Christianity as Mystical Fact
GA 8
V. The Wisdom of the Mysteries and the Myth
[ 1 ] The mystic sought forces and beings within himself which are unknown to the human being as long as he clings to the ordinary attitude towards life. The mystic puts the great question about his own spiritual forces and laws that transcend the lower nature. A man of ordinary views of life, bounded by the senses and logic, creates gods for himself; or when he realizes that he has made them, he repudiates them. The mystic knows that he creates gods, he knows why he creates them, he has discovered the natural law that makes man create them. It is as though a plant suddenly became conscious and learned the laws of its own growth and development. As it is now, it develops in serene unconsciousness. If it knew about the laws of its own being, its relation to itself would be completely changed. What the lyric poet feels when he sings of a plant, what the botanist thinks when he investigates its laws, would hover about a conscious plant as an ideal of itself.
This is the case of the mystic with regard to his laws, to the forces working within him. As one who knew, he was forced to create something divine beyond himself. And that is the attitude the initiates: took toward that which the people had created beyond nature; that is, toward the world of popular gods and myths. They wanted to penetrate the laws of this world of gods and myths. Where the people beheld the form of a god, or conceived a myth, they looked for a higher truth.
Let us take an example. The Athenians had been forced by the Cretan king Minos to deliver up to him every eight years seven boys and seven girls. These Were thrown as food to a terrible monster, the Minotaur, When the mournful tribute was to be paid for the third time, the king's son Theseus accompanied it to Crete. On his arrival there, Ariadne, the daughter of Minos, became interested in him. The Minotaur dwelt in the labyrinth, a maze from which no one could extricate himself once he was within it. Theseus Was anxious to deliver his native city from the shameful tribute. For this purpose he had to enter the labyrinth into which the Minotaur’s booty was usually thrown, and kill the monster. He undertook the task, OVercame the formidable foe, and succeeded in regaining the open air with the aid of a ball of thread which Ariadne had given him.
The mystic had to discover how the creative human mind comes to weave such a story. Just as the botanist watches the growth of plants in order to discover its laws, so did the mystic watch the creative spirit. He sought for a truth, a nucleus of wisdom, where the people had invented a myth.
Sallust discloses to us the attitude of a mystical sage towards a myth of this kind. “We might call the whole world a myth,” he says, “which contains bodies and things visibly, and souls and spirits in a hidden manner. If the truth about the gods were taught to all, the unintelligent would disdain it, because of not understanding it, and the more capable would make light of it. But if the truth is given, veiled in a myth, it is assured against contempt and serves as a stimulus t0 philosophic thinking.”
[ 2 ] When the truth contained in a myth was sought by an initiate, the latter was conscious of adding something to what existed in the consciousness of the people. He was aware of being above that consciousness, as a botanist is above a growing plant. Something was expressed which was different from what was present in the myth-consciousness, but it was looked upon as a deeper truth, symbolically expressed in the myth. Man is confronted with his own sense-nature in the form of a hostile monster. He sacrifices to it the fruits of his personality, and the monster devours them and continues to do so till the conqueror (Theseus) awakes in man. His knowledge spins the thread by means of which he finds his way again when he repairs to the maze of sensuality in order to slay his enemy. The mystery of human cognition itself is expressed in this conquering of sensuality. The initiate knows that mystery. It points to a force in human personality unknown to ordinary consciousness, but nevertheless active within it. It creates the myth, Which has the same structure as mystic truth. This truth finds its symbol in the myth.
What, then, is to be found in the myths? In them is a creation of the spirit, of the unconsciously creative soul. The soul follows well-defined laws. In order to create beyond herself she must work in a certain direction, At the mythological stage she does this in images, but these are built up according to the laws of the soul. We might also say that when the soul advances beyond the stage of mythological consciousness to deeper truths these bear the same stamp as did the myths, for one and the same force was at work in their formation.
[ 3 ] Plotinus, the philosopher of the Neo-Platonic school (204–269 A.D.), speaks of this relation of mythical representation to higher knowledge in reference to the priest-sages of Egypt. “Whether as the result of rigorous researches, or whether instinctively when imparting their wisdom, the Egyptian sages do not use for expressing their teaching and precepts written signs which are imitations of voice and speech, but they draw pictures, and in the outlines of these they record in their temples the thought contained in each thing so that every picture comprises knowledge and wisdom and is a definite truth and a complete whole, although there is no explanation nor discussion. Afterwards the contents of the picture are extracted from it and expressed in words, and the cause is found why it is as it is, and not otherwise.”
[ 4 ] If we wish to find out the relation between mysticism and mythical narratives we must see what attitude there is toward the latter in the views of those who knew their wisdom to be in harmony with the methods of the Mysteries. We find such harmony in Plato to the fullest degree. His explanations of myths and his application of them in his teaching may be taken as authoritative (cf. p. 65 et seq.). In the Phedrus, a dialogue on the soul, the myth of Boreas is introduced. This divine being, who was seen in the rushing wind, one day saw the fair Orithya, daughter of the Attic king Erechtheus, gathering flowers with her companions. Seized with love for her, he carried her off to his grotto. Plato, through the mouth of Socrates, rejects a merely rationalist interpretation of this myth. According to such an explanation, an outward, natural occurrence is poetically symbolized in the narrative. A hurricane seized the king's daughter and hurled her from the rock. “Interpretations of this sort,” says Socrates, “are learned sophistries, however popular and usual they may be... For anyone who has pulled to pieces one of these mythological forms must, to be consistent, elucidate sceptically and explain naturally all the rest in the same way... But even if such a task could be accomplished, it would in any case be no proof of Superior talents in the one carrying it out, but only of facile wit, boorish wisdom, and snap judgment... Therefore, I leave on one side all such inquiries, and believe what is generally thought about the myths. I do not examine them, as I have just said, but I examine myself to see whether I too may perhaps be a monster, more complicated and therefore more disordered than the chimera, more savage than Typhon, or whether I represent a more docile and simple being, to whom some particle of a virtuous and divine nature has been given.”
We see from this that Plato does not approve of a rationalistic and merely intellectual interpretation of myths, This attitude must be taken in conjunction with the way in which he himself uses myths as a means of expression. When he speaks of the life of the soul, when he leaves the paths of the transitory and seeks the Eternal in the soul where images borrowed from sense-perception and reasoning thought can no longer be found, then Plato has recourse to the myth. Phedrus treats of the Eternal in the soul, and the latter is portrayed as a car drawn by two horses winged all over, and driven by a charioteer. One horse is patient and wise, the other wild and stubborn. If an obstacle comes in the way of the team, the troublesome horse takes the opportunity to impede the docile one and defy the driver. When the car arrives where it has to follow the gods up the celestial steep, the intractable horse throws the team into confusion. Upon the strength or weakness of the stubborn horse depends the possibility of the good horse conquering it, and of the team overcoming the obstacle and reaching the supersensible realm. So the soul can never ascend without difficulties into the kingdom of the Divine: Some souls rise more to the vision of Eternity, some less. The soul that has seen the world beyond remains unscathed until the next journey. One that, on account of the intractable horse, has seen nothing must try again on the next journey. These journeys signify the various incarnations of the soul. One journey signifies the life of the soul in one personality. The wild horse represents the lower nature, the wise horse the higher nature; the driver, the soul longing for union with the Divine.
Plato resorts to the myth in order to describe the course of the eternal soul through her various transformations. In the same way he has recourse, in other writings, to the myth, to symbolical narrative, in order to portray the inner nature of man which is not perceptible to the senses.
[ 5 ] Plato is here in complete harmony with the mythical and allegorical manner of expression used by others. For instance, there is in ancient Hindu literature a Parable attributed to Buddha:
[ 1 ] A man very much attached to life, who seeks senSuous pleasures and would not die under any circumStance, is pursued by four serpents. He hears a voice commanding him to feed and bathe the serpents from time to time. The man runs away, fearing the serpents. Again he hears a voice, warning him that he is pursued by five murderers. Once more he escapes. A voice calls his attention to a sixth murderer who is about to behead him with a sword. Again he flees. He comes to a deserted village. There he hears a voice telling him that robbers are shortly going to plunder the village. Continuing to flee he comes to a great expanse of water. He feels his position very unsafe, so out of straws, sticks, and leaves he weaves a basket in which he is able to reach the other shore. Now he is safe, he is a Brahmin.
[ 1 ] The meaning of this parable is that the human being has to pass through the most various conditions before attaining to the Divine. The four serpents represent the four elements, fire, water, earth, and air. The five murderers are the five senses. The deserted village is the soul that has escaped from sense-impressions, but is not yet safe when alone with herself; for if her lower nature takes hold of her, she must perish. Man must construct for himself the boat which is to carry him from one shore, the sense-nature, over the flood of the transitory to the other, the eternal, divine world.
[ 1 ] Let us look at the Egyptian mystery of Osiris in this light. Osiris had gradually become one of the most important Egyptian divinities; he supplanted other gods in certain parts of the country; and a significant cycle of myths formed round him and his consort Isis.
[ 1 ] Osiris was the son of the Sun-god, his brother was Typhon-Set, and his sister, Isis. Osiris married his sister, and together they reigned over Egypt. The wicked brother, Typhon, sought to kill Osiris. He had a chest made which was exactly the length of Osiris' body. At a banquet this chest was offered to the person whom it exactly fitted. This was Osiris and none other. He lay down in the chest. Typhon and his confederates rushed upon him, closed the chest, and threw it into the river. When Isis heard the terrible news she wandered far and wide in despair, seeking her husband’s body. When she found it, Typhon again took possession of it, and dismembered it into fourteen pieces which were scattered in many and various places. Numerous tombs of Osiris were shown in Egypt. In many Places, up and down the country, parts of the god, Osiris, were said to be buried. Osiris himself, however, @me forth from the nether-world and vanquished Typhon. A beam shone from him upon Isis, who in consequence bore a son, Harpocrates or Horus.
[ 1 ] And now let us compare this myth with the view of the universe taken by the Greek philosopher, EmPedocles (490–430 B.C.). He assumes that the one Primordial being was once divided into the four eleMents, fire, water, earth, and air, or into the multiplicity of being. He presents two opposing forces, love and Strife, which within this world of existence bring about 8towth and decay. Empedocles says of the elements:
[ 1 ] They remain ever the same, yet by uniting their forces
Become transformed into men and the numberless beings besides.
These are now joined into one, love binding the many together;
Now once again they are scattered, dispersed through hatred and strife.
[ 1 ] What, then, are the objects in the world from Empedocles' point of view? They are the elements in various combinations. They could only come into being through the breaking up of primeval unity into the four natures. This primordial unity was thus poured into the elements. Anything confronting Us is part of the outpoured Divinity. But this Divinity is hidden in the object; it had first to die that objects might come into being. And what are these objects? Mixtures of divine constituents effectuated by love and hatred. Empedocles says this distinctly:
[ 1 ] See, for a clear demonstration, how the limbs of a man are constructed,
All that the body possesses, in beauty and bloom of existence,
All joined together by love are the elements there forming one.
Hatred and conflict come after, and fatally tear them asunder,
Once more they wander alone, on the desolate confines of life.
So it is with the bushes and trees, and the water-inhabiting fishes,
Wild animals roaming the mountains, and birds swiftly borne by their wings.
[ 1 ] Clearly it was Empedocles’ belief that the sage finds again the divine primordial unity, hidden in the world by a spell, and entangled in the meshes of love and hate. But if man finds the Divine he must himself be divine, for Empedocles takes the point of view that only like recognizes like. This conviction of his is expressed in Goethe’s lines:
[ 1 ] “If the eye were not of the nature of the sun, how could we behold light? If divine force were not at work in us, how could divine things delight us?”
[ 1 ] These thoughts about the world and man, transcending sense-experience, were found by the mystic I the myth of Osiris. Divine creative force has been Poured out into the world; it appears as the four elements; God (Osiris) is killed. Man is to raise him from the dead with his cognition, which is of divine Nature, He is to find him again as Horus (the Son of God, the Logos, wisdom), in the opposition between strife (Typhon) and Love (Isis). In Greek form Empedocles expresses even his fundamental conviction by means of thoughts that suggest myth. Love is Aphrodite and Strife is Neikos. They bind and unbind the elements.
