The subplots of Doctor Faustus, which contain minor characters such as Wagner and Robin the clown, parallel the plot in order to present the irony of how differing levels of education affects the supernatural world. Robin, who is appropriately the clown, represents a gauche Doctor Faustus in their following of black magic for a fatal price. Common parallels include the use of devils to mystify the mind when Wagner called "Banio! Belcher!" [I.iv.38] for the two devils and Belzebub enticed Faustus to stay loyal to Lucifer by calling for a presentation of the Seven Deadly Sins in "their own proper shapes and likenesses" [II.ii.111]. It is mere absurdity that when men are faced with the utter epitomes of evil, they are enchanted rather than repulsed. While presenting these evils which should terrify men and warn them of their doom, Faustus and Robin's interests are peaked, and they decide in favor of wickedness. By illustrating the simple fancies of these men, Marlowe presents the theme of foolishness in the delight of grotesque or magical illusions, usually common to man beyond the scope of education. Coincidentally, both men are further encouraged by the promise of self-metamorphosis. Wagner suggests he teach Robin to turn himself into a "dog or a cat or a mouse or a rat or anything" [I.iv.48] while Lucifer allows Faustus a book instructing him how to turn himself into "what shape thou wilt" [II.ii.184]. Although the men show no motives for manipulating their shape, they are nonetheless fascinated by the concept of changing themselves into a worse breed, which is, metaphorically, the exact process they have inscribed for themselves. The continuing irony behind the eventual consequences of their actions, forcing them into transformed beings caused by the their very motives to delight their minds with physical altercations, is deftly presented by Marlowe in the use of subplots. Another incentiv...