Spiritual Scientific Notes on Goethe's Faust, Vol. II
GA 273
3 November 1917, Dornach
5. Faust and the Problem of Evil
To characterise the successive epochs of human evolution on the earth (referring, to begin with, only to post-Atlantean time) we can select one item or another out of spiritual science; we are thus gradually led to form real conceptions of the several epochs. To-day we shall speak about the fourth—that is, the Graeco-Latin time; and about the fifth, our own time, which began about the year 1413. We shall add certain particulars to what we already know about these epochs.
Every such epoch may be said to have a special task. I beg you not to think in this connection of a merely theoretic or scientific task, or of anything exclusively concerned with knowledge.
Every epoch has a special task,—a task which must be solved in life itself. In actual life itself, impulses have to arise with which the individuals living in these epochs must come to terms,—with which they have to wrestle, and out of which proceed not only their ideas but their feelings, their emotions, their loves and hates, and the will-impulse which they receive into themselves. Thus in the widest sense we can say: Every such epoch has a task to solve.
Looking into the Graeco-Latin epoch, we find that the task it had to solve is chiefly related to what we may comprise with the words “Birth and Death” within the Universe. These things have become rather vague and obliterated in our time. No longer in the deepest sense of life, but in a more theoretic sense, the great problems of Birth and Death stand before the human being of the fifth post-Atlantean epoch. He no longer has a true feeling of the deep way in which the phenomena of Birth and Death entered the heart and mind of the human being of the fourth post-Atlantean epoch. We human beings of the fifth epoch (as you know, we are still more or less at the beginning of it, for it began in the year 1413; and an epoch lasts 2160 years) We have to solve in the widest sense, in a living and energetic way, what we may call the problem of Evil. I beg you to envisage this most thoroughly. Evil will approach the human being of the fifth post-Atlantean epoch in every conceivable form. Scientifically he will have to solve the nature and essence of Evil. In his loving and in his hating, he will have to grapple in the right way with all that springs from Evil; he will have to fight and wrestle with the resistances of Evil to the impulses of the Will. All this is essential to the tasks of the fifth post-Atlantean time.
Nay, more, the problem of Evil belongs to the fifth post-Atlantean epoch in a still higher degree than did the problem of Birth and Death to the life of the fourth post-Atlantean epoch. Why so? It was, in fact, the Atlantean time which had to solve the question about Birth and Death with the same vital intensity with which the fifth post-Atlantean time will have to solve the problem of Evil. In Atlantean time the phenomena of Birth and Death stood before the human beings of that evolutionary epoch far more vividly and directly, in a far more elemental way, than now. That which is hidden behind Birth and Death, is, in effect, far more concealed to-day from human vision and from human feeling. Now the Graeco-Latin time, fundamentally speaking, was after all but a faint repetition of that which the Atlanteans had had to experience with regard to Birth and Death. The experiences of the Graeco-Latin time were, therefore, not so intense and vivid as will become the wrestlings of the fifth post-Atlantean time, which began in 1413, with all the powers of Evil,—with all that springs from Evil. For the human being himself will have to free himself from all this by means of the very opposite forces, which to evolve is in effect the specific task and need of the fifth post-Atlantean epoch. What I have said in this moment need only be envisaged in a sufficiently intense and vivid way, and many things which we have characterised during these weeks will be clearly illustrated. Many things will appear as consequences of this fundamental premiss: that it is the task of the fifth post-Atlantean time to wrestle with the life-problem of Evil.
Let us now ask, how did Goethe perceive that this is so, when in his drama he showed Faust as the representative of humanity, placing him in conflict with Mephistopheles who is the representative of Evil? From this very fact you can see that the Faust drama is derived out of the deepest interests of the present epoch.
It is peculiar to man that he can only come to terms with the things with which he has to wrestle, if he extends his consciousness over them, i.e., if they do not remain in the unconscious. (We emphasised this more than once during our recent studies.) That is the peculiarity: Whatever evil impulses can possibly arise from the foundations of the cosmic order, must betray their presence to our consciousness.
But there is also another necessity. It is insufficient, as a rule, merely to know what belongs to the one epoch. These things can only be rightly judged by comparison. It is not really enough to be aware that now, in the fifth post-Atlantean epoch, man has to wrestle with Evil in the historic evolution of Earth-life. There must be added a certain consciousness about the preceding epoch,—that is, in our case, the Graeco-Latin epoch. The impulses that lived in the Graeco-Latin epoch must also become impulses of human beings of the fifth post-Atlantean epoch. Observe how wonderfully what the poet Goethe felt is connected with this perception, derived as it is from the very nature of human evolution—of the historic evolution of mankind. Goethe longed to know the world of classical-antiquity by direct perception, as well as it could be known in his time. He wanted, as it were, to guess its secret from all that he saw and realised in Italy. Therefore the longing for Italy lived in him like a kind of illness. But this was essentially due to the fact that Goethe felt himself in the fullest way a child of the fifth post-Atlantean epoch. Goethe did not aspire to Italy with the kind of impulse which inspires any Professor of the History of Art, who thinks himself already clever in every domain, and only wishes to extend his information. That was not what Goethe wanted. Goethe desired no less than a change in his state of consciousness,—another kind of vision. Many things could be cited in evidence of this. Goethe said to himself as it were: If I remain only in the North, my soul will have a form of vision that is not wide enough. I must live, for once, in the atmosphere of the South in order to get other forms of vision,—other forms of concept, other forms of thought, of feeling. The Witches' Kitchen Scene in Faust, for example, with its decidedly Northern content, was written by Goethe in Rome. He believed that he would only be able to enter fully into the very nature of spiritual contemplation, if his state of consciousness was transformed by the atmosphere that there prevailed. We must endeavour to find our way into Goethe in a more intimate and delicate way.
Now we can also see that Goethe did not set Faust over against Mephistopheles out of an empty or merely abstract reflection, but rather because he wanted to portray the representative man of the fifth post-Atlantean epoch within the evolution of mankind. At the same time, endeavouring as he did to compare things vividly in the two states of consciousness, he found it necessary to let Faust experience not only conditions and events of the fifth post-Atlantean epoch, but to carry him backward in time and let his soul dive down into the fourth epoch, so that this epoch, too, might set its stamp upon Faust's consciousness. For this is what happens where Faust comes together with Helena.
It is often interesting to put the different Scenes together in this all-embracing poem. It would be interesting, for example, to produce one after another the Witches' Kitchen, the Invocation Scene at the Imperial Court, and then the Scene where Helena herself appears. For these three scenes represent three successive acquaintances of Faust with Helena. In the Witches' Kitchen, while Mephistopheles is entertaining himself with the apes, etc., and with the witch. Faust sees the picture in the magic looking-glass. Faust, as he sees it, only speaks of the woman's beauty, but the words of Mephistopheles even now remind us that the picture of Helena appears:—
“Thou'lt find, this drink thy blood compelling,
Each woman beautiful as Helen.”
Here, then, emerges for the first time what is afterwards developed in the scene at the Emperor's Court, and finally appears in its third form in the “Classico-romantic Phantasmagoria” in the third Act of the Second Part. It would be interesting, for once, to see these three put together one after another. People might then perceive that the Faust drama is an organic, living entity, full of inner order.
It is not for nothing that we hear it again out of the lips of Faust himself at the Emperor's Court: “I scent the Witches' Kitchen.” As soon as the action is approaching Helena once more, he scents the Witches' Kitchen. We are reminded of Helena. These things are carefully weighed. Goethe is not like any other poet. Goethe is one who created out of necessities and impulses derived from a far wider sphere.
Let us now ask ourselves more precisely: “What is the meaning of this threefold encounter of Faust with Helena? The three are very different from one another. In the first, in the Witches' Kitchen, in the magic looking-glass, Faust is to a slight extent transfixed. He sees a picture. One who is acquainted with the more subtle distinctions of occult science can well estimate this picture which Faust sees in the magic look-glass. As I have often told you, our thoughts or ideas in ordinary life are no more than the corpses of that which we really experience. Behind all thoughts are Imaginations; we, however, kill the Imaginative part. You can read of it in a more exact philosophic form in my forthcoming book Riddles of the Soul, which contains a brief chapter on this very subject. That which Faust sees in the magic mirror in the Witches' Kitchen is something which is living in himself, raised up into an Imagination. In ordinary life he only has the idea in an abstract form. Now he experiences the picture of Helena which Goethe lifts out of the whole realm of his imaginative life; now he experiences it transformed again to a living Imagination. Thus in the first place—I beg you to observe this well—in the Witches' Kitchen Scene we have an Idea that has become Imagination.
