Critical Analysis of Doctor FaustusIn this essay the critical approach on (mythological and archetypal approach) played an important role in forming my opinion on the classic signet book, "Doctor Faustus". as far as I know, the mythology does not meet our current standards of factual reality, but unlike the 16th century in which this play was presented, men like Faustus saw the myth as a fundamental and dramatic representation of the deeper instinctive life in the universe. as Faustus puts on a show for the Emperor and the Duke of Vanholt. The main thesis or climax of this play is when Faustus, two friends Valdes and Cornelius who are magicians teach him the ways of magic. Faustus uses this magic to summon a devil named Mephistophilis. Faust surrenders his soul to Lucifer (Satan), in exchange for keeping Mephistopheles for 24 years. We also see what happens when magical power ends up in the wrong hands when Mephistophilis punishes Robin, who is a clown, and his friend Ralph for trying to do magic with a book they stole from Faustus. At first the angels visit Faustus, and each time he wonders whether to repent or not, but the devil appears and does not warn him even trying to take possession of him with magic. At the end of the play, the two good and bad angels have been replaced by an old man, who pushes Faustus to repent? But it is too late and the play ends with the devil taking him away from hell. The main reason I chose this critical approach is because this play established a significant relationship with archetypes and its models. Things like archetypal imagery played an important role in this play. For example on (page 32, line 8) it speaks of a circle, referring to Jehovah's protection. As an archetypal image it refers to completeness and unity. Furthermore (lines 16-24), Mephistopheles wants to eliminate the trinity of Jehovah, saying: "Hail spirits of fire, of air, of water" and the word welkin on (page 31 line 4). This implies archetypal images for the first and second images. Other important keys that exist in the critical analysis of this work are the number seven, which is said to be the most powerful of all symbolic numbers. In comedy, seven is linked to the seven deadly sins: pride, greed, envy, anger, gluttony, sloth and lust..