[ 1 ] The portrayal of the content of a myth in the manner followed here must not be confused with a merely symbolical interpretation of myths, and still less with an allegorical one. This is not intended. The symbols forming the content of a myth are not invented symbols of abstract truths, but actual soul-experiences of the initiate. He experiences the images with his spiritual organs of perception just as the normal man experiences the mental images of physical things with his eyes and ears. But just as a mental image is nothing in itself, if it is not aroused in perception by an outer object, so the mythical image is nothing unless it is excited by real facts of the spiritual world. Only, in regard to the physical world man is at first outside the stimulating causes, whereas he can experience the images of myths only if he is within the corresponding spiritual occurrences. In order, however, to be within them, he must have gone through initiation, as the ancient mystics had always believed. Then the spiritual occurrences within which he is perceiving are, as it were, illustrated by the myth-images. Anyone who cannot take the mythical element as an illustration of real spiritual occurrences has not yet attained to the understanding of it. For the spiritual events themselves are supersensible, and images reminiscent of the physical world are not themselves of a spiritual nature, but only an illustration of spiritual things. One who lives merely in the images lives in a dream. Only the one who has come to the point of sensing the spiritual element in the image just as he senses a rose in the physical world through the conception of a rose, really lives in spiritual perceptions. This is the reason why the images of myths cannot be unequivocal. On account of their illustrative character the same myths may express several spiritual facts. It is therefore not a contradiction when interpreters of myths sometimes connect a myth with one spiritual fact and sometimes with another. From this standpoint we are able to find a thread to conduct us through the labyrinth of Greek myths. Let us consider the legend of Heracles. The twelve labors imposed upon Heracles appear in a higher light when We remember that before the last and most difficult of these he seeks initiation into the Eleusinian Mysteries. He is commissioned by King Eurystheus of Mycenæ to bring the hell-hound Cerberus from the infernal regions and take it back there again. In order to undertake the descent into hell, Heracles had to be initiated. The Mysteries conducted the neophite through the death of perishable things, that is, into the nether world; and through initiation they rescued his eternal principle from perdition. As an initiate he could vanquish death; as an initiate he overcomes the dangers of the nether-world. This justifies us in interpreting his other ordeals as stages in the inner development of the soul, He overcomes the Nemæan lion and brings him 1o Mycenæ. This means that he becomes master of purely physical force in man; he tames it. Afterwards he slays the nine-headed Hydra. He overcomes it with firebrands and dips his arrows in its gall, so that they become deadly. This means that he overcomes lower knowledge derived through the senses. He does this through the fire of the spirit, and from what he had gained through the lower knowledge he draws the power to look at lower things in the light that belongs to spiritual sight. Heracles captures the hind of Artemis, goddess of the chase: everything nature offers the human soul Heracles makes his own: His other labors may be interpreted in the same way. We cannot here trace out every detail and only wish to show how the general sense of the myth points to inner development.
[ 1 ] A similar interpretation is possible of the expedition of the Argonauts. Phrixus and his sister Helle, children of a Bœotian king, suffered much at the hands of their stepmother. The gods sent them a ram with a golden fleece, which bore them through the air. When they passed over the straits between Europe and Asia, Helle was drowned. Hence the strait is called the Hellespont. Phrixus came to Æetes, King of Colchis, on the east shore of the Black Sea. He sacrificed the ram to the gods and gave its fleece to the King, who had it hung up in a grove and guarded by a terrible dragon. The Greek hero Jason undertook to fetch the fleece from Colchis in company with other heroes, Heracles, Theseus, and Orpheus. Æetes laid heavy tasks upon Jason in his effort to obtain the treasure, but the king’s daughter Medea, who was versed in magic, aided him. He subdued two fire-breathing bulls. He ploughed a field and sowed it with dragon’s teeth from which armed men grew up out of the earth. On Medea’s advice he threw a stone into their midst, whereupon they killed each other. Jason lulls the dragon to sleep with a charm given him by Medea and is then able to obtain the fleece. He leaves with it to return to Greece, Medea accompanying him as his wife. The king pursues the fugitives. In order 1o detain him, Medea slays her little brother Absyrtus and scatters his severed limbs into the sea. Æetes stops to collect them, and thus the pair are able to reach Jason’s home with the fleece.
[ 1 ] Each of these incidents requires a deep elucidation. The fleece is something belonging to man, and infinitely precious to him. It is something from which he was sundered in times of yore, and for the recovery of which he has to overcome terrible forces. This is true of the Eternal in the human soul. It belongs to man, but man is separated from it by his lower nature. Only by overcoming the latter, by lulling it to sleep, can he recover the Eternal. This becomes possible when his own consciousness (Medea) comes to his aid with its magic power. Medea is to Jason what Diotima, as a teacher of love, was to Socrates, (cf. p. 72). Man’s own wisdom has the magic power necessary to attain the Divine after having overcome the transitory. From the lower nature there can only arise a lower human principle, the armed men who are overcome by spiritual force, the counsel of Medea. Even when man has found his Eternal, the fleece, he is not yet safe. He must sacrifice part of his consciousness (Absyrtus). This is exacted by the physical world which we can only apprehend as a multiple (dismembered) world. We might go still deeper into the description of the spiritual events underlying the images, but it is only intended here to indicate the principle according to which myths originate.
[ 1 ] Of special interest, when interpreted in this way, is the legend of Prometheus. He and his brother Epimetheus are sons of the Titan Iapetus. The Titans are the offspring of the oldest generation of gods, Uranus (Heaven) and Gæ (Earth). Kronos, the youngest of the Titans, dethroned his father and seized control of the world. In return, he and the other Titans were overpowered by his son Zeus, who became the chief of the gods. In the struggle with the Titans, Prometheus was on the side of Zeus. By his advice, Zeus banished the Titans to the nether-world. But in Prometheus there still lived the Titan spirit: he was only half a friend to Zeus. When the latter wished to exterminate men on account of their arrogance, Prometheus espoused their cause, taught them the art of numbers writing, and other things that lead to culture, especially the use of fire. This aroused the wrath of Zeus against Prometheus. Hephaistos, the son of Zeus, was commissioned to create a female form of great beauty whom the gods adorned with every possible gift. She was called Pandora, the all-gifted one. Hermes, messenger of the gods, took her to Epimetheus, the brother of Prometheus. She brought him a casket as a present from the gods. Epimetheus accepted the present although Prometheus had warned him against receiving any gift from the gods. When the casket was opened all sorts of human ills flew out. Hope alone remained, and this because Pandora quickly closed the box. Hope has, therefore, been left to man as a doubtful gift of the gods. By order of Zeus, Prometheus, on account of his relation to man, was chained to a rock in the Caucasus. An eagle perpetually gnaws his liver, which is constantly renewed. He has to pass his life in agonizing loneliness till one of the gods voluntarily sacrifices himself, that is, gives himself up to death. The tormented Prometheus bears his sufferings steadfastly. He had been told that Zeus would be dethroned by the son of a mortal woman unless Zeus consented to wed her. It was important for Zeus to know this secret. He sent the messenger Hermes to Prometheus in order to learn something about it. Prometheus refused to divulge anything.—The legend oF Heracles is connected with that of Prometheus. In the course of his wanderings Heracles comes to the Caucasus. He slays the eagle that was devouring the liver of Prometheus. The centaur Chiron who cannot die, although suffering from an incurable wound, sacrifices himself for Prometheus, who is thereupon reconciled with the gods.
[ 1 ] The Titans are the force of will, proceeding as nature (Kronos) from the original universal spirit (Uranus). Here we must think not merely of will-forces in an abstract form, but of actual will-beings. Prometheus is one of them, and this characterizes his nature. But he is not altogether a Titan. In a certain sense he is on the side of Zeus, the Spirit who enters upon the rulership of the world after the unbridled force of nature (Kronos) has been subdued. Prometheus is thus the representative of those worlds that have given man the progressive urge, half nature-force, half spiritual force: will. The will points on the one side towards good, on the other towards evil. Its fate is decided according as it leans toward the spiritual or the perishable. This fate is that of man himself. He is chained to the perishable, the eagle gnaws him, he has to suffer. He can reach the highest only by seeking his destiny in solitude. He has a secret, which is that the Divine (Zeus) must marry a mortal woman (human consciousness bound up with the physical body), in order to beget a son, human wisdom (the Logos) that will deliver the deity. By this means consciousness becomes immortal. He must not betray this secret until an initiate (Heracles) comes to him and eliminates the power that was perpetually threatening him with death. A being half animal, half human, a centaur, is obliged to sacrifice itself to redeem man. The centaur is man himself, half animal, half spiritual. He must die in order that the purely spiritual man may be delivered. That which is disdained by Prometheus (human will) is accepted by Epimetheus (mind, intelligence). But the gifts offered to Epimetheus are only troubles and sorrows, for the mind clings to the transitory and perishable. Only one thing is left—the hope that even out of the perishable the Eternal may Some day be born.
[ 1 ] The thread running through the legends of the Argonauts, of Heracles, and Prometheus, holds good in Homer’s Odyssey. The method of interpretation here may seem forced; but on closer consideration of everything which has to be taken into account, even the sturdiest skeptic must cease to doubt. Most startling of all must seem Odysseus’ report that he, too, descended into the nether-world. Whatever we may think about the author of the Odyssey in other respects, it is impossible to imagine his representing a mortal descending to the infernal regions without bringing him into relation with what the journey into the nether-world meant to the Greek world conception. It meant the conquest of the perishable and the awakening of the Eternal in the soul. It must therefore be conceded that Odysseus accomplished this, and thereby his experiences and those of Heracles acquire a deeper significance. They become a delineation of the non-sensuous, of the soul’s progress of development. Furthermore, the narrative in the Odyssey iS not in the manner demanded by a series of outer events. The hero makes voyages in enchanted ships. Actual geographical distances are dealt with in most arbitrary fashion. It is not in the least a question of what is physically real. This becomes comprehensible if the physically real events are only related for the sake of illustrating a spiritual development. Moreover the poet himself says at the opening of the book that it deals with a search for the soul: “O Muse, sing to me of the man full of resource, who wandered very much after he had destroyed the sacred city of Troy, and saw the cities of many men, and learned their manners. Many griefs also in his mind did he suffer on the sea, although seeking to preserve his own soul, and the return of his companions.”
[ 1 ] We have before us a man seeking for the soul, for the Divine, and his wanderings during this search are narrated. He comes to the land of the Cyclops. These are uncouth giants with only one eye, and that in the centre of the forehead. The most terrible, Polyphemus, devours several of Odysseus’ companions. Odysseus himself escapes by blinding the Cyclops. Here we have to do with the first stage of life’s pilgrimage. Physical force or the lower nature has to be overcome. It devours any one who does not wrest from it its power, who does not blind it. Odysseus next comes to the island of the enchantress Circe. She changes some of his companions into grunting pigs. She also is subdued by Odysseus. Circe is the lower mind-force that cleaves to the transitory. If misused, it may thrust men down even deeper into bestiality. Odysseus has to overcome it. Then he is able to descend into the nether-world. He becomes a mystic. Now he is exposed to the dangers that beset the mystic on his progress from the lower to the higher degrees of initiation. He comes to the Sirens Who lure the passer-by to death by sweet magic sounds. These are the forms of the lower imagination, which are at first pursued by one who has freed himself from the power of the senses. He has achieved freedom of Action for his spirit, but not initiation. He pursues illusions from the power of which he must break loose. Odysseus has to accomplish the awful passage between Scylla and Charybdis. The neophite wavers between spirit and sensuousness. He cannot yet grasp the full significance of spirit, yet sensuousness has already lost its former value. All Odysseus’ companions perish in a shipwreck; he alone escapes and comes to the nymph Calypso, who receives him kindly and takes care of him for seven years. At length, by order of Zeus, she dismisses him to his home. The mystic has arrived at a stage at which all his fellow-aspirants fail; he alone, Odysseus, is worthy. He enjoys for a time, which is defined by the mystically symbolical number seven, the tranquility of gradual initiation. Before Odysseus arrives at his home he comes to the isle of the Phaaces, where he meets with a hospitable reception. The king's daughter gives him sympathy, and the king himself, Alcinous, entertains and honors him. Once more does Odysseus approach the world and its joys, and the spirit that is attached to the world, Nausicaa, awakes within him. But he finds the way home, to the Divine. At first, nothing good awaits him at home. His wife: Penelope, is surrounded by numerous suitors. Each one she promises to marry when she will have finished weaving a certain piece of fabric. She avoids keeping her promise by undoing every night what she has woven by day. Odysseus is obliged to vanquish the suitors before he can be reunited with his wife it peace. The goddess Athene changes him into # beggar so that he may not be recognized on his entrance to his home; he then overcomes the suitors: Odysseus is seeking his own deeper consciousness, the divine powers of the soul. He wishes to be united with them. Before the mystic can find them he must overcome everything which sues for the favor of that consciousness. The band of suitors springs from the world of lower reality, from perishable nature. The logic applied to them is a spinning of fabric which is always undone again after it has been spun. Wisdom (the goddess Athene) is the sure guide to the deepest forces of the soul. It changes man into a beggar, that is, it divests him of everything of a transitory nature. Wholly steeped in Mystery wisdom were the Eleusinian Festivals, celebrated in Greece in honor of Demeter and Dionysos. A sacred road led from Athens to Eleusis. It was bordered with mysterious signs intended to bring the soul into an exalted mood. In Eleusis there were mysterious temples served by families of priests. The dignity and the wisdom bound up With this dignity were inherited in these families from 8eneration to generation.1Instructive information about the organization of these sanctuaries will be found in Karl Bötticher's Erginzungen zu den letzten Untersuchungen auf der Akropolis in Athen, Philologus, Supplement, vol. III, part 3. The wisdom that qualified for service was the wisdom of the Greek Mysteries. The festivals, which were celebrated twice a year, presented the great world-drama of the destiny of the Divine in the world, and of that of the human soul. The lesser Mysteries were observed in February, the greater in September. With the festivals, initiations were connected. The symbolical presentation of the cosmic and human drama formed the final act of the initiations of the mystics that took place here.
