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Robin and Ralph serve brief, yet significant roles in scenes VIII and IX of Christopher Marlowe’s Dr. Faustus. Robin is an ostler at an inn who steals one of Faustus’ magic books and convinces his friend, Ralph, to join him in conjuring. Robin and Ralph decide to use the magic to deceive the vintner out of a goblet. Then Robin recites the spell that conjures up Mephistophilis, who frightens them until they give the goblet back to the vintner. Then Mephistophilis punishes the two men by turning them into an ape and a dog. Robin and Ralph can be compared to a couple of minor characters in Shakespeare’s Hamlet. Like the characters Rosencrantz and Guildenstern in Hamlet, Robin and Ralph are two separate characters, but neither possess any distinguishing qualities. The names are practically interchangeable because there is no real distinction between the two characters.

Scenes VIII and IX demonstrate the negative consequences of using black magic. Mephistophilis punishes Robin and Ralph for stealing Faustus’ book and trying to perform spells with the devil’s magic. Robin and Ralph are also punished because they are not entitled to the devil’s magic. They did not make a deal with the devil, as Faustus did. They instead stole a book and misused its powers. The scenes also display the power of the devil’s magic and what can happen if this power falls into unsuspecting hands.

Humans form initial impressions of their environment through utilization of their senses. In A Portrait of the Artist as a Young Man, Joyce allows the reader to perceive surroundings through Stephen’s sensual experiences. Perception through the senses appears continually throughout the novel from Stephen’s early childhood through his adolescence, all the way to his epiphany at the end of chapter four.

The novel begins with an introduction to Stephen’s childhood through descriptions based around the senses. The sense of sight is mentioned when Joyce writes “...his father [looked] at him through a glass...”(1). The sense of touch is introduced with the line “...he had a hairy face”(1) and with the description of the feeling of wetting a bed. It is explained that first it feels warm and then it gets cold. Smell is first mentioned when Stephen describes the oilsheet that his mother placed over his bed after he wet it. He says it has a queer smell. The sense of smell is also utilized with the line “His mother had a nicer [smell] than his father” (1). Finally, descriptions of how Stephen would sing songs as his mother played the sailor’s hornpipe on the piano touches on the sense of hearing.




Perception through senses reaches dramatic level as the novel continues. One example is during the sermons that Stephen experiences while away at his spiritual retreat in Belvedere. The priest at Belvedere gives three sermons brimming with extensive details of the horrors of Hell. These striking descriptions of terror are exceptionally agonizing for Stephen because the priest continually mentions how the sinners are suffering through their senses, and Stephen has always perceived the world through sensual experiences. Stephen’s use of sensory perception flourishes again to a remarkable level at the end of chapter four, though on an entirely different scale. This time, the heightened emotions and sensory awareness is of something beautiful. The girl that Stephen sees wading in the water is described thoroughly through his sense of sight with lines like “Her long slender bare legs were delicate as a crane’s and pure save where an emerald trail of seaweed had fashioned itself as a sign upon the flesh” (1). The sense of sound is mentioned when Stephen describes the faint noise that her foot makes as she gently stirs the water about her. Several references to the sense of touch are made with Stephen’s reaction to the girl, with the words “His cheeks were aflame; his body was aglow; his limbs were trembling” (1).

Many examples can be found throughout the length of Joyce’s novel where sensual experiences document the events of the story. These sensory descriptions seem to intensify as the novel progresses, as apparent by the basic references to the senses utilized in the beginning of the novel leading to the graphic sensory descriptions of the sermons and Stephen’s epiphany at the end of chapter four. Joyce’s continual use of sensory perception effectively engages the reader, making him experience the novel through his senses like Stephen.



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