After tragically failing Margherita, Faust longs for the perfection and beauty of Ancient Greece (Arcadia, the prelapsarian world of Eden) where Mefistofele transports him to administer a more subtle, daring, and intense temptation: that of remaining in the lower heavens of the gods (initiates of the superior worlds). There in the bliss of Nirvana, one easily forgets the sorrows of humanity and the hopes for final liberation (in the Ain Soph). While demons provide temptation in the inferno or Klipoth of kabbalah, Lucifer—the trainer of spiritual initiates—also tempts masters on the path to perfection by offering solace and comfort within the higher dimensions, so as to deter them from ultimate advancement to more elevated esoteric degrees. Even attachment to the sacred feminine (Helen of Troy, the spiritual soul and beloved of Tiphereth) can impede one from supreme self-realization, whereas renunciation of heaven (virtues and mystical powers) is the requisite for transcending all obstacles on the initiatic path. In the denouement of this opera, the significance of temptation, redemption, and transcendence is clarified: for only by giving up what Faust loves most is he able to achieve something higher. See how through his triumph over Mefistofele (desire, ego, Shaitan) and his induction into the conscious circle of self-realized and perfected masters (within the Solar Absolute).

Resources and References:

https://chicagognosis.org/lectures/the-sacred-feminine-redemption-and-temptation-of-the-gods-in-mefistofele-act-iv-and-epilogue