[ 1 ] The Eleusinian temples had been erected in honor of the goddess Demeter. She was a daughter of Kronos. She had given Zeus a daughter, Persephone, before his marriage with Hera. Once while at play, Persephone was carried away by Pluto, god of the nether-world. Demeter wandered far and wide over the earth, seeking her with lamentations. Sitting on a stone in Eleusis, she was found by the daughters of Keleus, ruler of the place. In the form of an old woman she entered the service of his family, as nurse to the queen’s son. She wished to endow this boy with immortality, and for this purpose hid him in the fire every night. When his mother discovered this she wept and lamented. Henceforth the bestowal of immortality was impossible. Demeter left the house. Keleus then built a temple. The grief of Demeter for Persephone was limitless. She spread sterility over the earth. The gods had to appease her in order to prevent a great catastrophe. Thus Zeus induced Pluto to release Persephone into the upper world, but before letting her go he gave her a pomegranate to eat. This obliged her to return periodically to the nether-worldHenceforward she spent a third of the year there, and two-thirds in the world above. Demeter was appeased and returned to Olympus; but at Eleusis, the place of her suffering, she founded the cult which should keep her fate in remembrance.
[ 1 ] It is not difficult to discover the meaning of the myth of Demeter and Persephone. That which lives alternately above and below is the soul. The immortality of the soul and her perpetually recurring transformation by birth and death are presented in pictures. The soul derives from the immortal—Demeter. But she is led astray by the transitory and is even condemned to share its destiny. She has partaken of the fruits of the nether-world: the human soul is satisfied by the transitory, therefore she cannot permanently live in the heights of the Divine. She has always to return to the realm of the perishable. Demeter is the representative of the being out of which human consciousness arose; but we must think of it as the consciousness capable of coming into being through the spiritual forces of the earth, Thus Demeter is the primordial essence of the earth, and her endowment of the earth with the Seed-forces of the fruits of the fields points to a still deeper aspect of her being. This being wishes to give man immortality. Demeter hides her nursling in the fire by night. But man cannot bear the pure force of fire (the spirit) . Demeter is obliged to abandon the idea. All she can do is to found a temple service through which man can participate in the Divine to the extent of his ability.
[ 1 ] The Eleusinian Festivals were an eloquent confession of the belief in the immortality of the human soul. This confession found pictorial expression in the Perscphone myth. Together with Demeter and Persephone, Dionysos was commemorated in Eleusis. Just as Demeter was worshipped as the divine creatress of the Eternal in man, so in Dionysos the ever-changing Divine in the world was venerated. Dionysos, the god, poured into the world and torn to pieces in order t0 be spiritually reborn, (cf. p. 74) had to be worshipped together with Demeter.2A brilliant description of the spirit of the Eleusinian Mysteries is found in Edouard Schuré’s book, Sanctuaires d’Orient. Paris, 1898.
Die Mysterienweisheit und der Mythos
[ 1 ] Der Myste suchte in sich Kräfte, er suchte Wesenheiten in sich auf, die dem Menschen so lange unbekannt bleiben, als er in der gewöhnlichen Lebensanschauung steckt. Der Myste stellt die große Frage nach seinen eigenen geistigen, über die niedere Natur hinausgehenden Kräften und Gesetzen. Der Mensch mit der gewöhnlichen, sinnlich-logischen Lebensanschauung schafft sich Götter, oder wenn er zu der Einsicht des Schaffens kommt, dann leugnet er sie. Der Myste erkennt, daß er Götter schafft; er erkennt, warum er sie schafft; er ist sozusagen hinter die Naturgesetzmäßigkeit des Götterschaffens gekommen. Es ist mit ihm so, wie wenn die Pflanze plötzlich wissend würde und die Gesetze ihres eigenen Wachstums, ihrer eignen Entwicklung kennen lernte. Sie entwickelt sich in holder Unbewußtheit. Wüßte sie um ihre Gesetze, müßte sie ein ganz anderes Verhältnis zu sich selbst gewinnen. Was der Lyriker empfindet, wenn er die Pflanze besingt, was der Botaniker denkt, wenn er ihren Gesetzen nachforscht: Das würde einer wissenden Pflanze als Ideal von sich selbst vorschweben. — So ist es mit dem Mysten in bezug auf seine Gesetze, auf die in ihm wirkenden Kräfte. Als Wissender muß er über sich hinaus ein Göttliches schaffen. Und so stellten sich auch die Eingeweihten zu dem, was das Volk über die Natur hinaus geschaffen hätte. So stellten sie sich zu der Götter- und Mythenwelt des Volkes. Sie wollten die Gesetze dieser Götter- und Mythenwelt erkennen. Da wo das Volk eine Göttergestalt, wo es einen Mythos hatte: da suchten sie eine höhere Wahrheit. — Man betrachte ein Beispiel: Die Athener waren von dem kretischen König Minos gezwungen worden, ihm alle acht Jahre sieben Knaben und sieben Mädchen zu liefern. Diese wurden dem Minotaurus, einem fürchterlichen Ungeheuer, als Speise vorgeworfen. Als das dritte Mal die traurige Sendung nach Kreta abgehen sollte, zog der Königssohn Theseus mit. Als dieser in Kreta eintraf, nahm sich Ariadne, des König Minos eigene Tochter, seiner an. Der Minotaurus hauste in dem Labyrinth, einem Irrgarten, aus dem sich niemand herausfinden konnte, der hineingeraten war. Theseus wollte seine Vaterstadt von dem schimpflichen Tribut befreien. Er mußte in das Labyrinth, in das sonst des Ungeheuers Beute geworfen wurde. Er wollte den Minotaurus töten. Er unterzog sich dieser Aufgabe; er überwand den furchtbaren Feind und gelangte wieder ins Freie mit Hilfe eines Fadenknäuels, das ihm Ariadne gereicht hatte. — Dem Mysten sollte klar werden, wie der schaffende Menschengeist dazu kommt, eine derartige Erzählung auszubilden. Wie der Botaniker das Pflanzenwachstum belauscht, um seine Gesetze zu finden, so wollte er den schaffenden Geist belauschen. Er suchte eine Wahrheit, einen Weisheitsgehalt da, wohin das Volk einen Mythos gesetzt hatte. Sallustius verrät uns die Stellung eines mystischen Weisen gegenüber einem solchen Mythos: «Man könnte die ganze Welt einen Mythos nennen, der die Körper und Dinge sichtbarlich, die Seelen und Geister verborgener Weise in sich schließt. Würde allen die Wahrheit über die Götter gelehrt, so würden sie die Unverständigen, weil sie sie nicht begreifen, gering schätzen, die Tüchtigeren aber leicht nehmen; wird aber die Wahrheit in mythischer Umhüllung gegeben, so ist sie vor Geringschätzung gesichert und gewährt den Antrieb zum Philosophieren. »
[ 2 ] Wenn man den Wahrheitsgehalt eines Mythos als Myste suchte, so war man sich bewußt, daß man etwas hinzufügte zu dem, was im Volksbewußtsein vorhanden war. Man war sich klar, daß man sich über dieses Volksbewußtsein stellte, wie sich der Botaniker über die wachsende Pflanze stellt. Man sagte etwas ganz anderes, als im mythischen Bewußtsein vorhanden war; aber man sah das, was man sagte, als eine tiefere Wahrheit an, die sich symbolisch im Mythos zum Ausdrucke brachte. Der Mensch steht der Sinnlichkeit als einem feindlichen Ungeheuer gegenüber. Er opfert ihr die Früchte seiner Persönlichkeit. Sie verschlingt sie. Sie tut es so lange, bis im Menschen der Überwinder (Theseus) erwacht. Seine Erkenntnis spinnt ihm den Faden, durch den er sich wieder zurechtfindet, wenn er sich in den Irrgarten der Sinnlichkeit begibt, um seinen Feind zu töten. Das Mysterium der menschlichen Erkenntnis selbst ist in dieser Überwindung der Sinnlichkeit ausgesprochen. Der Myste kennt dieses Mysterium, Es ist durch dasselbe auf eine Kraft in der menschlichen Persönlichkeit gedeutet. Das gewöhnliche Bewußtsein ist sich dieser Kraft nicht bewußt. Aber sie wirkt doch in ihm. Sie erzeugt den Mythos, der dieselbe Struktur hat wie die mystische Wahrheit. Diese Wahrheit symbolisiert sich in dem Mythos. — Was liegt also in den Mythen? Es liegt in ihnen eine Schöpfung des Geistes, der unbewußt schaffenden Seele. Die Seele hat eine ganz bestimmte Gesetzmäßigkeit. Sie muß in einer bestimmten Richtung wirken, um über sich hinaus zu schaffen. Auf der mythologischen Stufe tut sie das in Bildern; aber diese Bilder sind nach Maßgabe der Seelengesetzmäßigkeit gebaut. Man könnte auch sagen: wenn die Seele über die Stufe des mythologischen Bewußtseins hinaus zu den tieferen Wahrheiten vorschreitet, dann tragen diese dasselbe Gepräge wie vorher die Mythen, denn eine und dieselbe Kraft ist bei ihrer Entstehung tätig. Plotin, der Philosoph der neuplatonischen Schule (204–269 n. Chr.), spricht sich über dieses Verhältnis von bildlich-mythischer Vorstellungsweise zu höherem Erkennen mit Bezug auf die ägyptischen Priesterweisen aus:
[ 3 ] «Die ägyptischen Weisen bedienen sich, sei es auf Grund strenger Forschung, sei es instinktiv, bei der Mitteilung ihrer Weisheit nicht der Schriftzeichen zum Ausdruck ihrer Lehren und Sätze als der Nachahmungen von Stimme und Rede, sondern sie zeichnen Bilder und legen in ihren Tempeln in den Umrissen der Bilder den Gedankengehalt jeder Sache nieder, so daß jedes Bild ein Wissens- und Weisheitsinhalt, ein Objekt und eine Totalität, obschon keine Auseinandersetzung und Diskussion ist. Man löst dann den Gehalt aus dem Bilde heraus und gibt ihm Worte und findet den Grund, warum es so und nicht anders ist.»
