The Contract
The central irony of the play, of course, is that Faustus puts his trust in his pact with Lucifer – a notorious figure of deception and duplicity. From the outset of the play, audiences are likely to recognize that Faustus's plan will not end well, as any dealings with the Devil run counter to early modern Christianity and the notion of salvation. Of course, Faustus is too blinded by his own pride and desire to power to recognize the sacrifice the contract truly demands of him.
Helen of Troy
When Helen of Troy appears as a conjured spirit in front of Faustus, he utters one of the most famous monologues in early modern drama. In so doing, he asks Helen to make him "immortal" through a kiss, an ironic request that points toward his latent desire for eternal salvation despite his rejection of Christianity and God.
Valdes's Canonization
When Valdes tells Faustus that they, with their power and knowledge, will become "canonized," he suggests that they will be celebrated in the same way that saints are celebrated in the Christian tradition. However, he immediately follows up this assertion with a metaphor that compares them to conquerers of a foreign nation who preside over subjects in servitude. This remark is ironic because it showcases the disparity between what Valdes says – they will be saintly – and what he means or actually hopes for – that they will hold dominion over others.
Faustus's Vocabulary
One significant source of irony throughout the play appears in the form of verbal irony. In Act One, Faustus rejects all things related to Christianity in favor of magic, then enters into a pact with the Devil. However, he continues to use Christian-inspired language to describe his encounters, including the assertion that, "these metaphysics of magicians / And necromantic books are heavenly" (1.1). This use of Christian terms to describe distinctly non-Christian systems underscores how Faustus still relies on Christianity to understand the world, even if he claims to have rejected it.