In the Invocation Scene at the Emperor's Court, the thing goes further. Far more of Faust is taken hold of than the mere life of ideas. if Faust had merely seen the picture as he saw it in the magic mirror, he could not have reproduced it outwardly, whether by smoke or any other means. For him to reproduce it outwardly, it must be connected with his inner life of feeling and emotion. We cannot but admit that Goethe indicates his meaning with the greatest possible intensity. Faust no longer merely admires—within the life of ideas—the beauty of Helena, as in the picture in the magic looking-glass in the Witches' Kitchen. You can perceive this from the wonderful way in which Goethe describes, in the Invocation Scene, the entire scale of emotions and feelings whereby Faust feels himself united with Helena. Truly it is a wonderful enhancement. No single word could be removed, where Faust breaks out into the words that tell of his inner relationship to Helena: inclination—love—worship—mania. It could not be described more truly to the inner life of soul. Remember this enhancement, and you will see how Goethe emphasises the intimate connection of what happens here with all that Faust experiences in his heart, in his life of feeling. That which emerges in the Invocation Scene is no longer merely an idea transformed into Imagination; it is Feeling that has become Imagination. Here, then, you have the second stage—the Invocation Scene in the Emperor's Court—Feeling that has become Imagination.
Now we pass on to the “Classico-romantic Phantasmagoria,” where Helena appears not merely as a spectre, but as a present reality to Faust, for he begets Euphorion his son. Here Goethe clearly indicates that the ‘Classico-romantic Phantasmagoria’ proceeds from Faust's life of Will, no longer merely from his Feeling or his Thinking. The ‘Classico-romantic Phantasmagoria’ is Willing that has become Imagination.
Ideation, Feeling and Willing, translated into the Imaginative sphere—that is what you have in the enhancements of the encounter with Helena. All this is shaped with artistic truth. Even for one who does not dismember Faust as we are doing, but simply enjoys it, these things are there. Now the very fact that Goethe chooses Helena to appear to Faust, is in a way connected with the essence of the life-tasks of the fourth and fifth post-Atlantean epochs. We are here touching upon a problem which even the Bible only very gently touches. Ricarda Huch in her new book on Luther's Faith touches it rather less gently. It is the connection of the problem of the knowledge of Woman with that of the knowledge of Evil. A mysterious connection is indicated in the Bible, in that the Luciferic temptation took place through the Woman in Paradise. The longing for the Devil during the present, fifth post-Atlantean epoch is well described in Ricarda Huch's book, Luther's Faith. It is characteristic; but we cannot enter into these things any more, for we should be treading on very thin ice in our time if we were to indicate them, let alone to discuss them further.
Nevertheless, it was out of this impulse that the culture of ancient Greece—and Goethe in connection with it—derived the figure of Helena. We must, remember that the Helena problem played an important part in the content of the old Greek Mysteries. To recognise the being of Helena was essential to a certain process of Initiation. For in the being of Helena, in the old Greek Mysteries, one learned to know something of the tasks of the fourth post-Atlantean epoch in relation to the Spiritual World. Therefore in ancient Greece there was an exoteric and an esoteric legend of Helena. The exoteric legend is well known; the other has also become known, for all things esoteric become exoteric by-and-by. The exoteric legend is as follows: Through the well-known event with the three Goddesses, Paris was instigated to take Helena from Menelaus. He appeared in Greece; and with Helena's consent eloped with her,—took her to Troy. Thereupon the Trojan War broke out. The Greeks besieged and conquered Troy, and Menelaus took Helena back with him again. That is the exoteric legend.
Homer, as you are well aware, only reveals this exoteric legend. Though he himself was initiated into the esoteric legend, he would in no way betray it. It was not until a later period of Greece that the Dramatists—Aeschylus, Sophocles, Euripides—condescended to betray something of the esoteric legend, which was to this effect: that Helena did not acquiesce in her elopement; Paris did not elope with her, but stole her away by force against her will, and went with her across the sea. Hera drew the ships from their course, and Paris had to land with Helena in Egypt, where at that time king Proteus was ruling. Slaves who had escaped from Paris' ships told the whole story to Proteus, whereupon he took Paris and his train, and Helena, into captivity. Paris he let go, but he took Helena from him. According to this legend, Helena never became the wife of Paris. His treasures were taken from him; he was sent back to Troy without Helena, but on this journey to Troy he was able to take with him the Idol of Helena, in place of the real Helena who had remained behind with Proteus in Egypt. Paris, therefore, appeared in Troy with the mere Idol of Helena, and it was for the Idol that the Greeks fought; they would not believe the Trojans that the real Helena was not in Troy. Then, when the Trojan War was ended, Menelaus himself travelled to Egypt, and brought with him from thence his wife who had remained guiltless.
You are perhaps aware that Goethe very clearly hints at this esoteric aspect of the legend in the third Act of the Second Part of Faust,—in the ‘Classico-romantic Phantasmagoria.’ Mephistopheles-Phorkyas continues the speech of Helena who is at a loss and no longer knows where she is. In this Act Goethe places Helena before us, burdened with all the doubts that have befallen her. She has been robbed, and now she hears all that is being said of her. It is all utterly confusing. Things that relate to the Idol and not to the reality come to her ears, and in the last resort she herself no longer knows who she is. And out of all these doubts we hear her say:—
“Name not those joys to me! for
sorrow all too stern.
Unendingly was poured upon my
breast and brain.”
Mephistopheles-Phorkyas replies:
“Nathless, they say, dost thou
appear in double form,
Beheld in Ilion,—in Egypt, too,
beheld.”
Thus Goethe very clearly hints at the fact, how complicated the figure of Helena really is. He brings it into his Faust. For with the Helena problem much indeed is told. And it is not without meaning that it is Mephistopheles who acts as mediator in the second part of the Drama. He gives the key to Faust, directing him into those regions which to Mephistopheles himself are empty Nothing, yet in which Faust is confident that he will find the All. Here again, every word is of significance. Faust has the possibility to change his state of consciousness,—to lead it over into that which was experienced in the preceding, Graeco-Latin epoch,—in the fourth post-Atlantean. We must not take ‘the All’ in a merely abstract sense, but in a concrete spiritual shape and form. Into this spiritual form Mephistopheles cannot enter. He belongs to a different region. Mephistopheles is really there to work as Spirit in the spiritless world of material events, which above all must give its impulses to the man of the fifth post-Atlantean epoch.
In effect, during this fifth post-Atlantean epoch certain human beings have the task to be aware of the aspect of the spiritual world, thus to make conscious that which can really be achieved by means of the impulse of Evil.
Just as the eye cannot see itself but only other things, so too Mephistopheles, who is the very Impulse of Evil cannot see Evil himself. This is among the things which Faust must see and learn to know. Mephistopheles cannot see Helena; at least he cannot see her with full consciousness, with full attention. Yet after all, he is not altogether unakin to Helena. The way to Mephistopheles was only possible out of those impulses which Christianity gave for the fifth post-Atlantean epoch. There is indeed a certain tendency to Helena; nevertheless, what ancient Greece—or her Initiates—desired to express through the Helena-problem remained remote and strange. The Christians of past centuries also knew Helena, but they knew her in the form of ‘Hell.’ However remote the kinship is, the word ‘Hell’ is not altogether without etymological connection with ‘Helena,’ for the things themselves have to do with one another. The Helena-problem is very complicated, as you can see when you behold the esoteric form of the Greek legend.
The same thing is clearly indicated at several points in my Mystery Plays: Ahriman-Mephistopheles must be recognised; we must see through him. The Faust Drama says in a certain sense the same. Referring to Ahriman-Mephistopheles, Goethe coined a sentence of great importance for the fifth post-Atlantean epoch. The human being of the fifth post-Atlantean age must somehow bring it about that Ahriman-Mephistopheles feels himself recognised by him. You will recall the closing scene in the last of my Mystery Plays. It is an important moment where Ahriman-Mephistopheles feels that he is recognised. At this moment the Impulse of Evil knows it:—Those who are having to experience Evil have found a standpoint which enables them to stand not within Evil, but outside it. That is most important. It is of deep significance when Mephistopheles calls out to Faust:—
“I'll praise thee, ere we separate; I see
Thou knowest the Devil thoroughly.”
This is important. Mephistopheles would not have said the same to Woodrow Wilson. He would have had no cause.
This relation between Faust and Mephistopheles contains a great deal of the problem of the fifth post-Atlantean age. For, as I told you, this fifth post-Atlantean age has the task to go on into the inevitable battle with the most manifold forms of Evil. The impulses of human evolution must become sharp and clear again. Such impulses must arise as have arisen in the conflict with Evil. Far more intense, I said, is this experience than the experience of the fourth postAtlantean age, because the latter was in a sense a repetition of the Atlantean epoch.
