This is what a medieval audience would expect from the second most important devil. However, Marlowe complicates the character by making him more emotional, and much more of a human figure. The most obvious thing about the character is that he is very unhappy. He doesn’t like being condemned to Hell, and deprived of the joys of heaven, and regrets his fall from heaven.
Think’st thou that I who saw the face of God
And tasted the eternal joys of heaven
Am not tormented with ten thousand hells
In being depriv’d of everlasting bliss?
Scene 3, lines 77-80
This is an interesting element of a character that, according to medieval beliefs, should be entirely evil and largely emotionless. Mephistopheles’ misery actually stirs our sympathy for him. We begin to pity him, and this pity grows during throughout the play as we see that his unhappiness even spreads to his job – he doesn’t enjoy it, and he certainly doesn’t enjoy life in hell. There is also a possibility that he wants to prevent Faustus from making the same mistake. The most eloquent warning against the consequences of Faustus’ deed comes from Mephistopheles himself. When asked about how Lucifer fell from heaven, Mephistopheles tells him truthfully that it was through Lucifer’s own “aspiring pride and insolence”.
We also feel sympathy for Mephistopheles as we watch Faustus drag him down with him. Faustus begins as a noble and, through his own character flaws, sinks to the level of a conjuror; Mephistopheles begins as a powerful and important devil and, unfortunately, is treated as a conjuror’s apprentice. He has phenomenal magical powers, and yet he is sent on petty errands such as fetching grapes for a pregnant duchess. He is even summoned by two immature clowns, Robin and Rafe – though he is able to vent his anger on them by transforming them into animals. Our sympathy for him escalates as, after this summoning, he cries out:
How am I vexed with these villains’ charms!
From Constantinople am I hither come,
Only for pleasure of these damned slaves.
Scene 8, lines 38-40
Another interesting aspect of the character is his honesty. This goes against both the traditional character created by medieval beliefs and the meaning of his name, but it allows the reader/audience to feel more sympathy for him; audiences feel sorry for truthful and honest characters. He tells Faustus the truth about the nature of Hell, even before the deed is made (possibly trying to deter him from making such a deed), and explains why they need his soul:
Mephistopheles:
But Faustus, thou must bequeath it solemnly,
And write a deed of gift with thine own blood,
For that security craves great Lucifer.
If thou deny it, I will back to hell.
Fautus:
Stay Mephistopheles, and tell me,
What good will my soul do thy lord?
Mephistopheles:
Enlarge his kingdom
Faustus:
Is that the reason why he tempts us thus?
Mephistopheles:
Solamen miseris socios habuisse doloris [misery loves company]
Scene 5, lines 34 - 42
There is only one situation where he may be lying; after the old man has been killed, Mephistopheles assures Faustus that it is too late to repent. This may not be true, since we’ve seen that Faustus has had the opportunity to repent his actions throughout the play, and even a minute or so before this speech; if this is so, this is the only occasion that Mephistopheles lies. This shows his determination to get the job done.
Mephistopheles is incredibly determined to get Faustus soul, and this is shown by the lengths that he goes to in order to prevent Faustus from repenting or seeking delights directly connected to God or religion. Whenever Faustus talks about the possibility of repenting, or backing out of the deal he has made with Lucifer, Mephistopheles either manages to talk Faustus out of it, or performs some form of magic to distract him. These acts include calling up minor devils to entertain him, calling up Helen of Troy in the penultimate scene and even summoning Lucifer himself to quell Faustus’ doubts. These acts and cunning speeches also show his role in Faustus’ damnation. Mephistopheles’ abilities to keep Faustus on the path to Hell and determination to do so are the most significant factor in Faustus’ damnation. We have seen from his several doubting sessions that Faustus does have the potential willpower to repent and be saved, but the will and power of Mephistopheles is too intimidating.
In scene 12 alone, we see three of Mephistopheles’ methods at preventing Faustus from repenting. Firstly, as Faustus despairs and calls out for a weapon with which he can kill himself, Mephistopheles automatically presents him with a dagger. Secondly, Mephistopheles intimidates and terrifies Faustus, accusing him with treachery and attempting to break the deed. Thirdly, he assures Faustus that it is too late to repent, fuelling his despair. Also, it is in this scene that we see a whole new side of Mephistopheles and one that is more in his traditional nature and stays true to his name. With his hostile acts towards the old man and his patience running out with Faustus, we see ‘Mephistopheles the Destroyer’, as he ensures Faustus’ damnation by providing more chances to sin, such as suicide (the dagger that he presents to Faustus) and a devil conjured up to imitate Helen of Troy.
In conclusion, Mephistopheles is perhaps the most complicated character in the play. Marlowe’s character goes against the traditional beliefs of a medieval audience, but is a far more compelling figure. Not only does his cunning and determination lead to Faustus’ damnation, but his own torment and irritation leads us to feel sympathy for him, perhaps even more than we do for Faustus.