Meph.  Why, this is Hell, nor am I out of it:  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? O Faustus, leave these frivolous demands, Which strike a terror to my fainting soul.

    Faust.  What! is great Mephistophilis so passionate
    For being deprived of the joys of Heaven? 
    Learn thou of Faustus manly fortitude,
    And scorn those joys thou never shalt possess. 
    Go, bear these tidings to great Lucifer: 
    Seeing Faustus hath incurr’d eternal death,
    Say, he surrenders up to him his soul,
    So he will spare him four-and-twenty years,
    Letting him live in all voluptuousness;
    Having thee ever to attend on me,
    To give me whatsoever I shall ask,
    To tell me whatsoever I demand,
    To slay mine enemies, and aid my friends,
    And always be obedient to my will.”

This passage, especially the hero’s cool indifference in questioning about things which the fiend shudders to consider, has often struck me as not altogether unworthy to be thought of in connection with Milton.

The result of the interview is, that Faustus makes a compact with Lucifer, draws blood from his own arm, and with it writes out a deed of gift, assuring his soul and body to the fiend at the end of twenty-four years.  Thenceforth he spends his time in exercising the mighty spells and incantations thus purchased:  he has the power of making himself invisible, and entering whatsoever houses he lists; he passes from kingdom to kingdom with the speed of thought; wields the elements at will, and has the energies of Nature at his command; summons the Grecian Helen to his side for a companion; and holds the world in wonder at his acts.  Meanwhile the knowledge which Hell has given him of Heaven haunts him; he cannot shake off the thought of what the awful compact binds him to; repentance carries on a desperate struggle in him with the necromantic fascination, and at one time fairly outwrestles it; but he soon recovers his purpose, renews his pledge to Lucifer, and finally performs it.

This feature of the representation suggests a great thought, perhaps I should say, principle of man’s moral being, which Shakespeare has more than once worked upon with surpassing effect.  For it is remarkable that, in Macbeth, the thinking of the Weird Sisters (and he cannot choose but think of them) fires the hero’s moral and imaginative forces into convulsive action, and thus causes him to shrink back from the very deed to which the prophetic greetings stimulate him.  So, again, in Hamlet, the intimations of the Ghost touching “the secrets of its prison-house” kindle the hero full of “thoughts beyond the reaches of his soul,” which entrance him in meditation, unstring his resolution, and render him morally incapable of the office to which that same Ghost has called him.