[ 4 ] Will man das Verhältnis der Mystik zu mythischen Erzählungen kennen lernen, so muß man sehen, wie die Weltanschauung derjenigen sich zum Mythischen verhält, die sich mit ihrer Weisheit im Einklang wissen mit der Vorstellungsart des Mysterienwesens. Ein solcher Einklang ist im vollsten Maße bei Plato vorhanden. Wie er Mythen auslegt und wie er sie innerhalb seiner Darstellung verwendet, kann als maßgebend gelten. Im «Phädrus», einem Gespräche über die Seele, wird der Mythos von Boreas angeführt. Dieses göttliche Wesen, das in dem einherbrausenden Winde gesehen wurde, erblickte einst die schöne Orithya, die Tochter des attischen Königs Erechtheus, die mit ihren Gespielinnen Blumen pflückte. Er wurde von Liebe zu ihr ergriffen, raubte sie und brächte sie in seine Grotte. Plato läßt in dem Gespräch den Sokrates eine rein verstandesmäßige Auslegung dieses Mythos zurückweisen. Darnach soll eine ganz äußerliche, natürliche Tatsache symbolisch in der Erzählung dichterisch ausgesprochen sein. Der Sturmwind soll die Königstochter erfaßt und von dem Felsen hinabgeschleudert haben. «Derartige Deutungen», sagt Sokrates, «sind gelehrte Klügeleien, so beliebt und gewöhnlich sie heutzutage auch sein mögen. Denn wer eine dieser mythologischen Gestalten zersetzt hat, der muß der Konsequenz wegen auch alle übrigen in derselben Weise zweifelnd beleuchten und natürlich zu erklären wissen. . . . Aber selbst wenn eine solche Arbeit zu Ende gebracht werden könnte: unter allen Fällen würde sie auf seiten dessen, der sie vollführt, keine glückliche Begabung, sondern nur einen gefälligen Witz beweisen, eine bäuerische Weisheit und eine lächerliche Voreiligkeit. . . . Deswegen lasse ich solche Untersuchungen fahren und glaube, was allgemein davon gehalten wird. Nicht sie untersuche ich, wie ich eben schon sagte, sondern mich selber, ob ich nicht etwa auch ein Ungeheuer bin, mannigfacher gestaltet und infolgedessen verworrener als eine Chimäre, wilder als Typhon, oder ob ich ein zahmeres und einfacheres Wesen darstelle, dem ein Teil sittsamer und göttlicher Natur verliehen worden ist. » Was Plato nicht billigt, ersieht man daraus: eine verstandesmäßige, rationalistische Deutung der Mythen. Das muß man zusammenhalten mit der Art, wie er selbst Mythen verwendet, um durch sie sich auszusprechen. Da, wo er von dem Leben der Seele spricht, wo er die Pfade des Vergänglichen verläßt und das Ewige in der Seele aufsucht, wo also die Vorstellungen nicht mehr vorhanden sind, die sich an das sinnliche Wahrnehmen und an das verstandesmäßige Denken anlehnen, da bedient sich Plato des Mythos. Von dem Ewigen in der Seele redet der «Phädrus ». Da wird denn die Seele dargestellt als ein Gespann, das zwei nach allen Seiten mit Flügeln versehene Pferde hat und einen Führer. Das eine der Pferde ist geduldig und weise, das andere störrig und wild. Kommt dem Gespann ein Hindernis in den Weg, so benützt dies das störrige Pferd, um das gute in seinem Willen zu behindern und dem Führer Trotz zu bieten. Wenn das Gespann da anlangt, wo es den Göttern auf dem Rücken des Himmels nachfolgen soll, da bringt das schlechte Pferd das Gespann in Unordnung. Von der Gewalt, welche es hat, hängt es ab, ob es von dem guten Pferde überwunden werden und das Gespann sich über das Hindernis in das Reich des Übersinnlichen begeben kann. So geschieht es also der Seele, daß sie nie ganz ungestört sich in das Reich des Göttlichen erheben kann. Einige Seelen erheben sich zu dieser Ewigkeitsschau mehr, die anderen weniger. Die Seele, welche das Jenseits geschaut hat, die bleibt unversehrt bis zum nächsten Umzuge; diejenige, welche — wegen des wilden Pferdes — nichts geschaut hat, die muß es mit einem neuen Umzuge versuchen. Mit diesen Umzügen sind die verschiedenen Seelenverkörperungen gemeint. Ein Umzug bedeutet das Leben der Seele in einer Persönlichkeit. Das wilde Pferd stellt die niedere, das weise Pferd die höhere Natur, der Führer die sich nach Vergöttlichung sehnende Seele dar. Plato greift zum Mythos, um den Weg der ewigen Seele durch die verschiedenen Wandlungen hindurch darzustellen. In gleicher Weise wird, um das Innere des Menschen, das Nicht-Sinnlich-Wahrnehmbare, darzustellen, in andern platonischen Schriften zum Mythos, zur symbolischen Erzählung gegriffen.
[ 5 ] Plato befindet sich da völlig im Einklänge mit der mythischen und gleichnisartigen Ausdrucksweise anderer. In der altindischen Literatur findet sich ein Gleichnis, das dem Buddha zugeschrieben wird. Ein am Leben hängender Mann, der um keinen Preis sterben will, der die Sinnenlust sucht, wird von vier Schlangen verfolgt. Er hört eine Stimme, die ihm befiehlt, die vier Schlangen von Zeit zu Zeit zu füttern, zu baden. Der Mann lief aus Furcht vor den bösen Schlangen davon. Er hört wieder eine Stimme. Die macht ihn auf fünf Mörder aufmerksam, die hinter ihm her sind. Abermals läuft der Mann davon. Eine Stimme macht ihn auf einen sechsten Mörder aufmerksam, der ihm den Kopf abschlagen will mit einem gezückten Schwert. Wieder flüchtet der Mann. Er kommt in ein menschenleeres Dorf. Er hört eine Stimme, die ihm sagt, daß baldigst Diebe das Dorf plündern werden. Als der Mann weiter flieht, kommt er an eine große Wasserflut. Er fühlt sich am diesseitigen Ufer nicht sicher; aus Strohhalmen, Hölzern und Blättern macht er sich einen Korb; in ihm kommt er ans andere Ufer. Jetzt ist er in Sicherheit; er ist Brahmane. Der Sinn dieser Gleichniserzählung ist: Der Mensch muß durch die verschiedensten Zustände hindurchgehen, bis er zum Göttlichen kommt. In den vier Schlangen sind die vier Elemente: Feuer, Wasser, Erde, Luft zu sehen. In den fünf Mördern die fünf Sinne. Das menschenleere Dorf ist die Seele, die den Eindrücken der Sinne entflohen ist, aber auch noch nicht sicher ist, wenn sie mit sich allein ist. Ergreift sie in ihrem Innern nur ihre niedere Natur, so muß sie zugrunde gehen. Der Mensch muß sich den Kahn zusammenfügen, der ihn über die Flut der Vergänglichkeit von dem einen Ufer, der sinnlichen Natur, zu dem andern, der ewig-göttlichen, trägt.
[ 6 ] Man betrachte in diesem Lichte das ägyptische Osirismysterium. Osiris war allmählich zu einer der wichtigsten ägyptischen Gottheiten geworden. Die Vorstellung von ihm verdrängte andere bei gewissen Volksteilen vorhandene Göttervorstellungen. Um Osiris und seine Gemahlin Isis hat sich nun ein bedeutungsvoller Mythenkreis gebildet. Osiris war der Sohn des Sonnengottes, sein Bruder war Typhon-Set, seine Schwester Isis. Osiris heiratete seine Schwester. Er regierte mit ihr über Ägypten. Der böse Bruder Typhon sann darauf, Osiris zu vernichten. Er ließ einen Kasten verfertigen, der genau die Leibeslänge des Osiris hatte. Bei einem Gastmahle wurde der Kasten demjenigen zum Geschenk angeboten, der genau hineinpaßte. Keinem außer Osiris gelang das. Er legte sich hinein. Da stürzten sich Typhon und seine Genossen auf Osiris, schlossen den Kasten zu und warfen ihn in den Strom. Als Isis das Furchtbare vernahm, schweifte sie verzweifelnd überall umher, um den Leichnam des Gatten zu suchen. Als sie ihn gefunden hatte, brachte ihn Typhon neuerdings in seine Gewalt. Er zerriß ihn in vierzehn Stücke, die in die verschiedensten Gegenden verstreut wurden. Verschiedene Osirisgräber wurden in Ägypten gezeigt. Da und dort, an vielen Orten, sollten Teile des Gottes bestattet sein. Osiris selbst aber entstieg der Unterwelt, besiegte den Typhon; und es beschien ein Strahl von ihm die Isis, welche dadurch den Sohn, Harpokrates oder Horus, gebar.
[ 7 ] Und nun vergleiche man mit diesem Mythos die Weltauffassung des griechischen Philosophen Empedokles (490 bis 430 v. Chr.). Er nimmt an, daß das eine Urwesen einst in die vier Elemente Feuer, Wasser, Erde und Luft oder in die Vielheit des Seienden zerrissen worden ist. Er stellt zwei Mächte einander gegenüber, welche das Werden und Vergehen innerhalb dieser Welt des Seienden bewirken, die Liebe und den Streit. Von den Elementen sagt Empedokles:
[ 8 ] Sie selbst bleiben dieselben, doch durcheinander verlaufend
Werden sie Menschen und all die unzähligen anderen Wesen,
Jetzt in der Liebe Gewalt sich zu einem Gebilde versammelnd;
Jetzo durch Haß und Streit sich als einzelne wieder verstreuend.
[ 9 ] Was sind also die Dinge der Welt vom Standpunkte des Empedokles? Es sind die verschieden gemischten Elemente. Sie konnten nur entstehen dadurch, daß das Ur-Eine zerrissen worden ist in die vier Wesenheiten. Dieses Ur-Eine ist also in die Elemente der Welt ausgegossen. Tritt uns ein Ding entgegen, so ist es eines Teiles der ausgegossenen Gottheit teilhaftig. Aber diese Gottheit ist in ihm verborgen. Sie hat erst sterben müssen, damit die Dinge entstehen konnten. Und diese Dinge, was sind sie? Mischungen der Gottesbestandteile, bewirkt in ihrer Struktur durch Liebe und Haß. Deutlich sagt das Empedokles:
[ 10 ] Hier zum klaren Beweise den Bau aus menschlichen Gliedern,
Wie durch Liebe sich jetzt in Eins die Stoffe verbinden
Alle, so viele der Körper besitzt in der Blüte des Daseins;
Dann, in verderblichem Hader und Streit auseinandergerissen,
Irren sie wiederum einzeln umher am Rande des Lebens.
Ebenso ist's bei den Sträuchern und wasserbewohnenden Fischen
Und bei dem Wild des Gebirgs und den flügelgetragenen Schifflein.
[ 11 ] Es kann nur des Empedokles Ansicht sein, daß der Weise die in der Welt verzauberte, in Liebe und Haß verschlungene göttliche Ur-Einheit wieder findet. Wenn aber der Mensch das Göttliche findet, muß er selbst ein Göttliches sein. Denn Empedokles steht auf dem Standpunkte, daß Gleiches nur durch Gleiches erkannt werde. Seine Erkenntnisüberzeugung drückt Goethes Spruch aus:
[ 12 ] Wär nicht das Auge sonnenhaft,
Wie könnten wir das Licht erblicken?
Lebt nicht in uns des Gottes eigene Kraft,
Wie könnt uns Göttliches entzücken?
[ 13 ] Diese Gedanken über die Welt und den Menschen, die über die Sinneserfahrung hinausgehen, konnte der Myste in dem Osiris-Mythos finden. Die göttliche Schöpferkraft ist in die Welt ergossen. Sie erscheint als die vier Elemente. Gott (Osiris) ist getötet. Der Mensch mit seiner Erkenntnis, die göttlicher Art ist, soll ihn wieder erwecken; er soll ihn als Horus (Gottessohn, Logos, Weisheit) wiederfinden in dem Gegensatz zwischen Streit (Typhon) und Liebe (Isis). In griechischer Form spricht Empedokles selbst seine Grundüberzeugung mit den Vorstellungen aus, die an den Mythos anklingen. Liebe ist Aphrodite; Neikos der Streit. Sie binden und lösen die Elemente.
[ 14 ] Die Darstellung eines Mytheninhaltes in einem Stile, wie er hier beobachtet wird, darf nicht mit einer bloß symbolischen oder gar allegorischen Ausdeutung der Mythen verwechselt werden. Eine solche ist hier nicht gemeint. Die Bilder, welche den Inhalt des Mythos ausmachen, sind nicht erfundene Symbole für abstrakte Wahrheiten, sondern wirkliche seelische Erlebnisse des Eingeweihten. Dieser erlebt die Bilder mit den geistigen Wahrnehmungsorganen, wie der normale Mensch die Vorstellungen erlebt von den sinnlichen Dingen mit den Augen und Ohren. So wenig aber eine Vorstellung für sich etwas ist, wenn sie nicht in der Wahrnehmung durch den äußeren Gegenstand erregt wird, so wenig ist das mythische Bild etwas ohne die Erregung durch die wirklichen Tatsachen der geistigen Welt. Nur steht in bezug auf die Sinneswelt der Mensch zunächst außerhalb der erregenden Dinge; während er die Mythenbilder nur erleben kann, wenn er innerhalb der entsprechenden geistigen Vorgänge steht. Um aber innerhalb zu stehen, muß er, nach alter Mysten-Meinung, durch die Einweihung gegangen sein. Die geistigen Vorgänge, in welchen er schaut, sind durch die Mythenbilder dann gleichsam illustriert. Wer nicht als solche Illustration der wahren geistigen Vorgänge das Mythische zu nehmen vermag, ist noch nicht zum Verständnisse vorgedrungen. Denn die geistigen Vorgänge selbst sind übersinnlich; und Bilder, die in ihrem Inhalt an die Sinneswelt erinnern, sind nicht selbst geistig sondern eben nur eine Illustration des Geistigen. Wer bloß in den Bildern lebt, der träumt; wer es dahin gebracht hat, so das Geistige im Bild zu empfinden, wie man in der Sinneswelt die Rose empfindet durch die Vorstellung der Rose, der erst lebt in geistigen Wahrnehmungen. Es liegt hier auch der Grund, warum die Bilder der Mythen nicht eindeutig sein können. Wegen ihres Charakters als Illustrationen können dieselben Mythen verschiedene geistige Tatsachen ausdrücken. Es ist deshalb auch kein Widerspruch, wenn Mythenerklärer einen Mythos einmal auf diese, ein andermal auf eine andere geistige Tatsache beziehen.
