worksheet on Vocabulary for the play: pair-and-share activity.. .. .. 48 to 50

13. Orally-delivered Pop Quiz on the first act of The Tragedy of Dr. Faustus.. 51

14. Test Matrix and Test for The Tragedy of Dr. Faustus (60 marks, objective).. 52 to 64

15. Answer Sheet and Key for the Test.. .. .. .. .. .. .. 65 to 66

16. Project, Presentation, and Composition Ideas*.. .. .. .. .. 67 to 70

* See also page 82 for the Obituary Project.

17. Student-Centred Lessons: Shakespeare’s Hamlet & Romeo and Juliet.. .. 71 to 95

18. Appendix: S. D. #44 (North Vancouver), B. C. Tragedy Study Guide.. .. 96 to 98

Teachers First
Christopher Marlowe’s Dr. Faustus
Student Activity Packet and Teacher’s Guide
by Brenda Walton, Ed. D.
Topic Page(s)

Instructional Rationale.. .. .. .. 8

General Goals.. .. .. .. .. .. 8
Instructional Goals.. .. .. .. .. 9

Synopsis of the Play.. .. .. .. .. 10-11

Marlowe’s Resume.. .. .. .. .. 12

Visual Organizer for the Play.. .. .. 13

Assignment on Faustus as Tragic Hero .. 14

Archetypal Faustus.. .. .. .. .. 15

Four Significant Passages for Analysis.. .. 16 *

* See also page 47.

Dr. Faustus and The Great Chain of Being.. 17

“Dr. Faustus as an Overreacher” Assignment 18 **

** See also page 42.

Who Is This Man? Research into Marlowe.. 19 ***

*** See also page 67.

Creative and Research Ideas.. .. .. .. 20

Dr. Philip Allingham’s

Background Notes & Diagrams for

Christopher Marlowe’s Dr. Faustus

Topic Page(s)

Medieval Cosmos.. .. .. .. .. 21

1500 to 1599: Major Events.. .. .. .. 22

Definition of “Soliloquy”.. .. .. .. 23

“Inside the Swan Theatre” from

The Shakespeare Coloring Book
(San Francisco: Bellerophon Books) 24

The Elizabethan Theatre: Diagrams & Cloze 25-26

Studies in Literature, Grade 12, University Preparation

Sir Christopher Marlowe’s

Tragedy of Doctor Faustus

 Assessment & Evaluation
Topic Page(s)

 Worksheets for Vocabulary (may be a ‘pair-and-share’) ..

48-50

 Orally-Delivered Pop Quiz on Act One.. .. .. ..

51

 Test Matrix: Questions by Taxonomical Level.. .. ..

52

 Review Test on Sir Christopher Marlowe’s

Tragedy of Doctor Faustus.. .. .. .. .. .. 53-64

 Answer Sheet and Answer Key for the Test.. .. .. ..

65-66

 Critical and Creative Responses: Collaborative and Individual..

67-70.