Wherein sloes a first experience in the course of human evolution on the Earth consist? It is indeed a first experience—an initial experience—which stands before us here. The fourth post-Atlantean age had to live through the problem of Birth and Death, but only as a repetition of the Atlantean epoch. Now, in the fifth post-Atlantean age, an initial experience has entered in once more. And—it consists in this: that we must draw anew out of the fount of Maya—out of illusion. The human being must make acquaintance with illusion—with Maya, with the great illusion.
I have repeatedly drawn attention to this from quite other. points of view. I did so, for instance, in my book The Riddle of Man, where I associated the problem of freedom with the fact that in our consciousness, to begin with, mere mirror-images take place,—mirror-images, that is to say, Maya. And in my present essay on the Chemical Wedding of Christian Rosenkreutz, anno 1459, I emphasise the real function of illusion for our consciousness. The fact is that these things can only now be said directly for the first time. They do not belong to any abstract theory or fantasy, but to immediate reality. It is wonderful to see how Goethe was initiated into these things. The fifth post-Atlantean epoch must create very much out of illusion. In the character of Faust Goethe represents the human being of the fifth post-Atlantean epoch. When Faust enters the larger world, he creates, paper currency. This too is characteristic of the Ahrimanic nature of commerce in the fifth post-Atlantean epoch. Paper currency is the tangible economic proof of the fact that the imaginary, the unreal, the illusory, prevails and plays its part in the commerce of this time.
It was not so in those periods of human evolution when the chief thing was not money but the exchange of commodities, or barter. Even if money was there, the economic life was not based upon it. In those times it would not have been true to say that the outer economic life was permeated by a network of illusions, as in fact it is during the present, fifth post-Atlantean epoch. Goethe brings Faust himself into connection with this illusion of the economic life. What does he mean to tell us when he places the second appearance of Helena directly after the Scene at the Emperor's Court? What is it really at this point? We are confronted with the whisperings of an astrologer, with suggestive influences—I mentioned it in yesterday's lecture—we are confronted with illusion. Illusion lives—this was what Goethe meant to say—illusion lives in the outer historic reality, lives in it spiritually. How often have we spoken of it in recent lectures! The concepts, the ideas, that lead to such great errors as I mentioned recently,—all these are born of illusion. You will remember: I told you of one characteristic error, but we could mention hundreds of others of this kind. Certain economists who thought themselves particularly clever, stated in 1914—out of their economic laws—that the War could not last longer than four to six months at most. It was impossible otherwise. Yet it will soon have lasted as many years. Why is it so? Why do human beings live in ideas that are proved absurd by the reality? Because there plays into their life of thought that ‘spectral fabric’ which Goethe represents as coming into the Emperor's Court through Faust. It is because the human beings do not see through what lives as spectral fabric in their ideas. As soon as the fifth, post-Atlantean epoch began, the imagination of those, who were sensitive to such things, was turned to the perception of reality over against such ‘spectral fabrics.’ Goethe had a prototype for this Scene at the Emperor's Court. I refer to Hans Sachs' beautiful description of the necromancer who causes Helena to appear at the Court of the Emperor Maximilian. It is not Faust in this case, it is the Emperor himself who wants to seize the image and falls a prey to it,—is paralysed by it. So then we have this weaving of ‘spectral fabrics’ into the reality of the historic process. And I should like to ask: Where else is it represented so grandly, so truly, out of the fulness of spiritual realities, as in Goethe's Faust?
Now as I said before, the consciousness of the fifth post-Atlantean epoch and that of the fourth must work together. Faust grows away from Mephistopheles. Mephistopheles gains nothing from it but the conclusion:—
“One's self with fools to hamper,
At last even on the Devil puts a damper.”
Faust is seized by apoplexy, he is paralysed. His soul-nature has separated from his body. Yet there now follows the Scene which we presented here last year,—Faust's dream, which is perceived by Homunculus.
Whence comes the Helena of this second apparition, even though she is a mere ‘spectre’? It, is quite clearly indicated: it is the astrologer who brings her—albeit only by suggestion—out of the rhythm of the stars. Connect this fact with what I told you recently of the macrocosmic element that works in the woman before fertilisation. This Helena comes from the stars; but she guides the impulses within Faust's soul towards another Helena. Homunculus sees how in the vision of Faust the birth of Helena emerges. It is the Scene of Zeus, of Leda with the Swan. Faust is led over to the problem of the fourth post-Atlantean epoch,—to the solving of the problem of Birth. This is the thing that emerges at the very moment where Faust grows away from the clutches of Mephistopheles,—where Mephistopheles has nothing left of him but the outer physical body. Now there arises in the soul of Faust the impulse to go over into the fourth post-Atlantean epoch.
It is roost wonderful how the motifs are intertwined. We see how Goethe uses the interplay of that which lives within us out of the fourth and the fifth post-Atlantean epochs. But he knew still more. He points to the esoteric legend of Helena,—of how in Troy there was only the Idol, that which is founded in the stars, which is of cosmic origin; while the other, the individual Being of Helena, had moved to Egypt, to Proteus. In the declining city of Troy, that part of Helena remained which belonged to the third post-Atlantean epoch, which the third post-Atlantean epoch expelled. It was the part of Helena which Egypt allowed to go; while as to that which Egypt reserved for the fourth post-Atlantean epoch, Menelaus took it back from Egypt and brought it again to Greece. Thus in the esoteric Helena-legend, which Goethe certainly adapted, not only the fifth but the fourth and also the third post-Atlantean epochs play their part. Goethe made use of the Helena-problem in a most wonderful way.
Faust und das Problem des Bösen
Wenn wir die aufeinanderfolgenden Epochen der Menschheitsentwickelung auf der Erde zunächst nur für die nachatlantische Zeit charakterisieren, so können wir zur Charakteristik dies oder jenes aus der Geistesforschung heraus für die einzelnen Epochen angeben; dadurch verschafft man sich allmählich konkrete Vorstellungen über diese einzelnen Epochen. Heute wollen wir über die vierte, die griechisch-lateinische Zeit, und über die fünfte, unsere eigene Zeit, die ungefähr mit dem Jahr 1413 begonnen hat, einiges Besondere zu dem, was wir schon wissen, hinzufügen. Man kann sagen: Jede solche Epoche hat eine besondere Aufgabe — wobei ich Sie bitte, nicht zu denken an eine bloße theoretische, wissenschaftliche Aufgabe, an irgend etwas, was nur mit Erkenntnissen zu tun hat, sondern jede Epoche hat eine Aufgabe in dem Sinne, daß diese Aufgabe lebensvoll gelöst werden muß; daß im Leben selber Impulse auftreten müssen, mit denen sich die einzelnen Menschen, die in diesen Epochen leben, abzufinden haben, an denen sie zu ringen haben, aus denen heraus nicht nur ihre Vorstellungen entstehen, aus denen heraus ihre Gemütsbewegungen entstehen, dasjenige sich ergibt, was sie lieben, was sie hassen, aber auch sich ergibt, was sie als Willensimpuls in sich aufnehmen. Also im weitesten Umkreise können wir sagen, daß eine jede solche Epoche eine Aufgabe zu lösen hat.
Sehen wir auf die griechisch-lateinische Epoche, so finden wir, daß sie die Aufgabe zu lösen hat, die sich vorzugsweise bezieht auf das, was man zusammenfassen kann mit den Worten Geburt und Tod im Weltenall. Diese Dinge sind heute schon etwas verschwommen geworden, weil nicht eigentlich im tiefsten Lebenssinne, sondern nur mehr in einem theoretischeren Sinne die großen Probleme von Geburt und Tod vor dem Menschen der fünften nachatlantischen Zeit stehen. Dieser Mensch der fünften nachatlantischen Zeit hat nicht mehr eine genaue Empfindung davon, wie tief in das Gemüt des Menschen der vierten nachatlantischen Zeit die Erscheinungen der Geburt und des Todes eingriffen. Wir, die Menschen der fünften nachatlantischen Zeit - und wir stehen im Grunde genommen ziemlich am Anfange: 1413 hat diese fünfte nachatlantische Epoche begonnen, 2160 Jahre dauert eine solche Epoche -, haben zu lösen im weitesten Umfange lebenskräftig dasjenige Gebiet, was man nennen kann das Problem des Bösen. Das bitte ich Sie durchdringend ins Auge zu fassen. Das Böse, das in allen möglichen verschiedenen Formen herantreten wird an den Menschen der fünften nachatlantischen Zeit, so herantreten wird, daß er wissenschaftlich wird zu lösen haben die Natur, das Wesen des Bösen, daß er wird zurechtzukommen haben in seinem Lieben und Hassen mit alledem, was aus dem Bösen stammt, daß er wird zu kämpfen, zu ringen haben mit den Widerständen des Bösen gegen die Willensimpulse - das gehört alles zu den Aufgaben der fünften nachatlantischen Zeit.