[ 15 ] Man kann von diesem Gesichtspunkte aus einen Faden durch die mannigfaltigen griechischen Mythen finden. Man betrachte die Herakles-Sage. Die zwölf Arbeiten, die Herakles auferlegt werden, erscheinen in einem höheren Lichte, wenn man bedenkt, daß er sich vor der letzten, der schwersten, in die eleusinischen Mysterien einweihen läßt. Er soll im Auftrage des Königs Eurystheus von Mykene den Höllenhund Cerberus aus der Unterwelt holen und ihn wieder hinabbringen. Um einen Gang in die Unterwelt unternehmen zu können, muß Herakles eingeweiht sein. Die Mysterien führten den Menschen durch den Tod des Vergänglichen, also in die Unterwelt; und sie wollten durch die Einweihung sein Ewiges vor dem Untergang retten. Er konnte als Myste den Tod überwinden. Herakles überwindet die Gefahren der Unterwelt als Myste. Das berechtigt, auch seine anderen Taten als innere Entwicklungsstufen der Seele zu deuten. Er überwindet den nemeischen Löwen und bringt ihn nach Mykene. Das heißt, er macht sich zum Herrscher der rein physischen Kraft im Menschen; er bändigt diese. Er tötet weiter die neunköpfige Hydra. Er überwindet sie mit Feuerbränden und taucht in ihre Galle seine Pfeile, so daß sie unfehlbar werden. Das heißt, er überwindet niedere Wissenschaft, das Sinneswissen durch das Feuer des Geistes und nimmt aus dem, was er an diesem niederen Wissen gewonnen hat, die Kraft, um das Niedere in dem Lichte zu sehen, das dem geistigen Auge eignet. Herakles fängt die Hirschkuh der Artemis. Diese ist die Göttin der Jagd. Was die freie Natur der Menschenseele bieten kann, das erjagt sich Herakles. Ebenso können die anderen Arbeiten gedeutet werden. Es kann hier nicht jedem Zuge nachgegangen werden; und nur wie der Sinn im allgemeinen auf die innere Entwicklung hindeutet, das sollte dargestellt werden.
[ 16 ] Eine ähnliche Deutung ist für den Argonautenzug möglich. Phrixus und seine Schwester Helle, die Kinder eines böotischen Königs, litten viel von ihrer Stiefmutter. Die Götter sandten ihnen einen Widder mit einem goldenen Fell (Vlies), der sie durch die Lüfte davontrug. Als sie über die Meerenge zwischen Europa und Asien kamen, ertrank Helle. Die Meerenge heißt daher Hellespont. Phrixus gelangte zum Könige von Kolchis, am östlichen Ufer des Schwarzen Meeres. Er opferte den Widder den Göttern und schenkte das Vlies dem Könige Aëtes. Dieser ließ es in einem Haine aufhängen und von einem furchtbaren Drachen bewachen. Der griechische Held Jason unternahm es, im Verein mit andern Helden, Herakles, Theseus, Orpheus, das Vlies aus Kolchis zu holen. Es wurden ihm behufs Erlangung des Schatzes von Aëtes schwere Arbeiten aufgetragen. Aber Medea, die zauberkundige Tochter des Königs, unterstützte ihn. Er bändigte zwei feuerschnaubende Stiere, er pflügte einen Acker und säte Drachenzähne, so daß geharnischte Männer aus der Erde hervorwuchsen. Auf Medeas Rat warf er einen Stein unter die Männer, worauf sie sich gegenseitig mordeten. Durch ein Zaubermittel der Medea schläfert Jason den Drachen ein und kann dann das Vlies gewinnen. Er tritt mit demselben die Rückfahrt nach Griechenland an. Medea begleitet ihn als seine Gattin. Der König eilt den Flüchtenden nach. Medea tötet, um ihn aufzuhalten, ihr Brüderchen Absyrtus und streut die Glieder ins Meer. Aëtes wird durch das Einsammeln aufgehalten. So konnten die beiden mit dem Vlies Jasons Heimat erreichen. — Jede einzelne Tatsache fordert da eine tiefere Sinnerklärung heraus. Das Vlies ist etwas, das zum Menschen gehört, das ihm unendlich wertvoll ist; das in der Vorzeit von ihm getrennt worden ist, und dessen Wiedererlangung an die Überwindung furchtbarer Mächte geknüpft ist. So ist es mit dem Ewigen in der Menschenseele. Es gehört zum Menschen. Aber dieser findet sich getrennt von ihm. Seine niedere Natur trennt ihn davon. Nur wenn er diese überwindet, einschläfert, dann kann er es wieder erlangen. Es ist ihm möglich, wenn ihm das eigene Bewußtsein (Medea) mit seiner Zauberkraft zu Hilfe kommt. Für Jason wird Medea, was für Sokrates die Diotime als Lehrmeisterin der Liebe wurde. Die eigene Weisheit des Menschen hat die Zauberkraft, um das Göttliche nach Überwindung des Vergänglichen zu erlangen. Aus der niederen Natur kann nur ein Menschlich-Niederes hervorgehen, die geharnischten Männer, die durch die Kraft des Geistigen, den Rat der Medea, überwunden werden. Auch wenn der Mensch schon sein Ewiges, das Vlies, gefunden hat, ist er noch nicht in Sicherheit. Er muß einen Teil seines Bewußtseins (Absyrtus) opfern. Dies fordert die Sinnenwelt, die wir nur als eine mannigfaltige (zerstückelte) begreifen können. Man könnte für alles dieses noch tiefer in die Schilderung der hinter den Bildern liegenden geistigen Vorgänge eingehen; doch sollte hier nur das Prinzip der Mythenbildung angedeutet werden.
[ 17 ] Von besonderem Interesse, im Sinne einer solchen Deutung, ist die Prometheus-Sage. Prometheus und Epimetheus sind Söhne des Titanen Japetos. Die Titanen sind Kinder der ältesten Göttergeneration, des Uranos (Himmel) und der Gäa (Erde). Kronos, der jüngste der Titanen, hat seinen Vater vom Throne gestoßen und die Weltherrschaft an sich gerissen. Dafür wurde er nebst den übrigen Titanen von seinem Sohne Zeus überwältigt. Und Zeus wurde der oberste der Götter. Prometheus stand im Titanenkampfe auf der Seite des Zeus. Auf seinen Rat hat Zeus die Titanen in die Unterwelt verbannt. Aber in Prometheus lebte doch die Gesinnung der Titanen fort. Er war dem Zeus nur halber Freund. Als dieser die Menschen verderben wollte wegen ihres Übermutes, da nahm sich Prometheus ihrer an, lehrte sie die Kunst der Zahlen und der Schrift und anderes, was zur Kultur führt, namentlich den Gebrauch des Feuers. Darob zürnte Zeus dem Prometheus. Hephaistos, der Sohn des Zeus, mußte ein Frauenbild von großer Schönheit bilden, das die Götter mit allen nur möglichen Gaben schmückten. Pandora hieß die Frau: die Allbegabte. Hermes, der Götterbote, brachte sie zu Epimetheus, dem Bruder des Prometheus. Sie brachte diesem ein Kästchen mit als Geschenk der Götter. Epimetheus nahm das Geschenk an, trotzdem ihm Prometheus geraten hatte, auf keinen Fall ein Geschenk von den Göttern anzunehmen. Als das Kästchen geöffnet wurde, flogen alle möglichen menschlichen Plagen heraus. Darinnen blieb nur die Hoffnung, und zwar darum, weil Pandora den Deckel schnell verschloß. Die Hoffnung ist also als zweifelhaftes Göttergeschenk geblieben. — Prometheus wurde auf des Zeus Befehl wegen seines Verhältnisses zu den Menschen an einen Felsen im Kaukasus geschmiedet. Ein Adler frißt beständig an seiner Leber, die sich immer wieder ersetzt. In quälendster Einsamkeit muß Prometheus seine Tage verbringen, bis einer der Götter freiwillig sich opfert, das heißt sich dem Tode weiht. Der Gequälte erträgt sein Leid als standhafter Dulder. Ihm ward kund, daß Zeus durch den Sohn einer Sterblichen werde entthront werden, wenn er sich nicht mit dieser Sterblichen vermählen werde. Dem Zeus war es wichtig, dieses Geheimnis zu kennen; er sandte den Götterboten Hermes zu Prometheus, um darüber etwas zu erfahren. Dieser verweigerte jede Auskunft. — Die Herakles-Sage ist mit der Prometheus-Sage verknüpft. Herakles kommt auf seinen Wanderungen auch an den Kaukasus. Er erlegte den Adler, der des Prometheus Leber verzehrte. Der Kentaur Chiron, der, obwohl an einer unheilbaren Wunde leidend, doch nicht sterben kann, opfert sich für Prometheus. Dieser wird dann mit den Göttern versöhnt.
[ 18 ] Die Titanen sind die Kraft des Willens, die als Natur (Kronos) aus dem ursprünglichen Weltgeist (Uranos) hervorgeht. Dabei hat man nicht etwa bloß an Willenskräfte in abstrakter Form zu denken, sondern an wirkliche Willenswesen. Zu ihnen gehört Prometheus. Damit ist sein Wesen charakterisiert. Aber er ist nicht ganz Titane. Er hält es in gewissem Sinne mit Zeus, dem Geiste, der die Weltherrschaft antritt, nachdem die ungebändigte Naturkraft (Kronos) gebändigt ist. Prometheus ist also Repräsentant jener Welten, welche dem Menschen das Vorwärtsdrängende, das halb Natur-, halb Geisteskraft ist, den Willen, gegeben haben. Der Wille weist auf der einen Seite zum Guten, auf der andern zum Bösen. Je nachdem er zum Geistigen neigt oder zum Vergänglichen, gestaltet sich sein Schicksal. Dieses Schicksal ist das Schicksal des Menschen selbst. Der Mensch ist an das Vergängliche geschmiedet. An ihm nagt der Adler. Er muß dulden. Er kann Höchstes nur erreichen, wenn er in der Einsamkeit sein Schicksal sucht. Er hat ein Geheimnis. Es besteht darinnen, daß das Göttliche (Zeus) sich mit einer Sterblichen, dem an den physischen Leib gebundenen menschlichen Bewußtsein selbst vermählen muß, um einen Sohn, die Gott erlösende menschliche Weisheit (den Logos) zu gebären. Dadurch wird das Bewußtsein unsterblich. Er darf dieses Geheimnis nicht verraten, bis ein Myste (Herakles) an ihn herantritt und die Gewalt beseitigt, die ihn fortwährend mit dem Tode bedroht. Ein Wesen, halb Tier, halb Mensch, ein Kentaur, muß sich opfern, um den Menschen zu erlösen. Der Kentaur ist der Mensch selbst, der halb tierische, halb geistige Mensch. Er muß sterben, damit der rein geistige Mensch erlöst werde. Was Prometheus, der menschliche Wille, verschmäht, das nimmt Epimetheus, der Verstand, die Klugheit. Aber die Gaben, die dem Epimetheus dargereicht werden, sind nur Leiden und Plagen. Denn der Verstand haftet ja an dem Nichtigen, dem Vergänglichen. Und nur eines bleibt — die Hoffnung, daß auch aus dem Vergänglichen einmal werde das Ewige geboren werden.
[ 19 ] Der Faden, der durch die Argonauten —, die Herakles und die Prometheus-Sage führt, bewährt sich auch bei der Odysseus-Dichtung Homers. Man kann die Anwendung der Auslegungsweise hier gezwungen finden. Doch bei näherer Erwägung alles in Betracht Kommenden müssen selbst dem stärksten Zweifler an solchen Auslegungen alle Bedenken schwinden. Vor allen Dingen muß die Tatsache überraschen, daß auch von Odysseus erzählt wird, daß er in die Unterwelt hinabgestiegen ist. Man mag über den Dichter der Odyssee im übrigen denken, wie man will: unmöglich kann man ihm zuschreiben, daß er einen Sterblichen in die Unterwelt steigen läßt, ohne damit ihn in ein Verhältnis zu dem zu bringen, was innerhalb der griechischen Weltanschauung der Gang in die Unterwelt bedeutete. Er bedeutete aber die Überwindung des Vergänglichen und die Auferweckung des Ewigen in der Seele. Daß Odysseus solches vollbracht hat, muß also zugegeben werden. Und damit gewinnen seine Erlebnisse ebenso wie diejenigen des Herakles eine tiefere Bedeutung. Sie werden zu einer Schilderung eines Nicht-Sinnlichen, des Entwicklungsganges der Seele. Dazu kommt, daß in der Odyssee nicht so erzählt wird, wie das ein äußerer Tatsachenverlauf verlangt. Auf Wunderschiffen legt der Held Fahrten zurück. Mit den tatsächlichen geographischen Entfernungen wird in der willkürlichsten Weise umgesprungen. Es kann eben gar nicht auf das Sinnlich-Wirkliche ankommen. Das wird verständlich, wenn die sinnlich-wirklichen Vorgänge nur erzählt werden, um eine Geistesentwicklung zu illustrieren. Außerdem sagt ja der Dichter selbst im Eingänge des Werkes, daß es sich um das Suchen nach der Seele handelt:
[ 20 ] Sage mir, Muse, vom Manne, dem vielgewandten, der vielfach
Umgeirrt, nachdem er die heilige Troja zerstöret:
Vieler Menschen Städte gesehn, und Sitte gelernt hat,
Auch so viel im Meere der kränkenden Leiden erduldet,
Strebend zugleich für die eigene Seel und der Freunde Zurückkunft.
