Good Angel and Evil Angel

They are the embodiment of radically opposite beginnings. They arise every time when Doctor Faustus starts thinking about the sins and virtues of his own soul. The principal carefully weighs and evaluates all the deeds committed by him, trying to foresee what awaits him after an inevitable departure.

The Good Angel constantly persuades Faust to give up temptations, to adequately overcome obstacles and return to God. An Evil Angel gets exhausted, forcing the scientist to continue his magical rituals and find the truth, no matter what. The latter faithfully serves the devil, making it easier for him to capture the Doctor’s heart. Through these images, Goethe showed the difficulty of choosing which Faust to make.

Of course, this allegory is not new since it was used by the ancient Greek fabulist writers. It is proved that abstract concepts are best personified in specific individuals. They become clearer and closer to the viewer, who listens better to a human than a cloud or wind. In the tragedy, the Good Angel represents the desire of Faust to repent of his deed, while his antipode defends the right to vice. The inner struggle of the scholar reflects the battle of two sources, which leaves a mark on the spirit and mind.

Faust feels confusion and chaos throughout the play. He is at a crossroads, experiencing colossal agony from his own indecision. The doctor is sure he was cursed from the moment he was born. His installation explains the arrival of the demon, the conclusion of the contract and the subsequent bitter fate. An Evil Angel gives him similar opinions with an enviable constancy, undermining his desire to resist the destructive forces. In this way, Goethe portrays parts of Faust’s consciousness, the two halves of the mind when one tries to triumph over the other.