Ja noch intensiver, als Geburt und Tod dem Leben der vierten nachatlantischen Zeit angehörte, gehört das Problem des Bösen dieser fünften nachatlantischen Zeit an. Warum? Sehen Sie, so lebensintensiv, wie diese fünfte nachatlantische Zeit das Problem des Bösen wird lösen müssen, so lebensintensiv hatte zu lösen die Frage nach Geburt und Tod die atlantische Zeit. In der atlantischen Zeit selber traten die Erscheinungen der Geburt und des Todes in viel anschaulicherer, viel unmittelbarerer, viel elementarerer Art an die Menschen heran als jetzt, wo sich dasjenige, was sich hinter Geburt und Tod verbirgt, auch für das menschliche Anschauen und Empfinden mehr verbirgt. Und die griechisch-lateinische Zeit war im Grunde genommen nur eine abgeschwächte Wiederholung desjenigen, was die Atlantier zu erleben hatten mit Bezug auf Geburt und Tod. Daher war das, was in dieser griechisch-lateinischen Zeit erlebt wurde, nicht so intensiv, wie intensiv werden wird das Ringen der fünften nachatlantischen Epoche, die 1413 begonnen, mit all den Mächten des Bösen, mit all dem, was aus dem Bösen herausquillt, und wovon sich eigentlich der Mensch zu befreien hat durch die entgegengesetzten Kräfte, auf deren Entwickelung daher ganz besonders angewiesen ist diese fünfte nachatlantische Epoche. Man braucht das, was ich soeben gesagt habe, nur intensiv genug ins Auge zu fassen, dann wird sich manches, das wir in diesen Wochen charakterisiert haben, noch ganz besonders illustrieren. Manches wird wie eine Folgeerscheinung dieses Obersatzes wirken, daß diese fünfte nachatlantische Zeit zu ringen hat mit dem Lebensproblem des Bösen.
Und nun fragen wir uns: Wie hat Goethe eingesehen, daß dies so ist, als er den Menschheitsrepräsentanten, den Faust, so dramatisch charakterisiert hat, daß er ihn in Kampf gestellt hat mit dem Vertreter des Bösen, mit Mephistopheles? — Daraus können Sie ersehen, daß dieses Faust-Drama wirklich hervorgeholt ist aus den tiefsten Interessen des Gegenwartszeitalters.
Es ist eine Eigentümlichkeit des Menschen, daß er mit solchen Dingen, mit denen er zu ringen hat, nur zurechtkommt, wenn er — wir haben das auch in diesen Betrachtungen öfters betont — sein Bewußtsein über sie ausdehnt, wenn sie nicht unbewußt bleiben. Das ist die eine Eigentümlichkeit. Das, was aus den Untergründen der Weltordnung an Möglichkeiten zu bösen Impulsen aufsteigen kann — dem Bewußtsein muß es sich verraten.
Aber noch eine andere Notwendigkeit liegt vor. Es genügt in der Regel nicht, bloß zu wissen, was einer Epoche angehört. Man kann eigentlich die Dinge nur richtig durch Vergleichung beurteilen. Es genügt also eigentlich nicht, zu wissen: jetzt in der fünften nachatlantischen Zeit hat der Mensch zu ringen mit dem Bösen in der geschichtlichen Entwickelung des Erdenseins, sondern es ist notwendig, daß hinzutritt ein gewisses Bewußtsein über die vorhergehende Epoche, in diesem Falle also über die griechisch-lateinische Epoche, daß gewissermaßen die Impulse, die in der griechisch-lateinischen Epoche lebten, nun auch Impulse des Menschen werden in der fünften nachatlantischen Zeit. Bedenken Sie, wie ganz wunderbar in Zusammenhang steht mit dieser aus der Natur der menschlichen Entwickelung, der historischen Entwickelung der Menschheit geholten Anschauung, was Goethe empfand. Goethe hatte Sehnsucht, die Antike aus unmittelbarer Anschauung kennenzulernen — so gut sie sich kennenlernen ließ in seiner Zeit -, sie in Italien gewissermaßen zu erraten aus dem, was sich ihm in Italien ergeben hatte. Daher war die Sehnsucht nach Italien wie eine Krankheit in Goethe lebend. Das hing aber damit zusammen, daß Goethe sich im eminentesten Sinne als einen Sohn der fünften nachatlantischen Zeit empfand. Goethe strebte nicht mit einem solchen Impuls nach Italien, wie irgendein Universitätsprofessor der Kunsthistorie, der schon glaubt, daß er gescheit ist auf jedem Gebiete, und nur sein Wissen ausdehnen will. Das war nicht das, was Goethe anstrebte. Goethe strebte geradezu eine Veränderung seines Bewußtseinszustandes an, eine andere Art des Anschauens. Und vieles könnte angeführt werden, aus dem Ihnen das hervorgehen könnte. Goethe sagte sich: Bleibe ich bloß im Norden, dann wird meine Seele eine Anschauungsform haben, die nicht umfassend genug ist. Ich muß in der Atmosphäre des Südens leben, um andere Anschauungsformen, Begriffsformen, Gedankenformen, Empfindungsformen zu bekommen. - Auch dasjenige, was im eminentesten Sinne nordischen Gehalt hat, zum Beispiel die «Hexenküche», Goethe hat diese Szene in Rom geschrieben, weil er glaubte, in die Natur des geistigen Anschauens sich nur dadurch voll hineinleben zu können, daß sein Bewußtseinszustand durch die dortige Atmosphäre umgestaltet werde. In feiner, intimer Art sich in Goethe hineinzufinden, das muß man anstreben.
Nun kann man also sehen, daß Goethe seinen Faust nicht aus irgendeiner wesenlosen Abstraktion heraus dem Mephistopheles gegenüberstellt, sondern weil er den Repräsentanten der fünften nachatlantischen Zeit innerhalb der Menschheitsentwickelung hinstellen wollte. Aber aus dem andern Bestreben heraus, gewissermaßen innerhalb zweier Bewußtseinszustände lebendig zu vergleichen, erstand ihm die Notwendigkeit, den Faust nicht nur erleben zu lassen Verhältnisse, Begebenheiten des fünften nachatlantischen Zeitraums, sondern ihn zurückzuführen und seine Seele untertauchen zu lassen in den vierten nachatlantischen Zeitraum, damit auch dieser seinem Bewußtseinszustand das Gepräge gibt. Das geschieht dadurch, daß Faust mit der Helena zusammenkommt.
Mancherlei ist interessant an einzelnen Szenen zusammenzustellen im umfassenden «Faust». Es wäre zum Beispiel interessant, einmal hintereinander aufzuführen die «Hexenküche», die Beschwörungsszene am «Kaiserhof» und dann die Erscheinungsszene der Helena selbst; denn diese drei Szenen stellen drei aufeinanderfolgende Bekanntschaften des Faust mit Helena dar. In der «Hexenküche» sieht Faust, während sich Mephistopheles mit den Meerkatzen und mit der Hexe unterhält, im Zauberspiegel ein Bild, dem gegenüber er nur spricht von der Schönheit der Frau. Aber es wird schon erinnert durch die Worte des Mephistopheles, daß auftaucht das Helena-Bild:
Du siehst mit diesem Trank im Leibe
Bald Helenen in jedem Weibe.
Da taucht zuerst dasjenige auf, was dann hier in der Szene am «Kaiserhof» weitere Gestaltung gewinnt, und was endlich in der «Klassischromantischen Phantasmagorie» im dritten Akt des zweiten Teiles in seiner dritten Form auftritt. Diese drei Dinge hintereinander einmal zusammengestellt zu sehen, wäre aus dem Grunde interessant, weil dann vielleicht die Menschen sehen würden, daß dieser «Faust» gar sehr ein organisches, ein innerlich zusammengeordnetes lebendiges Gebilde ist.
Nicht umsonst hören wir wiederum hier am «Kaiserhof» aus dem Munde des Faust selber:
Hier wittert’s nach der Hexenküche.
Wo es wiederum an die Helena geht, wittert’s nach der «Hexenküche». Also es wird an die Helena erinnert. Die Sätze sind alle wohl erwogen gestellt. Goethe ist kein Dichter wie andere, sondern ein Dichter, der wirklich aus großen, weither impulsierten Notwendigkeiten heraus gedichtet hat.
