In our research questions, we sought to find where each soul revealed itself, and where each soul dominated Faust's speech. By structuring, analyzing, and presenting the text in graph form, our 'roadmap' for Faust's character eveolution has been built.
Towards the beginning of the play, we see Faust as the 'Professor'. He seeks to adandon his dust-ridden books and sets out on his quest for higher knowledge. This purpose guides him throughout the first scenes, up through the Witch's Kitchen (Scene VI.). Faust holds disdain towards his scholastic past, as shown in the domination by the Divine soul in scenes I-V. Especially in the Witch's Kitchen, we see the Divine soul is strengthened by Faust's distrust in Witchcraft and seemingly ridiculous spellsm potions, and magic. However, it is also in this opening section (I-VI) that we see the seeds of the Earthly soul being sown. In Scene II (Outside the City-Gate) Faust becomes self-reflective and self-conflicting. It is here that he realizes his divided souls, and our graphs portray this in the high levels and criss-crossing shown by both souls. In Scene IV (The Compact), as Mephistopheles offers his powers, our graph shows that Faust's intentions are not purely Divine, but the souls flip back and forth in domination. Faust provides hints of deeper sensual desires in his quest for divine power that would come to fruition as he meets Gretchen.
In Scene VII (Street), Faust's soul alignment makes a radical flip from the previously-dominating Divine to the Earthly. In almost all of the scenes in which Gretchen is a major character or factor, Faust's earthly soul spikes. As he had taken the Witch's potion in Scene VI, Faust is effectively a new, younger version of himself that is susceptible to this change. This "New Faust" is reflected in the Earthly soul's domination for the next few scenes, with the exception of the Garden (Scene XII) in which Martha is often present, and Faust focuses on her divine beauty. However, in these same scenes an undercurrent of divinity still exists. This reflects that Faust, while still primarily focused on gratifying sexual desires, does see some element of pure, divine beauty in her. This especially comes out towards the end of the play, when Faust attempts to rescue Gretchen. Here, he still expresses some of his earthly soul, but in an unusual turn, his divine soul actually prevails in her presence.
In general, we can state that Faust's Divine soul is predominant at the start, as he sets out on his quest for higher power/knowledge, falls to the Earthly soul as he restores his youth and seeks to seduce Gretchen, and after the tragic consequences of his actions, his divine soul finally prevails in his vain attempt to save Gretchen. Yet the basic lessons of dominating souls does not truly reflect all of who Faust is throughout the play. His character enters states of deep contemplation, such as in Scene II, in which he raises both souls simultaneously. He can undergo radical flips in his motives, feelings, and desires in almost instantaneously. And furthermore, once these changes occur, Faust calls them into question; such as in Scene XXI (Forest and Cavern), in which the Divine dominates following a string of Earthly-controlled scenes. The unique ability our graphs gave us was that they not only presented how one soul dominated the other, but how the minority soul can still maintain a presence and effect Faust's character.
In short, Faust is a deeply complex figure who can never be truly set in one direction. He may be motivated by a certain soul at a certain time, but he is constantly being tugged by a number of forces simultaneously. His character is dynamic, and never finds permanent comfort in one state. He is in constant flux - ever striving for higher states of power, knowledge, and being.