[ 21 ] Einen Mann, der die Seele, das Göttliche, sucht, hat man vor sich; und die Irrfahrten nach diesem Göttlichen werden erzählt. — Er kommt nach dem Lande der Zyklopen. Das sind ungeschlachte Riesen mit einem Auge auf der Stirn. Der fürchterlichste, Polyphem, verschlingt mehrere Gefährten. Odysseus rettet sich, indem er den Zyklopen blendet. Man hat es mit der ersten Station der Lebenspilgerschaft zu tun. Die physische Gewalt, die niedere Natur muß überwunden werden. Wer ihr die Kraft nicht nimmt, sie nicht blendet, wird von ihr verschlungen. -Odysseus gelangt dann auf die Insel der Zauberin Circe. Sie verwandelt einige seiner Gefährten in grunzende Schweine. Sie wird auch von ihm bezwungen. Circe ist die niedere Geisteskraft, die am Vergänglichen hängt. Sie kann den Menschen durch Mißbrauch nur noch tiefer in die Tierheit hinabstoßen. — Odysseus muß sie überwinden. Dann kann er in die Unterwelt hinabsteigen. Er wird Myste. Nun ist er den Gefahren ausgesetzt, denen der Myste beim Aufstieg von den niederen zu den höheren Graden der Einweihung ausgesetzt ist. Er gelangt zu den Sirenen, die den Vorüberfahrenden durch süße Zauberklänge in den Tod locken. Das sind die Gebilde der niederen Phantasie, denen der zunächst nachjagt, der sich von dem Sinnlichen freigemacht hat. Er hat es bis zum frei schaffenden, aber nicht bis zum eingeweihten Geiste gebracht. Er jagt Wahngebilden nach, von deren Gewalt er sich befreien muß. -Odysseus muß die grauenvolle Durchfahrt zwischen Szylla und Charybdis vollziehen. Der angehende Myste schwankt hin und her zwischen Geist und Sinnlichkeit. Er kann noch nicht den vollen Wert des Geistes erfassen; aber die Sinnlichkeit hat doch auch schon den früheren Wert verloren. Ein Schiffbruch bringt alle Gefährten Odysseus' ums Leben; er allein rettet sich zu der Nymphe Kalypso, die ihn freundlich aufnimmt und sieben Jahre pflegt. Endlich entläßt sie ihn auf des Zeus Befehl in die Heimat. Der Myste ist auf einer Stufe angekommen, auf der außer dem Würdigen, Odysseus allein, alle Mitstrebenden scheitern. Dieser Würdige aber genießt eine Zeitlang, die durch die mystisch-symbolische Zahl sieben bestimmt wird, die Ruhe allmählicher Einweihung. — Noch bevor Odysseus in der Heimat anlangt, kommt er auf die Insel der Phäaken. Hier findet er gastliche Aufnahme. Die Tochter des Königs schenkt ihm ihre Teilnahme; und der König Alkinous selbst bewirtet ihn und ehrt ihn. Noch einmal tritt an Odysseus die Welt heran mit ihren Freuden; und der Geist, der an der Welt hängt (Nausikaa), erwacht in ihm. Aber er findet den Weg nach der Heimat, nach dem Göttlichen. In seinem Hause erwartet ihn zunächst nichts Gutes. Seine Gemahlin Penelope ist von einer zahlreichen Freierschar umgeben. Sie verspricht einem jeden die Heirat, wenn sie ein bestimmtes Gewebe fertig habe. Sie entgeht der Einhaltung ihres Versprechens dadurch, daß sie stets in der Nacht wieder auflöst, was sie bei Tag geweht hat. Die Freier müssen von Odysseus überwunden werden, damit er wieder in Ruhe mit seiner Gattin vereint sein könne. Die Göttin Athene verwandelt ihn in einen Bettler, damit er bei seinem Eintritte zunächst nicht erkannt werde. So überwindet er die Freier. — Das eigene tiefere Bewußtsein, die göttlichen Kräfte der Seele sucht Odysseus. Mit ihnen will er vereint sein. Ehe sie der Myste findet, muß er alles überwinden, was als Freier sich um die Gunst dieses Bewußtseins bewirbt. Es ist die Welt der niederen Wirklichkeit, die vergängliche Natur, aus welcher die Schar dieser Freier stammt. Die Logik, die man an sie wendet, ist ein Gespinst, das sich immer wieder auflöst, wenn man es gesponnen hat. Die Weisheit (die Göttin Athene) ist die sichere Führerin zu den tiefsten Seelenkräften. Sie verwandelt den Menschen in einen Bettler, das ist, sie entkleidet ihn alles dessen, was aus der Vergänglichkeit stammt.
[ 22 ] Ganz in die Mysterienweisheit getaucht erscheinen die eleusinischen Feste, welche zu Ehren der Demeter und des Dionysos in Griechenland gefeiert wurden. Eine heilige Straße führte von Athen nach Eleusis. Sie war mit geheimnisvollen Zeichen besetzt, welche die Seele in eine erhabene Stimmung bringen konnten. In Eleusis waren geheimnisvolle Tempelgebäude, deren Dienst von Priesterfamilien besorgt wurde. Die Würde und die Weisheit, an die die Würde gebunden war, erbten sich in den Priesterfamilien von Generation zu Generation fort. (Über die Einrichtung dieser Stätten findet man belehrende Aufschlüsse in den «Ergänzungen zu den letzten Untersuchungen auf der Akropolis in Athen» von Karl Bötticher; Philologus Suppl. Band 3, Heft 3.) Die Weisheit, welche befähigte, hier den Dienst zu tun, war die griechische Mysterienweisheit. Die Feste, die zweimal im Jahre gefeiert wurden, boten das große Weltdrama von dem Schicksal des Göttlichen in der Welt und dem der Menschenseele. Die kleinen Mysterien wurden im Februar, die großen im September begangen. Mit den Festen waren Einweihungen verbunden. Die symbolische Darstellung des Welt- und Menschendramas bildete den Schlußakt der Mystenweihen, die hier vorgenommen wurden. Der Göttin Demeter zu Ehren sind ja die eleusinischen Tempel errichtet worden. Sie ist eine Tochter des Kronos. Dem Zeus hatte sie vor dessen Vermählung mit Hera eine Tochter, Persephone, geboren. Diese war einst beim Spiel von Pluto, dem Gott der Unterwelt, geraubt worden. Demeter durcheilte wehklagend die weite Erde, sie zu suchen. In Eleusis wurde sie auf einem Stein sitzend von den Töchtern des Keleus, eines Gebieters von Eleusis, gefunden. Sie trat in Gestalt einer alten Frau in den Dienst der Familie des Keleus, zur Pflege des Sohnes der Gebieterin. Sie wollte diesem Sohne die Unsterblichkeit geben. Deshalb verbarg sie ihn jede Nacht im Feuer. Als die Mutter das einmal gewahrte, da weinte und wehklagte sie. Die Erteilung der Unsterblichkeit war fortan unmöglich. Demeter verließ das Haus. Keleus erbaute einen Tempel. Die Trauer der Demeter um Persephone war unendlich groß. Sie ließ Unfruchtbarkeit über die Erde kommen. Die Götter mußten sie versöhnen, wenn nicht Furchtbares geschehen sollte. Da wurde Pluto von Zeus bewogen, die Persephone wieder in die Oberwelt zu entlassen. Vorher aber gab ihr der Gott der Unterwelt noch einen Granatapfel zu essen. Dadurch war sie gezwungen, doch immer und immer wieder periodenweise in die Unterwelt hinabzusteigen. Ein Dritteil des Jahres verbrachte sie fortan in der Unter-, zwei Dritteile in der Oberwelt. Demeter war versöhnt; sie kehrte zum Olymp zurück. In Eleusis aber, der Stätte ihrer Angst, stiftete sie den Festdienst, der fortan immer an ihr Schicksal erinnern sollte.
[ 23 ] Unschwer erkennt man den Sinn des Demeter-Persephone-Mythos. Was abwechselnd in der Unter- und der Oberwelt ist, das ist die Seele. Die Ewigkeit der Seele und deren ewige Verwandlung durch Geburt und Tod hindurch wird im Bilde dargestellt. Vom Unsterblichen, der Demeter, stammt die Seele. Sie ist aber von dem Vergänglichen entführt, und selbst zur Anteilnahme an dem Schicksal der Vergänglichkeit bestimmt worden. Sie hat von der Frucht in der Unterwelt genossen: die menschliche Seele ist mit dem Vergänglichen gesättigt; sie kann daher nicht dauernd in den Höhen des Göttlichen wohnen. Sie muß immer wieder zurück ins Reich der Vergänglichkeit. Demeter ist die Repräsentantin jenes Wesens, aus dem das menschliche Bewußtsein entsprungen ist; aber es muß dieses Bewußtsein dabei so gedacht werden, wie es durch die geistigen Kräfte der Erde hat entstehen können. Demeter ist also die Urwesenheit der Erde; und die Begabung der Erde mit den Samenkräften der Feldfrüchte durch sie deutet nur auf eine noch tiefere Seite ihres Wesens hin. Dieses Wesen will dem Menschen die Unsterblichkeit geben. Demeter verbirgt des Nachts ihren Pflegling im Feuer. Aber der Mensch kann die reine Gewalt des Feuers (des Geistes) nicht ertragen. Demeter muß davon ablassen. Sie kann nur einen Tempeldienst stiften, durch den der Mensch, soweit er es vermag, des Göttlichen teilhaftig werden kann.
[ 24 ] Die eleusinischen Feste waren ein laut sprechendes Bekenntnis des Glaubens an die Ewigkeit der Menschenseele. Dieses Bekenntnis fand in dem Persephone-Mythos seinen bildhaften Ausdruck. Zusammen mit Demeter und Persephone wurde in Eleusis Dionysos gefeiert. Wie in Demeter die göttliche Schöpferin des Ewigen im Menschen, so wurde in Dionysos das ewig in der ganzen Welt sich wandelnde Göttliche verehrt. Der Gott, der in die Welt ausgegossen, zerstückelt worden ist, um geistig wieder geboren zu werden (vergleiche Seite 72 f), mußte mit der Demeter zusammen gefeiert werden. (Eine glänzende Darstellung des Geistes der eleusinischen Mysterien findet man in dem Buche «Sanctuaires d'Orient» von Edouard Schuré. Paris 1898.)
Mystery wisdom and the myth
[ 1 ] The Mystic searched for forces within himself, he searched for entities within himself that remain unknown to man as long as he is stuck in the ordinary view of life. The Myste asks the great question about his own spiritual forces and laws that transcend the lower nature. Man with the ordinary, sensual-logical view of life creates gods for himself, or when he comes to the insight of creation, he denies them. The Myste recognizes that he creates gods; he recognizes why he creates them; he has, so to speak, come to understand the natural laws of the creation of gods. It is as if the plant suddenly became aware and learned the laws of its own growth, its own development. It develops in a state of unconsciousness. If it knew its laws, it would have to gain a completely different relationship to itself. What the lyricist feels when he sings of the plant, what the botanist thinks when he investigates its laws: that is what a knowing plant would have in mind as an ideal of itself. - So it is with the mystic in relation to his laws, to the forces at work within him. As a knower, he must create a divine beyond himself. And so the Initiates, too, stood by what the people would have created beyond nature. This is how they approached the world of gods and myths of the people. They wanted to recognize the laws of this world of gods and myths. Where the people had a god, where they had a myth, they sought a higher truth. - Consider an example: the Athenians had been forced by the Cretan king Minos to give him seven boys and seven girls every eight years. These were thrown to the Minotaur, a terrible monster, as food. The third time the sad mission was to leave for Crete, the king's son Theseus went along. When he arrived in Crete, Ariadne, King Minos' own daughter, took care of him. The Minotaur lived in the labyrinth, a maze from which no one who had fallen in could find their way out. Theseus wanted to free his hometown from the shameful tribute. He had to enter the labyrinth into which the monster's prey was usually thrown. He wanted to kill the Minotaur. He undertook this task; he overcame the terrible enemy and got out into the open again with the help of a ball of thread that Ariadne had handed him. - The mystic should realize how the creative human spirit comes to form such a narrative. Just as the botanist eavesdrops on plant growth in order to find its laws, he wanted to eavesdrop on the creative spirit. He sought a truth, a wisdom where the people had placed a myth. Sallustius reveals to us the position of a mystical sage in relation to such a myth: "One could call the whole world a myth, which includes bodies and things in a visible way, souls and spirits in a hidden way. If the truth about the gods were taught to everyone, the unintelligent would hold it in low esteem because they do not understand it, but the more capable would take it lightly; but if the truth is given in a mythical wrapping, it is protected from contempt and provides the impetus for philosophizing. "
[ 2 ] When one sought the truth content of a myth as a myth, one was aware that one was adding something to what was present in the popular consciousness. One was aware that one was placing oneself above this popular consciousness, just as the botanist places himself above the growing plant. One said something quite different from what was present in the mythical consciousness; but one regarded what one said as a deeper truth, which expressed itself symbolically in the myth. Man confronts sensuality as a hostile monster. He sacrifices the fruits of his personality to it. It devours them. It does so until the overcomer (Theseus) awakens in man. His knowledge spins him the thread by which he finds his way again when he enters the maze of sensuality to kill his enemy. The mystery of human knowledge itself is expressed in this overcoming of sensuality. The mystic knows this mystery, it is indicated by the same to a power in the human personality. Ordinary consciousness is not aware of this power. But it does work in it. It produces the myth, which has the same structure as the mystical truth. This truth symbolizes itself in the myth. - So what lies in the myths? They are a creation of the spirit, of the unconsciously creating soul. The soul has a very specific law. It must work in a certain direction in order to create beyond itself. At the mythological level it does this in images; but these images are built according to the laws of the soul. One could also say that when the soul progresses beyond the level of mythological consciousness to the deeper truths, these bear the same imprint as the myths before, for one and the same force is at work in their creation. Plotinus, the philosopher of the Neoplatonic school (204-269 AD), speaks about this relationship between figurative-mythical imagination and higher cognition with reference to the Egyptian priestly ways:
[ 3 ] "The Egyptian sages, whether on the basis of rigorous research or instinctively, do not use written characters to express their teachings and sentences as imitations of voice and speech when communicating their wisdom, but they draw pictures and lay down in their temples the thought content of each thing in the outlines of the pictures, so that each picture is a content of knowledge and wisdom, an object and a totality, although no argument and discussion. One then extracts the content from the picture and gives it words and finds the reason why it is so and not otherwise."
