Baal

Baal (bahl), a poet named after a Semitic-Phoenician deity, embodies the raw energy and amorality of the fertility principle this god symbolizes. This god's connection to storms and the life-giving properties of water is reflected in the violence and transience of Baal's passions. Morally, Baal is exploitative, murderous, and frequently intoxicated, bound by no human or ethical ties. In the natural realm, he insists on savoring the world's pleasures and abundance.

Ekart

Ekart (EH-kahrt), a composer, is a robust man who lures Baal into the forest and becomes his lover. Although it is Ekart’s animalistic nature that initially draws Baal, he remains susceptible to social bonds, as shown by his empathy for Sophie and his dedication to composing a Mass. Ekart's resistance to Baal's dominance incites the fury that leads Baal to commit murder.

Johannes Schmidt

Johannes Schmidt (yoh-HAHN-nehs shmiht), a conventional and proper young man, is a friend of Baal. He is unable to act on his desire for Johanna due to fear of her innocence and societal repercussions. After Johanna’s tragic death, Johannes succumbs to despair, gradually becoming a shadow of his former self due to alcoholism.

Johanna Reiher

Johanna Reiher (yoh-HAHN-nah RI-hehr), at seventeen, is Johannes’ fiancée, a virgin both repulsed and drawn to Baal. When Baal seduces her and dismisses her as no different from any other woman, she is overwhelmed by shame and terror. This leads her to flee his room and ultimately to her death by drowning in the river Laach.

Sophie Barger

Sophie Barger is yet another virgin who is seduced by Baal. Despite her protests, she cannot resist his charm. Pregnant, she follows Baal and Ekart into the wilderness. When Ekart suggests taking care of her if she denounces her love for Baal, she declines and is left alone in the forest. Sophie's identity is almost entirely tied to her sensuality, which draws her to Baal, leads to her pregnancy, and prevents her from renouncing her love for him.

Mech

Mech, a timber tycoon and publisher, initially shows interest in funding the publication of Baal’s poetry. However, his interest wanes when Baal begins to seduce his wife, Emily. Mech’s exploitation of nature—particularly his destruction of trees, a symbol of life in the play—and his excessive consumption of food indicate that his interest in Baal's work is merely an attempt to consume the poet's energy.

Emily Mech

Emily Mech, the attractive wife of Mech, captures Baal’s attention with her alluring white arms, which she skillfully displays while playing the harmonium. Although Baal quickly tires of her and treats her with disdain, Emily remains captivated by her desire for him.

Dr. Piller

Dr. Piller, a critic, facilitates the meeting between Baal and Mech. While he appreciates the quality of Baal’s poetry, he is simultaneously repelled by the poet's conduct.

Mjurk

Mjurk (myurk) owns the Night Cloud, a modest café where Baal is hired to perform. When Mjurk denies Baal further brandy, Baal breaks his contract by escaping through the toilet. Mjurk’s inability to control Baal mirrors Mech’s earlier failure to manage the poet.