The purpose of this paper is to examine how the aspects of dramatic irony are figured in Doctor Faustus, and to illuminate how its tragic effects mirror Marlowe`s view of morality and religion. Faustus has, often, been acceptedd as the tragic hero who attempts to go beyond human limitation in quest of knowledge, or who reveals the Renaissance struggle for human freedom. The two perspectives may, in a way, mirror Marlowe`s personal views for/against Christian metaphysics and ethics. The ironies are dramatically structured in two patterns of action; the repetitive pattern of moral choice, and the pattern of contrast.^13 Of course, the aspects of repetitive contrast are the following: sin/salvation, God/not-God, heaven/hell, worldly pleasure/heavenly bliss, hope/despair etc. Faustus as a "miserable man" is locked in a death alienated from God he can neither reject nor love God. Though Faustus fails to become the demi-god which he aspires to be, trapped by his errors, his weaknesses and his illusions of ambition, he is worthy of interest as a character. There is no doubt in that his mistakes are ironically the mirrors of his humanity. Faustus, as a result, may be `a scapegoat` sacrificed for the powerful commitment of contemporary morality and religion by Marlowe`s puritan imagination, which is evidently presented in the closing statement of Epilogue of Doctor Faustus: "Faustus is gone: regard his hellish fall,/ Whose fiendful fortune may exhort the wise".