Aber fragen wir uns einmal genauer: Warum denn diese dreifache Bekanntschaft des Faust mit Helena? Warum dieses? — Sind doch diese drei Bekanntschaften recht sehr voneinander verschieden. In der ersten Bekanntschaft, in der «Hexenküche», im Zauberspiegel, ist Faust zunächst auf leichte Art entrückt. Er sieht ein Bild. Derjenige, der mit den feineren Unterschieden der okkulten Wissenschaft bekannt ist, der weiß dieses Bild, welches Faust im Zauberspiegel sieht, wohl zu taxieren. Ich habe Ihnen öfter davon gesprochen, wie unsere Gedanken, unsere Vorstellungen im gewöhnlichen Leben eigentlich die Leichen desjenigen sind, was wir erleben. Hinter allen Gedanken stehen Imaginationen, aber das Imaginative töten wir. Sie können es philosophisch etwas genauer sehen, wenn jetzt mein Buch erscheinen wird, das ein kleines
Kapitel über die Sache enthält: «Von Seelenrätseln». Dasjenige, was Faust in der «Hexenküche» im Zauberspiegel sieht, ist etwas, was in ihm lebt, zur Imagination erhoben. Er hat sonst die Vorstellung nur abstrakt; da erlebt er die Vorstellung der Helena, die Goethe aus dem ganzen Bereich des Vorstellungslebens heraushebt, zur Imagination umgestaltet. Wir haben also - ich bitte Sie, das zu beachten - erstens: Eine imaginativ gewordene Vorstellung — «Hexenküche».
In der Beschwörungsszene am «Kaiserhof» geht die Sache weiter. Da wird mehr ergriffen als das bloße Vorstellungsleben bei Faust. Wenn Faust bloß aufgenommen hätte das Bild, das er im Zauberspiegel sieht, könnte er es nicht nach außen wiedergeben, gleichgültig, ob durch Rauch oder durch etwas anderes. Daß er es nach außen wiedergeben kann, dazu ist notwendig, daß es zusammenhängt mit seinem Gefühls- und Emotionsleben. Man kann auch wirklich nur sagen, daß Goethe das, was er da sagen will, so intensiv wie möglich andeutet. Daß Faust nicht mehr bloß die Schönheit im Vorstellungsleben bewundert, wie in der «Hexenküche» im Bilde des Zauberspiegels, das geht Ihnen daraus hervor, daß Goethe die ganze Skala von Emotionen, von Gefühlen, von Gemütsbewegungen, durch die Faust sich mit der Helena verbunden fühlt, bei dieser Beschwörungsszene wunderbar anführt. Es ist wirklich eine wunderbare Steigerung, wo kein Wort an einer andern Stelle stehen könnte, wenn Faust ausbricht in die Worte, die sein Gemütsverhältnis zur Helena charakterisieren: Neigung, Liebe, Anbetung, Wahnsinn. Seelensachgemäßer kann man nicht schildern. Stellen Sie sich diese Steigerung vor, dann werden Sie sehen, wie Goethe das Zusammengekoppeltsein desjenigen, was Faust in seinem Gemütsleben erlebt, darstellt. Was da also auftritt in der Beschwörungsszene, das ist nicht mehr bloß imaginativ gewordene Vorstellung, das ist imaginativ gewordenes Fühlen. Und da haben Sie als zweites: Imaginativ gewordenes Fühlen Beschwörungsszene am «Kaiserhof».
Und wenn wir dann den Übergang finden zur «Klassisch-romantischen Phantasmagorie», wo die Helena nicht bloß als Gespenst, sondern als für Faust selbst vorhandene Wirklichkeit auftritt - er hat den Euphorion als Sohn -, da finden wir, daß Goethe deutlich andeutet: diese «Klassisch-romantische Phantasmagorie» geht hervor aus Faustens Wollen, jetzt nicht mehr bloß aus dem Fühlen und der Vorstellung. Diese «Klassisch-romantische Phantasmagorie» ist imaginativ gewordenes Wollen. Drittens: Imaginativ gewordenes Wollen - Dritter Akt des zweiten Teiles.
Vorstellen, Fühlen und Wollen ins Imaginative umgesetzt, Sie haben es in den drei Steigerungen der Helena-Erscheinung. Das alles ist sachgemäß künstlerisch gestaltet. Auch derjenige, der den «Faust» sich nicht so zergliedert, wie wir das jetzt machen, sondern ihn einfach genießt, der hat diese Dinge darinnen.
Nun hängt mit dem, daß Goethe gerade die Helena als Erscheinung für Faust wählt, wirklich etwas zusammen vom Wesen der Lebensaufgaben des vierten und fünften nachatlantischen Zeitraums. Allerdings berührt man dabei ein Problem, das selbst die Bibel nur zart berührt, Ricarda Huch in ihrem neuen Buch über «Luthers Glaube» etwas unzarter: diesen Zusammenhang des Problems der Frauenerkenntnis und der Erkenntnis des Bösen. Da gibt es einen geheimnisvollen Zusammenhang in der Bibel, dadurch angedeutet, daß die luziferische Versuchung im Paradiese auf den Umweg durch die Frau geschehen ist. Die Sehnsucht nach dem Teufel wird - in so schöner Weise — jetzt in diesem fünften nachatlantischen Zeitraum beschrieben in dem Buche von Ricarda Huch über «Luthers Glaube». Das ist sehr charakteristisch. Aber man kann auf diese Dinge nicht weiter eingehen, denn man würde heute noch auf sehr dünnes Eis treten, wenn man sie andeuten, geschweige weiterhin besprechen würde.
Aber das Griechentum und Goethe im Verein mit dem Griechentum hat aus diesem Impuls heraus die Gestalt der Helena-Erscheinung. Dabei müssen wir nur bedenken, die Helena-Erscheinung, das HelenaProblem bildete wirklich einen Inhalt der griechischen Mysterien. Und es gehörte zu einem gewissen Vorgange der Einweihung, das Wesen der Helena zu erkennen. In diesem Wesen der Helena erfuhr man etwas in den griechischen Mysterien über die Aufgabe des vierten nachatlantischen Zeitraums im Verhältnis zur geistigen Welt. Daher gab es in Griechenland eine exoterische Helena-Sage und eine esoterische HelenaSage. Die exoterische Helena-Sage ist die bekannte. Die andere ist auch bekannt geworden, denn alles Esoterische wird nach und nach exoterisch. Exoterisch ist diese, daß durch jenen Vorgang mit den drei Göttinnen Paris angestiftet wurde, dem Menelaus die Helena zu rauben, daß er erschienen ist in Griechenland, die Helena mit ihrem Einverständnis entführt hat, sie nach Troja gebracht hat, daß darüber der Trojanische Krieg ausgebrochen ist, und nachdem die Griechen Troja belagert, erobert hatten, sich Menelaus seine Helena wieder zurückgebracht hat. Das ist die exoterische Helena-Sage.
Sie wissen, Homer läßt eigentlich nur diese exoterische Helena-Sage durchblicken, weil er, obwohl er eingeweiht war in die esoterische Helena-Sage, von dieser nichts verraten wollte. Erst die Dramatiker Aschylos, Sophokles, Euripides, in einer späteren Zeit des Griechentums, haben sich herbeigelassen, von der esoterischen Helena-Sage etwas zu verraten, das dahin ging, Helena sei nicht einverstanden gewesen mit ihrer Entführung, Paris habe sie nicht entführt, sondern geraubt gegen ihren Willen; er fuhr mit ihr über das Meer. Hera verschlug die Schiffe, so daß Paris mit Helena in Ägypten landen mußte, wo dazumal der König Proteus herrschte. Proteus wurde von Sklaven, die den Schiffen des Paris entlaufen waren, die ganze Sache mitgeteilt, so daß er Paris und seine Gefolgschaft und die Helena gefangen nahm. Und Paris wurde entlassen von Proteus, Helena ihm weggenommen. Sie ist niemals des Paris Weib geworden nach dieser Sage; seine Schätze wurden ihm abgenommen, er ohne Helena nach Troja geschickt. Aber mitnehmen konnte er auf diese Reise nach Troja statt der wirklichen Helena, die in Ägypten geblieben war bei dem Proteus, das Idol der Helena, so daß Paris in Troja nur mit dem Idol der Helena erschien. Und um das Idol haben sich die Griechen gestritten, weil sie den Trojanern nicht geglaubt haben, daß die wirkliche Helena gar nicht in Troja ist. Dann, nachdem der Trojanische Krieg beendet war, machte Menelaus selber die Reise nach Ägypten und brachte sich von dort seine unschuldig gebliebene Gattin nach Hause.
Sie wissen vielleicht, daß Goethe sehr wohl in der «Klassisch-romantischen Phantasmagorie» im dritten Akt des zweiten Teils diese esoterische Seite der Helena-Sage andeutet. Mephistopheles-Phorkyas setzt die Rede der Helena, die sich schon nicht mehr auskennt, selber fort. Goethe stellt Helena im dritten Akt des zweiten Teils hin mit all den Zweifeln, die sie befallen. Sie ist ja geraubt. Nun hört sie alles das, was man von ihr erzählt. Es ist alles durcheinanderkommend. Dinge, die sich auf das Idol beziehen, nicht auf die Wirklichkeit, treten vor ihren Ohren auf. Sie weiß schließlich selber nicht mehr, wer sie ist. Aus all diesen Zweifeln heraus hören wir sie sagen:
Gedenke nicht der Freuden! Allzuherben Leids
Unendlichkeit ergoß sich über Brust und Haupt.
