Analysis Of Dichotomies In Goethe’s Faust
Mephistopheles’ suggestion that humans can be burdensome in the Prologue for Faust sets the tone for the overall theme of this play. The word burdensome means difficult or taxing to perform, restricting in some way. Mephistopheles worries that intelligence and reason have made people unhappy because they are only using them in a cruel and brutish way. He says that mankind is suffering endlessly and even the devil, who is not a fan of them, does not want to be a threat to them. Throughout the whole play, the quest for eternal truth and the never-ending search for truth are the main themes. Faust’s struggle with the limits of man’s ability to experience and perceive the world is what drives him to do everything he does. Faust attempts to do this, and the result is many contradictions.
Faust’s split personality is reflected in the dualities that plague him. Faust wants a life of earthly success, fame and wealth. But he also has lustful desires. He also wants to reach the highest spiritual and intellectual heights and explore the unknown. This latter desire will cause him to make a diabolical deal with Mephistopheles.
Schiller’s notion of sense and forms drives has many parallels with this duality. The sense drive, he argues, is the result of the material existence and changing nature of matter that we are as humans. The form drive, on the other hand, is an intrinsic function of the individual. This is the rational nature of the man, and it is aimed at giving him freedom to bring harmony into the diversity in the world. The form-driven drive is also a force for truth and justice. The sense and form drives compete and are dominant in the individual. Schiller asserts that the sense drive and the form drive are in competition, and they overpower each other. Faust appears to be fighting a conflict that is very similar. He wants to completely penetrate and unite with the particular, but also to transcend and unite with the universal/multiplicity.
Faust, in simple terms, wants to become a God because he’s dissatisfied by his earthly existence and craves power and control of others that can only be exercised by a deity. Faust wants to separate the earthly part of his soul from that of its ‘brother.’ There will only be one god-like spirit, striving to achieve a higher level of existence, from that moment forward.
Prior to the pact, Mephistopheles’ wager with God must have been made. God says in the Prologue that Faust will one day be guided to truth by his own reason. Mephistopheles, however, has a different opinion about Faust. God excuses Faust’s indecisiveness, saying that men will make mistakes so long as they are striving. God and Mephistopheles wager on the outcome of this dispute. Mephistopheles can influence Faust as long he is alive, but when his assessment of Faust turns out to be wrong, if a good man with his intuitive inclinations, he’ll have to admit : “A good and wise man!” Still knows what is right and true.
The pact that Faust made with Mephistopheles could affect the bet between Mephistopheles & God. Faust swears he won’t be satisfied with his life at the moment. If he is, he’ll give his soul to Mephistopheles. Mephistopheles can give Faust unending knowledge and pleasures of the world. Faust finds this very attractive, believing that he has no way to lose. In a state where he doesn’t believe that his mind can be improved, and because nothing gives him any joy or pleasure, he starts thinking about the possibility of becoming God. Faust’s desire is to have Telos revealed. But this will not happen until Mephistopheles has made him happy. Faust is convinced that he can only win if Mephistopheles makes him satisfied. Faust will win the bet if Mephistopheles can “win” it for a moment. Faust is not allowed to lose this bet.
Goethe establishes several dichotomies throughout the book, often following Faust’s abrupt mood changes or behaviour. Faust’s desire to love Gretchen requires him to do several sins, such as committing a number of sins against reason. Mephistopheles is the foil to Faust, and he tempts him with the full range human experience. Gretchen is the pure, innocent side of Faust, and appeals to his more loving and tender side. Faust’s lust and love for Gretchen are often at odds, leading to a struggle within his conscience. Mephistopheles guides Faust to trick Margaret, making her believe that he has fallen in love. Margaret falls for him. Mephistopheles is using this to win the bet, and to trap Faust.
Faust now is, in some ways, trying to reinvent Christianity. He is translating the Gospel passage from John to give the reader an idea. The play has a similar message to Hegel: Negation will bring you hope. Faust is like a resurrected religion that reflects the human life. It’s a reflection of what we do and not something external to our existence. Humans create Gods. In this play, Faust appears to be the God created by humans. He realizes that religion is hollow. Faust needs more than just the mind. Faust is now learning that the alienation he has experienced is what drives him to negation. Negation also allows for the appropriation of errors, rather than letting them be forgotten. In turn, this action can lead to a state of disorientation, similar to that which Faust experienced. Faust’s journey teaches us that we can tolerate striving for different truths. Faust appears to prefer the direct and unmediated contact with reality, as shown by his use of magic compared with words or mediation.
The play’s repeated ascents, and subsequent descents, are basically the same. Faust’s descent is also his ascent. Faust’s journey down is really his journey up. The setting and acts also fit into this structure. The play also has many dualities, such as between the sense/formal force and characters. These are in line with the opposite ascent and descent. In the prelude of the play, the manager is able to mediate another duality between poet and clown. This is a microcosm that reflects the deeper meanings of the play. It is often referred to.
Gretchen is a symbol of innocence and purity, which contrasts sharply with Faust. As a result, her soul is corrupted as a result of her involvement in Faust. She has wasted her sacrifices for morality and religion. She is no longer a liar to her God or her beliefs. Instead, she has been abandoned, made ashamed, and is alone. Gretchen was not like Faust. Unlike Faust she did make the pact. Gretchen is just a innocent pawn. She still retains traces from her past purity, despite her horrendous actions. She realizes that something is wrong. She also understands that atonement for her sins must be made. Gretchen, despite her moral and emotional pain and the anticipation of the dawning of the day of the executioner, recognizes and forgives Faust’s moral guilt. A chorus of angels loudly proclaims Gretchen’s salvation in the final scene, confirming her fundamental goodness or purity. Gretchen’s redemption is not meant to be an example of what others can do. Her story shows what can happen when you don’t strive for yourself but are instead led astray. Faust is also a part of her story, because in the event of duality if he is her, he will kill himself and rid of original sin and guilt in the dungeon. A fascinating dialectic is also created as Margaret’s life is saved to allow Faust the opportunity to move on and leave behind his past.
