Man's development forseen in Goethe's Faust

Faust’s soul would have descended in fire, flames and uproar into the depths of Hell. But because Goethe lived all his active life with the theme of Faust in mind, he could not end with that conclusion. He could see the fall of Faust but he was not satisfied until he had found the way of his resurrection. So it is that the play does not end at the close of the first part, but there follows the much longer and more complicated second part. Mephistopheles accompanies Faust right through its many scenes, but is never again in the position to give him orders and dominate him completely.

How does it come about that in our modern age Mankind has not yet destroyed itself, although so many destructive influences have been let loose? Our environment has been polluted to a dangerous degree, and yet very little is done to prevent this from continuing. The human constitution is being damaged by absorbing many kinds of poison in the course of daily life. The picture of Faust in the first part of the play as a man who is destroying himself by guilt, reflects the modern dilemma remarkably well. Where are the forces that prevent the impulses to selfdestruction reaching their conclusion? The second part of the drama of Faust begins with the scene showing the hero restored to life by a number of sprites or elemental beings who bestow on him some of their own natural vitality. They give because they have something to give, regardless of the worthiness of him who receives. Goethe has represented them as the source of the natural impulses to well-being which anyone can feel on a beautiful morning, or by breathing in fresh air, or taking a holiday in lovely surroundings. The modern person, whose job it may well be to handle some of the destructive forces now at work, often relies on a holiday to restore himself. Goethe has shown in the construction of the second half of the play that he did not mistake restoration for resurrection. Ariel and his companions give Faust a new start in life. They can do no more; and although this first scene is one of the few in which Mephistopheles is not present, Faust soon returns to his company.

Faust is no longer interested in the search for happiness in his personal affairs. From now on he takes the stage of history. His foremost wish is to play his part in moulding the world of his

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