Mephistopheles-Phorkyas erwidert darauf:
Doch sagt man, du erschienst ein doppelhaft Gebild,
In Ilios gesehen und in Ägypten auch.
Also Goethe deutet dieses Komplizierte der Helena-Gestalt sehr wohl an und bringt dieses Komplizierte der Helena-Gestalt in seinen «Faust» hinein. Mit dem Helena-Problem ist nämlich sehr viel gesagt, und es ist doch nicht ganz ohne Bedeutung, daß im zweiten Teil des Dramas Mephistopheles so vermittelt, daß er durch den Schlüssel Faust nach den Orten weist, die für ihn nichts sind, in denen Faust das All zu finden hofft. Jedes Wort ist da wiederum von einer gewissen Bedeutung. Faust hat in sich die Möglichkeit, den Bewußtseinszustand zu ändern, ihn hinüberzuführen in das, was in der griechisch-lateinischen Vorzeit, in der vierten nachatlantischen Periode, von dem Bewußtsein erlebt worden ist. Das All soll man nicht bloß abstrakt nehmen, sondern konkret, in geistiger Gestaltung. In diese geistige Gestaltung kann Mephistopheles nicht hinein. Er gehört einer andern Region an. Er ist eigentlich dazu da, so recht als Geist in der geistlosen Welt des materiellen Geschehens zu wirken, welche vorzugsweise ihre Impulse überliefern soll dem Menschen der fünften nachatlantischen Zeit. In dieser fünften nachatlantischen Zeit haben gewisse Menschen die Aufgabe, auf den Gesichtspunkt zu sehen, der in der geistigen Welt liegt, so daß bewußt werden kann, was zu erringen ist mit dem Impulse des Bösen.
So wenig das Auge sich selber sehen kann, sondern anderes, so wenig sieht Mephistopheles, er, der Impuls des Bösen, dieses Böse selbst. Es gehört zu dem, was Faust sehen muß, was Faust kennenlernen muß. Mephistopheles kann eigentlich die Helena nicht sehen, wenigstens nicht mit voller Aufmerksamkeit. Und ganz ohne Verwandtschaft mit der Helena ist er doch nicht. Die Hinlenkung zu Mephistopheles war nur möglich aus den Impulsen heraus, die das Christentum für den fünften nachatlantischen Zeitraum gab. Nicht ohne daß da eine gewisse Hinlenkung für die Helena vorhanden ist, aber fremd bleibt doch dasjenige, was das Griechentum, besonders für seine Eingeweihten, im HelenaProblem zum Ausdruck bringen wollte. Die Christen der verflossenen Jahrhunderte kennen die Helena auch, aber in der Form der Hölle. Das Wort Hölle ist nicht ganz ohne etymologische Verwandtschaft mit Helena - die Dinge haben etwas miteinander zu tun -, wenn es auch entfernte Verwandtschaft ist. Das Helena-Problem ist kompliziert, wie es sich Ihnen schon in der esoterischen Form der griechischen Sage andeutet.
Was in meinen Mysteriendramen an verschiedenen Stellen deutlich ausgedrückt ist: Ahriman-Mephistopheles muß erkannt und durchschaut werden, das sagt in gewisser Beziehung das Faust-Drama. Und für Ahriman-Mephistopheles hat Goethe wiederum einen Satz geprägt, der sehr wichtig ist für den fünften nachatlantischen Zeitraum. Der Mensch dieses Zeitraums muß es dazu bringen, daß gewissermaßen Ahriman-Mephistopheles sich von ihm erkannt fühlt. Erinnern Sie sich an den Schluß meines letzten Mysteriendramas; das ist ein wichtiges Moment, wenn Ahriman-Mephistopheles sich erkannt fühlt, wenn der Impuls des Bösen weiß, diejenigen, die das Böse zu erleben haben, finden einen Gesichtspunkt, um nicht in dem Bösen darinnen, sondern außer dem Bösen zu stehen. Das ist sehr wichtig. Eine tiefe Bedeutung hat es, daß Mephistopheles dem Faust die Worte zuruft:
Ich rühme dich, eh du dich von mir trennst,
Und sehe wohl, daß du den Teufel kennst.
Das ist sehr wichtig. Das würde Mephistopheles zu Woodrow Wilson nicht sagen! Es wäre keine Veranlassung dazu.
Diese Beziehung zwischen Faust und Mephistopheles enthält vieles von dem ganzen Problem des fünften nachatlantischen Zeitraums. Dieser Zeitraum, sagte ich, hat gewissermaßen die Aufgabe, nach dem Kampfe sich hinzubewegen, der mit den mannigfaltigsten Formen des Bösen notwendig ist. Ja, scharf müssen die Impulse der Menschheitsentwickelung wieder werden. Solche Impulse müssen entstehen, die im Kampfe mit dem Bösen entstanden sind, und viel intensiver, sagte ich, ist dieses Erleben als das des vierten nachatlantischen Zeitraums, weil dieser in gewissem Sinne eine Wiederholung des atlantischen Zeitraums ist.
Worin besteht ein erstes Erleben im Laufe der menschheitlichen Erdenentwickelung? Denn ein solches erstes Erleben haben wir hier. Nicht wahr, der vierte nachatlantische Zeitraum hatte das Problem von Geburt und Tod zu durchleben, aber als Wiederholung des atlantischen Zeitraums. Ein erstes Erleben ist jetzt im fünften nachatlantischen Zeitraum wiederum eingetreten. Das besteht darinnen, daß von neuem herausgeschöpft wird aus der Maja, aus der Illusion. Der Mensch muß mit der Illusion Bekanntschaft machen, mit der Maja, mit der großen Täuschung.
Ich habe zu wiederholten Malen von ganz andern Gesichtspunkten aus auf die Sache hingewiesen, einmal in meinem Buche «Vom Menschenrätsel», wo ich das Freiheitsproblem zusammenbrachte mit der Tatsache, daß im Bewußtsein vorgehen zunächst Spiegelbilder, Maja; dann in dem demnächst erscheinenden Aufsatz über Christiani Rosencreutz’ Chymische Hochzeit 1459, wo ich die Aufgabe der Täuschung für das Bewußtsein hervorgehoben habe. Diese Dinge können eigentlich jetzt zum ersten Male nur in der unmittelbaren Form gesagt werden. Aber diese Dinge gehören nicht einer abstrakten Theorie an, nicht irgendeiner abstrakten Phantastik, sondern der unmittelbaren Wirklichkeit. Und es ist wirklich wunderbar, wie Goethe in diese Dinge eingeweiht war. Dieser fünfte nachatlantische Zeitraum muß vieles aus der Illusion heraus schaffen. Goethe stellt den Menschen dieses Zeitraums in Faust dar. Als Faust in die große Welt eintritt, schafft er das Papiergeld, das charakteristisch ist für die ahrimanische Natur des Verkehrs im fünften nachatlantischen Zeitraum, dieses Papiergeld, welches nur der reale volkswirtschaftliche Beweis dafür ist, daß das Imaginäre, das Unreelle, das Illusorische im Verkehr darinnen waltet, seine Rolle spielt.
