Heaven and Hell as Polarized Ideas in Doctor Faustus

Introduction

In the play Doctor Faustus, the central theme revolves around the dichotomy of good and evil. On one side, there is the representation of goodness embodied by God and Heaven, while on the other side, the forces of evil are epitomized by Lucifer and Hell. This fundamental division is further illustrated through contrasting characters and elements, such as the old man and the Good Angel standing in opposition to Mephistopheles and the Bad Angel. Initially, Faustus grapples with this internal conflict, torn between the allure of good and the temptation of evil, especially as he contemplates entering into a blood pact. However, as the narrative unfolds, the overpowering influence of evil progressively gains the upper hand, eventually leading Faustus to his ultimate damnation. This essay will analyze the idea of Heaven vs Hell in Doctor Faustus as well as the role of the seven deadly sins in the play.

Heaven and Hell in Doctor Faustus

The conflict between good and evil commences within Faustus's own conscience. The personifications of these opposing forces are the Good and Bad Angels, representing the tension between Faustus's quest for knowledge and his desire for power. The stark contrast between good and evil is evident when the Good Angel urges Faustus to "think of heaven and heavenly things," while the Bad Angel entices him with thoughts of "honor and wealth." However, as the play progresses, the Good Angel and the Bad Angel cease to make appearances. Their absence symbolizes Faustus's irrevocable commitment to the path of evil, as evidenced by his blood pact. Faustus no longer ponders turning back to God, nor does he express remorse for the choices he has made. Instead, he squanders his newfound powers on frivolous pranks and entertaining royalty, such as his tricks on the Pope and his conjuring of Alexander the Great.

The pivotal moment in the conflict between good and evil occurs when Faustus undergoes a transformation from a pursuit of good to an embrace of evil. By the time the seven deadly sins are paraded before him, Faustus has firmly chosen the path of evil. Prior to this encounter, Faustus initially harbors good intentions, as seen in his promise to provide silk for public schools, intending to clothe students in luxury. He remains committed to his quest for knowledge, despite his naivety about the eternal damnation awaiting him in hell. Faustus is even repulsed by the physical embodiment of evil, prompting him to request that Mephistopheles alter his appearance to that of an old Franciscan friar, as he believes this holy guise suits a devil best. Faustus's aversion to the reality of hell leads him to misinterpret its true nature, at times even dismissing it as a mere myth, as evidenced by his concise response to Mephistopheles' horrifying description of hell.

However, following the blood pact with Mephistopheles, Faustus enthusiastically embraces the seven deadly sins, even when confronted with them directly. He eagerly anticipates the experience, as he confesses to Lucifer: "That sight will be as pleasant to me as Paradise was to Adam on the first day of his creation." In stark contrast to his earlier repulsion at Mephistopheles' devilish form, Faustus now wholeheartedly accepts and revels in evil. This transition becomes evident, freeing him from his initial claims of benevolent intentions, as he engages in a series of pranks and frivolous exploits.

The Factors of Faustus' Transformation

Three pivotal factors contribute to the transformation of Faustus from a seeker of knowledge to a harbinger of evil, particularly after the encounter with the seven deadly sins. Firstly, Faustus's insatiable thirst for forbidden, ultimate knowledge is shattered as he realizes that the answers he sought are elementary and trivial. When Mephistopheles provides him with answers about astronomy, Faustus dismissively states, "Tush, these slender trifles Wagner can decide. Hath Mephistopheles no greater skill? ... Tush, these are freshmen's suppositions." The most significant blow comes when he is denied knowledge about the world's origin. In this moment of despair, Faustus cries out for salvation, but his plea is rejected, and he becomes acutely aware that his pact with the devil is irrevocable.

This realization of his impending damnation serves as the second major catalyst pushing Faustus towards evil. During his desperate plea to Christ, Lucifer appears and extinguishes any hope of redemption by asserting, "Christ cannot save thy soul for he is just. There's none but I have interest in the same." Following this crucial encounter, Faustus believes that no matter how fervently he repents, he has already committed a grave sin and is condemned to eternal damnation. He becomes convinced that salvation is unattainable and seeks solace in pranks and distractions to drown out thoughts of repentance. For instance, after deceiving the horse dealer, he reflects on his impending mortality and finds solace only in "confounding these passions with a quiet sleep." His practical jokes and frivolous feats serve as distractions to quell his inclination towards repentance, as he believes he has chosen the path of evil.

A pivotal event that underscores Faustus's descent into evil is his fervent demand for Helen towards the play's conclusion. Notably, he openly acknowledges committing one of the deadly sins, a rarity in his behavior. By beseeching Mephistopheles to "let him crave of thee, to glut the longing of his heart's desire," Faustus demonstrates his awareness of the path he is treading, yet he proceeds to commit the sinful act. Whether he can still be saved becomes irrelevant, as he willingly surrenders to evil. Faustus implores Helen to "make [him] immortal with a kiss" and exclaims how "her lips suck forth his soul." The immortality he seeks is, in fact, the eternal torment of hell, and he might recognize the profound evil within his soul. Furthermore, immediately after the sinful act, his first thought is to ask Helen to return his "soul" to him. Thus, the realization of his irreversible damnation liberates him from any obligations to do good and encourages him to commit sin repeatedly.

The third influential factor driving Faustus towards evil is the overwhelming presence of evil compared to good. Strangely, God remains absent throughout the play, while Lucifer and Mephistopheles consistently appear at critical junctures when Faustus is beset by doubt. Their presence is critical, preventing Faustus, who initially regrets his decision, from renouncing their diabolical contract. For example, as Faustus contemplates repentance, Mephistopheles intervenes and threatens to tear him apart, with no divine counter or intervention in sight. The closest influences resembling a counterforce to the overwhelming evil are the Good Angel and the Old Man, both of whom are powerless in influencing Faustus's conscience. When the Good Angel implores Faustus to repent, he immediately dismisses any doubts and proceeds to sign the contract. The Old Man is ultimately doomed to suffer "the greatest torments that our hell affords." Consequently, calls to embrace evil greatly outnumber appeals to choose the path of good, largely due to the absence of direct divine influence.

Faustus's internal conflict between good and evil takes a dramatic turn after he willingly exchanges eternal life for power. This conflict increasingly dissipates as he mocks the seven deadly sins and consistently opts for evil, driven by the conviction of his inescapable damnation. Perhaps, rather than a genuine struggle of choice, Faustus's journey can be seen as an inexorable descent towards evil.

Conclusion