In the beginning of Goethe's Faust, a bet is made between God and Mephistopheles, a character that some consider to be the Devil. Mephistopheles says that Faust, the doctor, will fall. However, God believes that he is a astray soul who is only confused. Shortly after, Mephistopheles has to do anything for Faust as long as Faust, in return, gives the Devil his soul. Although Faust, throughout the play, is irritated with Mephistopheles, he feels like it is also necessary to have around because he needs him to have a fulfilling life. Faust discovers in the end that he does not want to be a “bad guy” and therefore triumphs over Mephistopheles.
When the pact is first on, Faust does not seem to care about his soul or his life. He is the Devil’s sidekick for lack of anything better to do. Faust sees himself as better than God; therefore, he is not worried about his welfare. In the scene “Night,” Faust even tried to kill himself. As the twosome begins hanging out together, Faust seems bored with all that Mephistopheles shows him. Faust portrays his boredom when he asks the Devil, "Are you telling me that I'll learn to be a new man stumbling around in this lunatic confusion? . . . If you can do no better, the outlook is black for me, the hopes I nursed are already dead.” (2377-2383)
Faust suddenly starts taking interest when he lays eyes on Gretchen, a beautiful, poor, good, and modest young woman. Although Mephistopheles doesn't approve of pursuing the girl, he must do what Faust orders him to or he will lose Faust's soul. Therefore, the Devil does what Faust says, although reluctantly. Throughout the rest of the play, the Devil tries to talk Faust out of some ideas. However, he always gives into him so that Faust does not call off the pact, losing his bet with God.
In “Prelude,” a discussion takes place on the stage of a theatre between a director, a poet, and a clown. They argue about what constitutes a good play. Three points of view are presented. The director is interested in those things which make the play a commercial success: action and novelty. The poet is concerned with the artistry and ideas that make the play's meaning universal and give it value for posterity. The clown asserts that these views are not contradictory. He points out that the needs of art and the needs of the moment can be reconciled, for that which attracts the general public need not be worthless. The artist can maintain his integrity and still be successful if he stops feeling superior and develops a proper appreciation for the values of everyday life. Finally the director ends the discussion, reminding the others that there is still much work to be done if they are to put on any play at all. He describes the techniques of producing a play and promises the audience that the whole universe will be presented on his stage — beginning with heaven and proceeding through the world to hell.
The following segment of the play, “Prologue,” the Lord and all the hosts of heaven are assembled. The three archangels, Raphael, Gabriel, and Michael individually step forward and recite eloquent praises of the beauty and perfection of the universe and the omnipotence of God. At this time, Mephistopheles enters the scene. He cannot imitate the songs of the others, he says, for he lacks their skill. Furthermore, he has seen that the possession of reason and intelligence has made mankind unhappy, and this troubles him. The Lord counters this criticism of humanity by citing the example of Faust, a man who is not debased by reason and who will ultimately be guided by it to acknowledge the truth. God and Mephistopheles differ in evaluating Faust's potential. The devil censures Faust's present indecisive confusion, but the Lord excuses it saying that men are able to make mistakes as long as they strive. He asserts that Faust in the end will attain understanding and peace of mind.
The Lord and Mephistopheles make a wager to settle this dispute. As long as Faust lives, the