In den Zeiträumen der menschlichen Entwickelung, in denen Geld nicht die Hauptsache war, sondern Warenaustausch, Tauschhandel wenn auch Geld vorhanden war, so basierte die Volkswirtschaft nicht auf dem Geld -, konnte man nicht davon sprechen, daß das äußere volkswirtschaftliche Leben durchsetzt ist von einem Netze von Illusionen, wie das im fünften nachatlantischen Zeitraum der Fall ist. Aber Goethe bringt den Faust selbst mit dieser volkswirtschaftlichen Illusion in Zusammenhang. Was will er eigentlich damit sagen, daß er das zweite Erscheinen der Helena just nach dem «Kaiserhof» hin versetzt? Womit haben wir es eigentlich zu tun? Mit Einbläsereien des Astrologen, mit dem, was suggestiv ist. Ich habe es gestern schon erwähnt, mit Täuschung, mit Illusion. Sie lebt — das wollte Goethe sagen - in der äußeren geschichtlichen Wirklichkeit, sie lebt dadrinnen geistig. Die Begriffe, die Vorstellungen — wie oft haben wir in diesen Betrachtungen davon gesprochen -, die so sehr zu Irrtümern führen. Die Irrtümer, die ich Ihnen angeführt habe, sie sind alle aus der Illusion entsprungen. Erinnern Sie sich, ich nannte Ihnen als einen charakteristischen Irrtum — aber man könnte Hunderte anführen von dieser Art -, daß gewisse Volkswirtschafter, die sich besonders gescheit dünkten, 1914 gesagt haben aus ihren volkswirtschaftlichen Gesetzen heraus: Dieser Krieg kann nicht länger als höchstens vier bis sechs Monate dauern, das geht gar nicht anders. — Er dauert jetzt aber bald so viele Jahre! Warum ist das? Warum leben die Menschen in solchen Vorstellungen, die durch die Wirklichkeit ad absurdum geführt werden? Weil in dieses Vorstellungsleben jenes Gespenst-Gespinste hineinspielt, das Goethe durch seinen Faust am «Kaiserhof» eingreifen läßt, und weil die Menschen nicht durchschauen, was in ihren Vorstellungen als Gespenst-Gespinste lebt. Sogleich als der fünfte nachatlantische Zeitraum heraufkam, wurde die Imagination derjenigen, die so etwas empfinden konnten, hingelenkt nach dem Aufnehmen der Wirklichkeit gegenüber solchen GespenstGespinsten. Denn gerade für diese Erscheinung am «Kaiserhof» hatte Goethe ein Vorbild in der schönen Sachsschen Darstellung, wie ein Nekromant am Hofe Kaiser Maximilians die Helena erscheinen läßt. Da ist es nicht Faust, da ist es der Kaiser selber, der die Erscheinung fassen will, und der ihr verfällt, paralysiert wird. Dieses Hineinspinnen von Gespenst-Gespinsten in die Realität des historischen Werdens - ich möchte fragen: Wo ist sie noch so großartig dargestellt und so sachgemäß, so aus der Fülle der spirituellen Wirklichkeit heraus, wie in diesem Faust? Und ineinandergreifen müssen, sagte ich, das Bewußtsein des fünften nachatlantischen Zeitraums und des vierten nachatlantischen Zeitraums. Faust entwächst dem Mephistopheles. Für Mephistopheles kommt nichts anderes dabei heraus als das Fazit:
Mit Narren sich beladen,
Das kommt zuletzt dem Teufel selbst zu Schaden.
Faust ist von Apoplexie befallen, ist paralysiert. Getrennt hat sich sein Seelisches von seinem Leiblichen. Aber es folgt die Szene, die wir im vorigen Jahre hier dargestellt haben: der Traum des Faust, den der Homunkulus durchschaut.
Woher kommt denn, wenn sie auch bloß ein Gespenst ist, die Helena dieser zweiten Erscheinung? Das wird sehr deutlich angedeutet. Der Astrolog ist es, der sie vermittelt, wenn auch nur aus der Suggestion, aus dem Takt der Sterne heraus. Verbinden Sie das, was sich uns da ergibt aus dem Takt der Sterne heraus, mit dem, was ich von dem Makrokosmischen sagte, was in der Frau vor der Befruchtung wirkt. Diese Helena, sie kommt aus den Sternen, aber sie führt die Impulse in Faustens Seele zu einer andern Helena. Homunkulus sieht es, wie in Faustens Vision auftaucht die Geburt der Helena: Zeus, Leda mit dem Schwan, die ganze Szene. Da wird Faust hinübergeleitet, da haben Sie die Hinüberleitung zu dem Problem der vierten nachatlantischen Zeit, das Problem der Geburt zu lösen. Das taucht auf in dem Augenblicke, als Faust wirklich dem Mephistopheles entwächst, als Mephistopheles nichts hat von Faust als den äußeren physischen Leib. Da taucht auf in Faustens Seele der Impuls zum Hinübergehen in den vierten nachatlantischen Zeitraum.
Wunderbar verketten sich da die Motive. Man sieht das Ineinanderspielen desjenigen, was in uns lebt vom vierten und fünften. nachatlantischen Zeitraum, im eminentesten Sinne von Goethe verwendet. Aber Goethe wußte noch mehr, denn er deutet auf die esoterische HelenaSage, wie in Troja bloß das Idol war, dasselbe, was in den Sternen begründet, was kosmischen Ursprungs ist. Das andere, das Individuelle der Helena ist nach Ägypten hinüber zu Proteus gerückt. In dem untergehenden Troja verblieb nämlich das von der Helena, was dem dritten nachatlantischen Zeitraum angehört, was dieser dritte Zeitraum ausgestoßen hat, was Ägypten entließ. Was aber Ägypten aufbewahrte für den vierten nachatlantischen Zeitraum, das holte sich Menelaus wiederum von Ägypten und brachte es nach Griechenland zurück.
So spielt in der esoterischen Helena-Sage, die Goethe wohl benützte, auch der dritte und der vierte nachatlantische Zeitraum herein in den fünften. So hat Goethe wunderbarerweise dieses Helena-Problem verwendet.
Nun, davon wollen wir morgen noch weitersprechen, das HelenaProblem nicht nur in bezug auf den Faust behandeln, sondern wir wollen dann einiges noch von dem Helena-Problem angeben, was uns wirklich über vieles in uns aufklären kann, was als Frage entstehen kann aus den Betrachtungen, die in dieser Zeit durch unsere Seele gehen müssen.
Faust and the Problem of Evil
If we characterize the successive epochs of human development on Earth, initially only for the post-Atlantean period, we can indicate the characteristics of each epoch based on spiritual research; This gradually gives us concrete ideas about these individual epochs. Today we want to add something specific to what we already know about the fourth, the Greco-Latin period, and the fifth, our own period, which began around the year 1413. One can say that each such epoch has a special task — whereby I ask you not to think of a mere theoretical, scientific task, of something that has only to do with knowledge, but rather that each epoch has a task in the sense that this task must be solved in a lively way; that impulses must arise in life itself with which the individual human beings living in these epochs must come to terms, with which they must struggle, from which not only their ideas arise, from which their emotions arise, from which what they love and what they hate arises, but also from which what they take in as impulses of the will arises. So in the broadest sense, we can say that each such epoch has a task to solve.
If we look at the Greco-Latin epoch, we find that it has a task to solve that relates primarily to what can be summarized with the words birth and death in the universe. These things have already become somewhat blurred today, because the great problems of birth and death no longer confront the human beings of the fifth post-Atlantean epoch in the deepest sense of life, but only in a more theoretical sense. The human beings of the fifth post-Atlantean epoch no longer have a precise sense of how deeply the phenomena of birth and death affected the minds of the human beings of the fourth post-Atlantean epoch. We, the people of the fifth post-Atlantean epoch — and we are basically still at the beginning: this fifth post-Atlantean epoch began in 1413 and will last for 2160 years — have to solve, in the broadest sense and with vitality, what can be called the problem of evil. I ask you to consider this deeply. Evil, which will approach the people of the fifth post-Atlantean epoch in all kinds of different forms, will approach in such a way that they will have to solve scientifically the nature, the essence of evil, that they will have to cope in their love and hate with all that comes from evil, that they will have to fight, to struggle with the resistance of evil against the impulses of the will — all this belongs to the tasks of the fifth post-Atlantean epoch.
Even more intensely than birth and death belonged to the life of the fourth post-Atlantean epoch, the problem of evil belongs to this fifth post-Atlantean epoch. Why? You see, just as intensely as this fifth post-Atlantean epoch will have to solve the problem of evil, just as intensely did the Atlantic epoch have to solve the question of birth and death. In the Atlantic epoch itself, the phenomena of birth and death approached human beings in a much more vivid, much more immediate, much more elemental way than now, when what lies behind birth and death is also more hidden from human sight and feeling. And the Greek-Latin epoch was, in essence, only a weakened repetition of what the Atlanteans had to experience in relation to birth and death. Therefore, what was experienced in this Greek-Latin epoch was was not as intense as will be the struggle of the fifth post-Atlantean epoch, which began in 1413, with all the powers of evil, with all that springs from evil, and from which human beings must actually free themselves through the opposing forces, on whose development this fifth post-Atlantean epoch is therefore particularly dependent. One need only consider what I have just said intensely enough, and then many things that we have characterized in recent weeks will become particularly clear. Many things will appear to be a consequence of this basic statement, that this fifth post-Atlantean epoch has to struggle with the life problem of evil.
And now we ask ourselves: How did Goethe realize that this is so when he characterized the representative of humanity, Faust, so dramatically that he placed him in conflict with the representative of evil, Mephistopheles? — From this you can see that this Faust drama is truly drawn from the deepest interests of the present age.
It is a peculiarity of human beings that they can only cope with such things with which they have to struggle if they — as we have often emphasized in these considerations — expand their consciousness about them, if they do not remain unconscious. That is one peculiarity. Whatever evil impulses may arise from the depths of the world order must be revealed to consciousness.