[ 4 ] If you want to get to know the relationship between mysticism and mythical stories, you have to see how the world view of those who know that their wisdom is in harmony with the conception of the Mystery Being relates to the mythical. Such harmony is present to the fullest extent in Plato. How he interprets myths and how he uses them in his presentation can be regarded as authoritative. In "Phaedrus", a conversation about the soul, the myth of Boreas is cited. This divine being, who was seen in the rushing wind, once saw the beautiful Orithya, the daughter of the Attic king Erechtheus, who was picking flowers with her playmates. He was seized by love for her, stole her away and took her to his grotto. In the conversation, Plato has Socrates reject a purely intellectual interpretation of this myth. According to this interpretation, a completely external, natural fact is symbolically expressed in the story. The storm wind is said to have seized the king's daughter and hurled her off the rock. "Such interpretations," says Socrates, "are learned sophistry, however popular and common they may be today. For whoever has decomposed one of these mythological figures must, for the sake of consistency, also cast doubt on all the others in the same way and know how to explain them naturally. . . . But even if such a work could be brought to completion, in all cases it would not prove a happy talent on the part of the person doing it, but only a pleasing wit, a peasant wisdom and a ridiculous rashness. . . . Therefore I abandon such examinations and believe what is generally held of them. I do not examine them, as I have just said, but myself, whether I am not also a monster, more manifoldly formed and consequently more confused than a chimera, wilder than Typhon, or whether I represent a tamer and simpler being, to whom a part of a decent and divine nature has been bestowed. " What Plato does not approve of can be seen from this: an intellectual, rationalistic interpretation of the myths. This must be kept together with the way in which he himself uses myths to express himself through them. Where he speaks of the life of the soul, where he leaves the paths of the transient and seeks out the eternal in the soul, i.e. where the ideas no longer exist that are based on sensory perception and intellectual thinking, Plato makes use of myth. The "Phaedrus" speaks of the eternal in the soul. There the soul is depicted as a team of two horses with wings on all sides and a leader. One of the horses is patient and wise, the other stubborn and wild. If an obstacle gets in the way of the team, the stubborn horse uses it to hinder the good one in its will and to defy the leader. When the team arrives at the place where it is to follow the gods on the back of heaven, the bad horse throws the team into disarray. It depends on the power it has whether it can be overcome by the good horse and whether the team can get over the obstacle into the realm of the supernatural. Thus it happens to the soul that it can never rise completely undisturbed into the realm of the divine. Some souls rise to this eternal vision more, others less. The soul that has seen the hereafter remains unharmed until the next procession; the one that - because of the wild horse - has seen nothing, must try a new procession. These moves refer to the various incarnations of the soul. A procession means the life of the soul in a personality. The wild horse represents the lower nature, the wise horse the higher nature, the leader the soul longing for deification. Plato resorts to myth to depict the path of the eternal soul through the various transformations. In the same way, other Platonic writings turn to myth, to the symbolic narrative, to depict the inner being of man, the non-sensually perceptible.
[ 5 ] Plato is completely in tune with the mythical and parable-like expression of others. In ancient Indian literature, there is a parable attributed to the Buddha. A man who is attached to life, who does not want to die at any price, who seeks sensual pleasure, is pursued by four snakes. He hears a voice commanding him to feed and bathe the four snakes from time to time. The man runs away for fear of the evil snakes. He hears a voice again. It draws his attention to five murderers who are after him. The man runs away again. A voice draws his attention to a sixth murderer who wants to cut off his head with a drawn sword. The man flees again. He comes to a deserted village. He hears a voice telling him that thieves will soon plunder the village. As the man flees further, he comes to a great flood of water. He does not feel safe on this side of the river; he makes himself a basket out of straws, wood and leaves; in it he reaches the other bank. Now he is safe; he is a Brahmin. The meaning of this parable is that man has to pass through various states until he reaches the divine. The four snakes represent the four elements: Fire, Water, Earth, Air. The five murderers represent the five senses. The deserted village is the soul that has escaped the impressions of the senses, but is not yet safe when it is alone with itself. If it seizes only its lower nature within itself, it must perish. Man must put together the boat that will carry him across the flood of transience from one shore, the sensual nature, to the other, the eternal-divine one.
[ 6 ] Consider the Egyptian Osiris mystery in this light. Osiris had gradually become one of the most important Egyptian deities. The idea of him supplanted other ideas of the gods that existed among certain sections of the population. A significant mythical circle now formed around Osiris and his wife Isis. Osiris was the son of the sun god, his brother was Typhon-Set, his sister Isis. Osiris married his sister. He ruled Egypt with her. The evil brother Typhon was bent on destroying Osiris. He had a box made that was exactly the length of Osiris' body. At a banquet, the box was offered as a gift to the person who fitted into it exactly. No one but Osiris succeeded. He lay down in it. Then Typhon and his comrades pounced on Osiris, closed the box and threw it into the river. When Isis heard the horror, she wandered around desperately looking for the body of her husband. When she found him, Typhon seized him again. He tore it into fourteen pieces, which were scattered in various places. Various Osiris tombs were shown in Egypt. Here and there, in many places, parts of the god were said to have been buried. Osiris himself, however, emerged from the underworld, defeated Typhon, and a ray from him shone on Isis, who thereby gave birth to the son, Harpocrates or Horus.
[ 7 ] And now compare this myth with the world view of the Greek philosopher Empedocles (490 to 430 BC). He assumes that the one primordial being was once torn into the four elements of fire, water, earth and air or into the multiplicity of existence. He contrasts two powers which bring about the becoming and passing away within this world of being, love and conflict. Empedocles says of the elements:
[ 8 ] They themselves remain the same, but running through each other
they become human beings and all the countless other beings,
now gathering together in love's power to form one entity;
now scattering again as individuals through hatred and strife.
[ 9 ] So what are the things of the world from Empedocles' point of view? They are the various mixed elements. They could only come into being because the primordial One has been torn into the four entities. This primordial One is thus poured out into the elements of the world. When we encounter a thing, it is a part of the poured-out divinity. But this divinity is hidden within it. It first had to die so that things could come into being. And what are these things? Mixtures of the components of God, brought about in their structure by love and hate. Empedocles says this clearly:
[ 10 ] Here for clear proof the structure of human limbs,
How through love the substances now unite in one
All, as many as the body possesses in the flower of existence;
Then, torn apart in pernicious strife and contention,
They again wander about individually on the edge of life.
It is the same with the shrubs and water-dwelling fish
And with the game of the mountains and the winged ships.
[ 11 ] It can only be Empedocles' view that the wise man finds again the divine primal unity that has been enchanted in the world and entwined in love and hate. But if man finds the divine, he himself must be a divine. For Empedocles is of the opinion that the same can only be recognized through the same. Goethe's saying expresses his conviction of knowledge:
[ 12 ] Were not the eye sunlike,
How could we behold the light?
Does not God's own power live in us,
How can the divine delight us?
[ 13 ] These thoughts about the world and man, which go beyond sensory experience, could be found in the myth of Osiris. The divine creative power is poured into the world. It appears as the four elements. God (Osiris) is killed. Man with his knowledge, which is of a divine nature, is to awaken him again; he is to find him again as Horus (son of God, Logos, wisdom) in the contrast between conflict (Typhon) and love (Isis). In Greek form, Empedocles himself expresses his basic conviction with the ideas that resonate with the myth. Love is Aphrodite; Neikos is strife. They bind and unbind the elements.
[ 14 ] The representation of a myth's content in a style such as that observed here must not be confused with a merely symbolic or even allegorical interpretation of the myths. This is not what is meant here. The images that make up the content of the myth are not invented symbols for abstract truths, but real spiritual experiences of the initiate. He experiences the images with the spiritual organs of perception, just as the normal person experiences the images of sensual things with his eyes and ears. But just as little as an imagination is something in itself if it is not aroused in perception by the external object, so little is the mythical image something without the arousal of the real facts of the spiritual world. It is only in relation to the sense world that man stands at first outside the exciting things; whereas he can only experience the mythical images if he stands within the corresponding spiritual processes. But in order to stand within, he must, according to the old mystical opinion, have gone through initiation. The spiritual processes in which he looks are then, as it were, illustrated by the mythical images. He who is not able to take the mythical as such an illustration of the true spiritual processes has not yet penetrated to understanding. For the spiritual processes themselves are supersensible; and images that are reminiscent of the sensory world in their content are not themselves spiritual but merely an illustration of the spiritual. He who lives merely in images is dreaming; he who has brought himself to feel the spiritual in the image, as one feels the rose in the sensory world through the imagination of the rose, lives only in spiritual perceptions. This is also the reason why the images of myths cannot be unambiguous. Because of their character as illustrations, the same myths can express different spiritual facts. It is therefore not a contradiction if myth explainers refer one myth to this spiritual fact and another to a different one.
[ 15 ] From this point of view, you can find a thread running through the various Greek myths. Consider the legend of Heracles. The twelve labors imposed on Heracles appear in a higher light when one considers that he allows himself to be initiated into the Eleusinian mysteries before the last, the most difficult one. On behalf of King Eurystheus of Mycenae, he is to fetch the hellhound Cerberus from the underworld and bring him back down again. In order to be able to enter the underworld, Heracles must be initiated. The Mysteries led man through the death of the ephemeral, i.e. into the underworld; and they wanted to save his eternal from destruction through initiation. As Myste, he was able to overcome death. Heracles overcomes the dangers of the underworld as Myste. This justifies interpreting his other deeds as inner stages of the soul's development. He overcomes the Nemean lion and brings it to Mycenae. In other words, he makes himself the ruler of the purely physical power in man; he tames it. He goes on to kill the nine-headed Hydra. He overcomes them with fires of fire and dips his arrows into their bile so that they become infallible. In other words, he overcomes lower science, sensory knowledge, through the fire of the spirit and takes from what he has gained in this lower knowledge the strength to see the lower in the light that is suitable for the spiritual eye. Heracles catches the hind of Artemis. She is the goddess of the hunt. Heracles hunts for what nature can offer the human soul. The other works can be interpreted in the same way. It is not possible to follow every course here; and only how the meaning in general points to the inner development should be presented.
