The first idea, the idea about the man at the bottom coming out on top, is expressed in this puppet-play in the person of Dr. Faustus' servant, Caspar. Sentimental old Tones, regretting the feudal times, sometimes complain that in these days Jack is as good as his master. But most of the actual tales of the feudal times turn on the idea that Jack is much better than his master, and certainly it is so in the case of Caspar and Faust. The play ends with the damnation of the learned and illustrious doctor, followed by a cheerful and animated dance by Caspar, who has been made watchman of the city.
But there was a much keener stroke of mediaeval irony earlier in the play. The learned doctor has been ransacking all the libraries of the earth to find a certain rare formula, now almost unknown, by which he can control the infernal deities. At last he procures the one precious volume, opens it at the proper page, and leaves it on the table while he seeks some other part of his magic equipment. The servant comes in, reads off the formula, and immediately becomes an emperor of the elemental spirits. He gives them a horrible time. He summons and dismisses them alternately with the rapidity of a piston-rod working at high speed; he keeps them flying between the doctor's house and their own more unmentionable residences till