In William Shakespeare's "The Tempest," and Christopher Marlowe's "Doctor Faustus," Prospero and Doctor Faustus both engage in elements of the dark arts, initially to achieve aspirational outcomes. In order to demonstrate power, Shakespeare effectively plays with the relationships between master and servant. Many characters are also locked in a power struggle for the control of the island, eventually causing the abuse of power by some characters. Whereas, Marlowe presents the master/servant relationship as a mutually beneficial deal out of choice, rather than against the will of the servant. However, while Prospero is clearly reformed at the end of The Tempest, Faustus is damned to hell and does not experience the treasured power that Prospero regains. This may be due to the fact that The Tempest is a typical romance play, ending with a clichéd ‘happily ever after’, whereas Marlowe's Doctor Faustus is considered a tragedy due to the main character dying. The power held by "The Tempest"(s) main protagonist, Prospero, is challenged by the native islander Caliban. Caliban recognizes this, and when attempting to assassinate Prospero, he wants ‘to possess his books; for without them / He’s but a sot,...’ This line presents Caliban as powerful, as he knows the secret to Prospero’s power, and also knows how to stop it. However, the fact that Caliban has not acted on this, even when enslaved by Prospero, but instead looks for a “god” or “master” shows how he needs someone to guide him. Prospero is called a “sot” by Caliban; the word “sot” refers to a medieval drunkard, someone who is habitually drunk, which presents Prospero as a reckless character. This shows a clear gap in power between Prospero and Caliban, as the island should belong to the native Caliban, but has been colonized by Prospero, the careless white man. What is interesting is that Caliban only insults Prospero behind his back, but in his presence is very afraid of him. Bernard Lott states that “Caliban has bad blood in him, and therefore, in the view of Shakespeare’s time, he cannot easily be educated in any way which will improve his character.” The critic clearly recognizes the culture in Jacobean England, as the public would not accept an outsider, especially of a different race, into their community. Instead, they would make a freak show out of Caliban that people would pay to see, as people “will lay out ten to see a dead Indian." In comparison, Faustus “Assures his soul to be great Lucifer’s." Faustus refers to himself in third person, which creates a mysterious atmosphere and shows how Faustus has removed the human aspect of himself. This would also not have been accepted by the 16th century audience, as to sell one’s soul to the devil would be a huge sin, and punishable by death as well as eternal damnation. Also, like Caliban, Faustus wants to have a God to guide him at the end of the play, but it is too late for him to repent and he must accept his fate. Ariel bears the greatest physical power in the play, but is e