The function of the Old man
The purpose of the Old Man is arguably ambiguous, functioning as a voice of the will of God,
the conscience of Faustus and a firm extension of the law. Clearly relating to the Christian
narrative, and emphasising the importance of faith, the Old Man is an allegorical figure
representing the psychomachia in Faustus’ soul. What’s more, significantly the Old Man is
used to shape the audiences’ opinions, encouraging the removal of sympathy for Faustus
through the extreme and ugly language. Or perhaps could be seen to function as a figure to
reveal the hideous nature of Faustus’ sins and emphasise the importance of acknowledging
God’s mercy in order to repent.
The Old Man functions as an allegorical figure, taking over the previous role of the Good and
Evil Angel. The Angels can be interpreted as the projections of Faustus’ own psychological
state and towards the end of the play the Old Man appears to take their place. The Old Man
can be seen as part of Faustus’ psychomachia, encouraging Faustus to repent yet
Mephistopheles is there and ‘gives him a dagger’ depicting a dramatic enactment of the
conflict in Faustus’ soul. Therefore, functioning as a wise adviser, he urges Faustus to repent
and take the first step which is acknowledging one’s sins by facing up to how disgusting sin
is in the eyes of God. Furthermore, this allegorical figure emphasises the divided nature of
man as he extends the internal struggle symbolised previously by the Good and Evil Angel.
Notably, the Old Man enters the scene in the middle of Faustus’ soliloquy, illustrating the
choice that Faustus had of redemption and posing as a wise adviser. Commonly in Morality
plays an allegorical figure dramatises the conflict of a soul, which the Old Man is evidently
doing here encouraging Faustus to ‘call for mercy and avoid despair’ communicating to the
potential ‘good’ side of Faustus.
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The purpose of the Old Man is arguably ambiguous, functioning as a voice of the will of God,
the conscience of Faustus and a firm extension of the law. Clearly relating to the Christian
narrative, and emphasising the importance of faith, the Old Man is an allegorical figure
representing the psychomachia in Faustus’ soul. What’s more, significantly the Old Man is
used to shape the audiences’ opinions, encouraging the removal of sympathy for Faustus
through the extreme and ugly language. Or perhaps could be seen to function as a figure to
reveal the hideous nature of Faustus’ sins and emphasise the importance of acknowledging
God’s mercy in order to repent.
The Old Man functions as an allegorical figure, taking over the previous role of the Good and
Evil Angel. The Angels can be interpreted as the projections of Faustus’ own psychological
state and towards the end of the play the Old Man appears to take their place. The Old Man
can be seen as part of Faustus’ psychomachia, encouraging Faustus to repent yet
Mephistopheles is there and ‘gives him a dagger’ depicting a dramatic enactment of the
conflict in Faustus’ soul. Therefore, functioning as a wise adviser, he urges Faustus to repent
and take the first step which is acknowledging one’s sins by facing up to how disgusting sin
is in the eyes of God. Furthermore, this allegorical figure emphasises the divided nature of
man as he extends the internal struggle symbolised previously by the Good and Evil Angel.
Notably, the Old Man enters the scene in the middle of Faustus’ soliloquy, illustrating the
choice that Faustus had of redemption and posing as a wise adviser. Commonly in Morality
plays an allegorical figure dramatises the conflict of a soul, which the Old Man is evidently
doing here encouraging Faustus to ‘call for mercy and avoid despair’ communicating to the
potential ‘good’ side of Faustus.
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