[ 16 ] A similar interpretation is possible for the Argonaut train. Phrixus and his sister Helle, the children of a Boeotian king, suffered much at the hands of their stepmother. The gods sent them a ram with a golden coat (fleece), which carried them away through the air. When they crossed the strait between Europe and Asia, Helle drowned. The strait is therefore called the Hellespont. Phrixus reached the king of Colchis, on the eastern shore of the Black Sea. He sacrificed the ram to the gods and gave the fleece to King Aëtes. He had it hung up in a grove and guarded by a terrible dragon. The Greek hero Jason, together with other heroes, Heracles, Theseus and Orpheus, undertook to fetch the fleece from Colchis. He was given difficult tasks in order to obtain the treasure of Aëtes. But Medea, the king's magical daughter, supported him. He tamed two fire-breathing bulls, plowed a field and sowed dragon's teeth so that men in armor grew out of the earth. On Medea's advice, he threw a stone among the men, whereupon they killed each other. Jason puts the dragon to sleep with Medea's magic and is then able to win the fleece. He returns to Greece with it. Medea accompanies him as his wife. The king hurries after the fugitives. To stop him, Medea kills her brother Absyrtus and scatters his limbs in the sea. Aëtes is stopped by collecting them. This is how the two were able to reach Jason's homeland with the fleece. - Every single fact demands a deeper explanation of its meaning. The fleece is something that belongs to man, something that is infinitely valuable to him; something that was separated from him in ancient times and whose recovery is linked to the overcoming of terrible powers. So it is with the eternal in the human soul. It belongs to man. But he finds himself separated from it. His lower nature separates him from it. Only if he overcomes it, puts it to sleep, can he regain it. This is possible if his own consciousness (Medea) comes to his aid with its magic power. Medea becomes for Jason what Diotime became for Socrates as a teacher of love. Man's own wisdom has the magic power to attain the divine after overcoming the transient. Only a human-lower nature can emerge from the lower nature, the harnessed men who are overcome by the power of the spiritual, the advice of Medea. Even if man has already found his eternal, the fleece, he is not yet safe. He must sacrifice a part of his consciousness (Absyrtus). This is demanded by the world of the senses, which we can only understand as a manifold (fragmented) world. For all this, one could go even deeper into the description of the spiritual processes behind the images; however, only the principle of myth formation should be indicated here.
[ 17 ] The legend of Prometheus is of particular interest in terms of such an interpretation. Prometheus and Epimetheus are sons of the Titan Japetus. The Titans are children of the oldest generation of gods, Uranos (heaven) and Gaea (earth). Kronos, the youngest of the Titans, overthrew his father from the throne and seized control of the world. In return, he and the other Titans were overpowered by his son Zeus. And Zeus became the supreme god. Prometheus sided with Zeus in the battle of the Titans. On his advice, Zeus banished the Titans to the underworld. But the attitude of the Titans lived on in Prometheus. He was only half a friend of Zeus. When Zeus wanted to destroy mankind because of their arrogance, Prometheus took care of them, taught them the art of numbers and writing and other things that lead to culture, namely the use of fire. Zeus was angry with Prometheus for this. Hephaestus, the son of Zeus, had to create an image of a woman of great beauty, whom the gods adorned with every possible gift. Pandora was the name of the woman: the all-gifted one. Hermes, the messenger of the gods, brought her to Epimetheus, Prometheus' brother. She brought him a small box as a gift from the gods. Epimetheus accepted the gift, even though Prometheus had advised him never to accept a gift from the gods. When the box was opened, all kinds of human plagues flew out of it. All that remained inside was hope, because Pandora quickly closed the lid. Hope therefore remained as a dubious gift from the gods. - Prometheus was forged onto a rock in the Caucasus at Zeus' command because of his relationship with humans. An eagle constantly feeds on his liver, which is constantly being replaced. Prometheus has to spend his days in agonizing loneliness until one of the gods voluntarily sacrifices himself, that is, consecrates himself to death. The tormented man endures his suffering as a steadfast sufferer. It was made known to him that Zeus would be dethroned by the son of a mortal if he did not marry this mortal. It was important to Zeus to know this secret; he sent Hermes, the messenger of the gods, to Prometheus to find out about it. He refused to give any information. - The legend of Heracles is linked to the legend of Prometheus. Heracles also comes to the Caucasus on his travels. He killed the eagle that ate Prometheus' liver. The centaur Chiron, who, although suffering from an incurable wound, cannot die, sacrifices himself for Prometheus. He is then reconciled with the gods.
[ 18 ] The Titans are the power of will, which emerges as nature (Kronos) from the original world spirit (Uranos). We should not just think of forces of will in abstract form, but of real beings of will. Prometheus belongs to them. This characterizes his nature. But he is not quite a Titan. In a certain sense, he is like Zeus, the spirit who assumes world domination after the untamed force of nature (Kronos) has been tamed. Prometheus is therefore a representative of those worlds that have given man the forward-moving, half natural, half spiritual force, the will. On the one hand the will points towards good, on the other towards evil. Depending on whether it tends towards the spiritual or the transient, its destiny is shaped. This destiny is the destiny of man himself. Man is forged to the transitory. The eagle gnaws at him. He must endure. He can only achieve the highest if he seeks his destiny in solitude. He has a secret. It consists in the fact that the divine (Zeus) must wed itself to a mortal, the human consciousness bound to the physical body, in order to give birth to a son, the human wisdom (the Logos) that redeems God. This makes the consciousness immortal. He must not reveal this secret until a Myste (Heracles) approaches him and removes the violence that continually threatens him with death. A being, half animal, half human, a centaur, must sacrifice himself in order to redeem man. The centaur is man himself, the half-animal, half-spiritual man. He must die so that the purely spiritual man can be redeemed. What Prometheus, the human will, spurns, Epimetheus, the intellect, the wisdom, takes. But the gifts offered to Epimetheus are only sufferings and plagues. For the mind clings to the void, to the transitory. And only one thing remains - the hope that the eternal will one day be born from the transient.
[ 19 ] The thread that runs through the Argonauts, Heracles and Prometheus saga also proves itself in Homer's Odysseus poem. One may find the application of the interpretation forced here. But on closer consideration of everything that comes into consideration, even the strongest doubter of such interpretations must lose all doubts. Above all, the fact that Odysseus is also said to have descended into the underworld must come as a surprise. One may think what one likes about the poet of the Odyssey: it is impossible to attribute to him the fact that he allows a mortal to descend into the underworld without relating him to what the passage into the underworld meant within the Greek world view. But it meant the overcoming of the transient and the resurrection of the eternal in the soul. It must therefore be admitted that Odysseus accomplished this. And thus his experiences, like those of Heracles, take on a deeper meaning. They become a description of something non-sensual, of the development of the soul. In addition, the Odyssey is not narrated in the way that an external course of events demands. The hero travels on miracle ships. The actual geographical distances are dealt with in the most arbitrary way. The sensual-real cannot matter at all. This becomes understandable if the sensual-real processes are only told in order to illustrate a spiritual development. Moreover, the poet himself says at the beginning of the work that it is about the search for the soul:
[ 20 ] Tell me, Muse, of the man, the many-souled one, who many times
wandered, after he destroyed the holy Troy:
saw many cities and learned custom,
also endured so much in the sea of grievous suffering,
striving at the same time for his own soul and the return of his friends.
[ 21 ] A man who seeks the soul, the divine, is before us; and the wanderings in search of this divine are told. - He comes to the land of the Cyclopes. These are hulking giants with one eye on their foreheads. The most fearsome, Polyphemus, devours several companions. Odysseus saves himself by blinding the Cyclops. This is the first stage of the life pilgrimage. Physical force, the lower nature, must be overcome. Whoever does not take away its power, does not blind it, will be devoured by it. Odysseus then arrives on the island of the sorceress Circe. She transforms some of his companions into grunting pigs. She is also defeated by him. Circe is the lower spiritual power that clings to the ephemeral. She can only push man deeper into animality through abuse. - Odysseus must overcome her. Then he can descend into the underworld. He becomes Myste. Now he is exposed to the dangers to which the Myste is exposed when ascending from the lower to the higher degrees of initiation. He reaches the sirens, who lure the person passing by to his death with sweet magic sounds. These are the creations of the lower imagination, which are first pursued by those who have freed themselves from the sensual. He has made it as far as the freely creative spirit, but not as far as the initiated spirit. He pursues delusions from whose power he must free himself. -Odysseus must make the horrible passage between Scylla and Charybdis. The budding Myste wavers back and forth between spirit and sensuality. He cannot yet grasp the full value of the spirit; but sensuality has already lost its former value. A shipwreck kills all Odysseus' companions; he alone rescues himself to the nymph Calypso, who takes him in kindly and cares for him for seven years. Finally, at Zeus' command, she releases him to his homeland. The Myste has arrived at a stage where all but the worthy one, Odysseus alone, fail. This worthy one, however, enjoys the peace of gradual initiation for a time, which is determined by the mystical-symbolic number seven. - Even before Odysseus reaches home, he arrives on the island of the Phaeacians. Here he finds a hospitable welcome. The king's daughter offers him her hospitality, and King Alcinous himself entertains and honors him. Odysseus is once again confronted by the world and its pleasures; and the spirit that clings to the world (Nausikaa) awakens in him. But he finds his way home, to the divine. At first, nothing good awaits him in his home. His wife Penelope is surrounded by a host of suitors. She promises to marry each of them when she has finished a certain fabric. She avoids keeping her promise by always unraveling at night what she has woven by day. The suitors must be overcome by Odysseus so that he can be reunited with his wife in peace. The goddess Athena transforms him into a beggar so that he will not be recognized when he enters. This is how he overcomes the suitors. - Odysseus seeks his own deeper consciousness, the divine powers of the soul. He wants to be united with them. Before the Myste finds them, he must overcome everything that competes for the favor of this consciousness as a suitor. It is the world of the lower reality, the transient nature, from which the crowd of these suitors originates. The logic that is applied to them is a web that always unravels once it has been spun. Wisdom (the goddess Athena) is the sure guide to the deepest powers of the soul. She transforms man into a beggar, that is, she strips him of everything that comes from transience.
[ 22 ] The Eleusinian festivals, which were celebrated in honor of Demeter and Dionysus in Greece, appear to be completely immersed in mystery wisdom. A sacred road led from Athens to Eleusis. It was studded with mysterious signs that could put the soul in a sublime mood. In Eleusis there were mysterious temple buildings whose service was provided by priestly families. The dignity and wisdom to which the dignity was linked were passed down from generation to generation in the priestly families. (You can find instructive information about the furnishings of these sites in the "Supplements to the last investigations on the Acropolis in Athens" by Karl Bötticher; Philologus Suppl. Vol. 3, No. 3.) The wisdom that enabled them to serve here was Greek mystery wisdom. The festivals, which were celebrated twice a year, offered the great world drama of the fate of the divine in the world and that of the human soul. The minor mysteries were celebrated in February, the major ones in September. The festivals were associated with initiations. The symbolic representation of the world and human drama formed the final act of the Mystic Consecrations, which were performed here. The Eleusinian temples were built in honor of the goddess Demeter. She is a daughter of Kronos. She gave birth to a daughter, Persephone, to Zeus before his marriage to Hera. She was once stolen by Pluto, the god of the underworld, during a game. Lamenting, Demeter hurried across the wide earth in search of her. In Eleusis, she was found sitting on a stone by the daughters of Keleus, an inhabitant of Eleusis. She entered the service of Keleus' family in the form of an old woman to care for her mistress' son. She wanted to give this son immortality. That is why she hid him in the fire every night. Once the mother realized this, she wept and lamented. From then on, it was impossible to grant immortality. Demeter left the house. Keleus built a temple. Demeter's grief for Persephone was immense. She caused the earth to become barren. The gods had to reconcile her if terrible things were not to happen. So Pluto was persuaded by Zeus to release Persephone back into the upper world. But first the god of the underworld gave her a pomegranate to eat. As a result, she was forced to descend to the underworld again and again periodically. From then on, she spent a third of the year in the underworld and two thirds in the upper world. Demeter was reconciled; she returned to Olympus. But in Eleusis, the place of her fear, she founded the festival service that would henceforth always serve as a reminder of her fate.
[ 23 ] It is easy to recognize the meaning of the Demeter-Persephone myth. What alternates between the underworld and the upper world is the soul. The eternity of the soul and its eternal transformation through birth and death is depicted in the image. The soul comes from the immortal, Demeter. But it has been abducted by the perishable and has itself been destined to share in the fate of transience. It has partaken of the fruit in the underworld: the human soul is saturated with the transitory; it cannot therefore dwell permanently in the heights of the divine. It must always return to the realm of transience. Demeter is the representative of that being from which human consciousness has arisen; but this consciousness must be thought of as it could have arisen through the spiritual forces of the earth. Demeter is therefore the primordial being of the earth; and the endowment of the earth with the seed-powers of the crops through her only points to a still deeper side of her being. This being wants to give man immortality. Demeter hides her fosterling in the fire at night. But man cannot bear the pure violence of the fire (the spirit). Demeter must refrain from it. She can only establish a temple service through which man, as far as he is able, can partake of the divine.
[ 24 ] The Eleusinian festivals were a loudly spoken confession of faith in the eternity of the human soul. This confession found its pictorial expression in the Persephone myth. Together with Demeter and Persephone, Dionysus was celebrated in Eleusis. Just as Demeter was the divine creator of the eternal in man, Dionysus was worshipped as the eternally changing divine in the whole world. The god who was poured out into the world, dismembered in order to be spiritually reborn (see page 72 f), had to be celebrated together with Demeter. (A brilliant description of the spirit of the Eleusinian Mysteries can be found in the book "Sanctuaires d'Orient" by Edouard Schuré. Paris 1898.)