But there is another necessity. As a rule, it is not enough merely to know what belongs to an epoch. Things can only really be judged correctly by comparison. So it is not enough to know that now, in the fifth post-Atlantean epoch, human beings have to struggle with evil in the historical development of earthly existence; it is also necessary to have a certain awareness of the previous epoch, in this case the Greco-Latin epoch, so that the impulses that lived in the Greco-Latin epoch can now also become human impulses in the fifth post-Atlantean epoch. Consider how wonderfully this is connected with the nature of human development, with historical development. -Latin epoch now also become human impulses in the fifth post-Atlantean epoch. Consider how wonderfully Goethe's feelings are connected with this view, which is derived from the nature of human development, the historical development of humanity. Goethe longed to get to know antiquity from direct observation — as well as it could be known in his time — to guess it, as it were, in Italy from what had revealed itself to him there. Therefore, the longing for Italy lived in Goethe like an illness. But this was connected with the fact that Goethe felt himself to be, in the most eminent sense, a son of the fifth post-Atlantean epoch. Goethe did not strive for Italy with the same impulse as some university professor of art history who already believes he is knowledgeable in every field and only wants to expand his knowledge. That was not what Goethe was striving for. Goethe was striving for a change in his state of consciousness, a different way of seeing. And much could be cited to illustrate this to you. Goethe said to himself: if I remain only in the north, my soul will have a form of perception that is not comprehensive enough. I must live in the atmosphere of the south in order to acquire other forms of perception, forms of concept, forms of thought, forms of feeling. Even that which has a distinctly northern content, for example the “witch's kitchen” scene, Goethe wrote in Rome because he believed that he could only fully immerse himself in the nature of spiritual perception if his state of consciousness was transformed by the atmosphere there. One must strive to find one's way into Goethe in a subtle, intimate way.
Now we can see that Goethe does not contrast his Faust with Mephistopheles out of some insubstantial abstraction, but because he wanted to present the representative of the fifth post-Atlantean epoch in human development. But out of his other endeavor to make a vivid comparison between two states of consciousness, so to speak, he felt the need not only to let Faust experience the conditions events of the fifth post-Atlantean epoch, but also to lead him back and allow his soul to immerse itself in the fourth post-Atlantean epoch, so that this too would shape his state of consciousness. This happens when Faust meets Helena.
There are many interesting things to compile from individual scenes in the comprehensive “Faust.” For example, it would be interesting to list the “witch's kitchen,” the incantation scene at the “imperial court,” and then the scene in which Helena herself appears, because these three scenes represent three successive encounters between Faust and Helena. In the “witch's kitchen,” while Mephistopheles is talking to the monkeys and the witch, Faust sees an image in the magic mirror, to which he only speaks of the woman's beauty. But it is already recalled by Mephistopheles' words that the image of Helena appears:
With this potion in your body,
Soon Helen in every woman.
This is the first appearance of what then takes further shape here in the scene at the “imperial court” and finally appears in its third form in the “classical-romantic phantasmagoria” in the third act of the second part. It would be interesting to see these three things together in succession, because then people might see that this “Faust” is in fact a very organic, internally coherent, living entity.
It is not for nothing that we hear Faust himself say here at the “Imperial Court”:
It smells like the witch's kitchen here.
Where Helena is mentioned again, it smells like a “witch's kitchen.” So Helena is remembered. The sentences are all carefully considered. Goethe is not a poet like others, but a poet who really wrote out of great, far-reaching necessities.
But let us ask ourselves more precisely: Why this threefold acquaintance of Faust with Helena? Why this? — For these three acquaintances are very different from each other. In the first acquaintance, in the “witch's kitchen,” in the magic mirror, Faust is initially enraptured in a lighthearted way. He sees an image. Those who are familiar with the finer distinctions of occult science know how to appreciate this image that Faust sees in the magic mirror. I have often spoken to you about how our thoughts and ideas in ordinary life are actually the corpses of what we experience. Behind all thoughts are imaginations, but we kill the imaginative. You can see this more clearly from a philosophical perspective when my book is published, which contains a small chapter on the subject: “Von Seelenrätseln” (On the Mysteries of the Soul). What Faust sees in the magic mirror in the “witch's kitchen” is something that lives within him, elevated to imagination.
He otherwise has only an abstract idea; he experiences the idea of Helena, which Goethe lifts out of the whole realm of the life of ideas and transforms into imagination. He otherwise has only an abstract idea; there he experiences the idea of Helena, which Goethe lifts out of the whole realm of the life of ideas and transforms into imagination. So we have—please note this—firstly: an idea that has become imaginative—“witch's kitchen.”
In the conjuring scene at the “Kaiserhof,” the story continues. Here, more than just Faust's imaginative life is captured. If Faust had merely absorbed the image he sees in the magic mirror, he would not be able to reproduce it externally, whether through smoke or something else. In order for him to be able to reproduce it externally, it is necessary for it to be connected with his emotional life. One can really only say that Goethe indicates what he wants to say as intensely as possible. That Faust no longer merely admires beauty in his imagination, as in the “witch's kitchen” in the image of the magic mirror, is evident from the fact that Goethe wonderfully presents the whole range of emotions, feelings, and moods through which Faust feels connected to Helena in this conjuration scene. It is truly a wonderful crescendo, where no other words could be used, when Faust bursts out with the words that characterize his emotional relationship to Helena: affection, love, adoration, madness. One cannot describe it more appropriately. Imagine this crescendo, and you will see how Goethe depicts the interconnection of what Faust experiences in his emotional life. What appears in the conjuration scene is no longer merely an imaginative idea, but imaginative feeling. And there you have the second: feeling that has become imaginative. Conjuring scene at the “imperial court.”
And when we then find the transition to the “classical-romantic phantasmagoria,” where Helena appears not merely as a ghost but as a reality that exists for Faust himself—he has Euphorion as his son—we find that Goethe clearly indicates that this “classical-romantic phantasmagoria” arises from Faust's will, no longer merely from feeling and imagination. This “classical-romantic phantasmagoria” has become imaginative will. Thirdly: imaginative will—third act of the second part.
Imagination, feeling, and will transformed into the imaginative—you have it in the three intensifications of Helena's appearance. All of this is appropriately artistically designed. Even those who do not dissect “Faust” as we are doing now, but simply enjoy it, will find these things in it.
Now, Goethe's choice of Helena as an apparition for Faust is indeed connected with the nature of the life tasks of the fourth and fifth post-Atlantean periods. However, this touches on a problem that even the Bible only touches on delicately, Ricarda Huch somewhat less delicately in her new book on “Luther's Faith”: the connection between the problem of women's knowledge and the knowledge of evil. There is a mysterious connection in the Bible, indicated by the fact that the Luciferic temptation in Paradise took place via the detour through the woman. The longing for the devil is now described in such a beautiful way in this fifth post-Atlantean period in Ricarda Huch's book on “Luther's Faith.” This is very characteristic. But one cannot go into these things further, because even today one would be treading on very thin ice if one were to hint at them, let alone discuss them further.
But Greek culture and Goethe, in association with Greek culture, created the figure of Helena from this impulse. We need only consider that the Helena phenomenon, the Helena problem, really formed part of the content of the Greek mysteries. And recognizing the essence of Helena was part of a certain initiation process. In this essence of Helen, something was learned in the Greek mysteries about the task of the fourth post-Atlantean epoch in relation to the spiritual world. Therefore, there was an exoteric Helen legend and an esoteric Helen legend in Greece. The exoteric Helen legend is the well-known one. The other has also become known, because everything esoteric gradually becomes exoteric. The exoteric legend is that through this process with the three goddesses, Paris was incited to steal Helena from Menelaus, that he appeared in Greece, abducted Helena with her consent, took her to Troy, that the Trojan War broke out over this, and after the Greeks had besieged and conquered Troy, Menelaus brought his Helena back. This is the exoteric legend of Helen.
You know, Homer actually only reveals this exoteric legend of Helen because, although he was initiated into the esoteric legend of Helen, he did not want to reveal anything about it. It was only the playwrights Aeschylus, Sophocles, and Euripides, in a later period of Greek civilization, who deigned to reveal something of the esoteric legend of Helen, which was that Helen had not consented to her abduction, that Paris had not abducted her but had stolen her against her will, and that he had sailed across the sea with her. Hera diverted the ships so that Paris had to land with Helen in Egypt, where King Proteus ruled at that time. Proteus was told the whole story by slaves who had escaped from Paris' ships, so he captured Paris, his entourage, and Helen. Paris was released by Proteus, but Helen was taken away from him. According to this legend, she never became Paris's wife; his treasures were taken from him, and he was sent back to Troy without Helen. But instead of the real Helen, who had remained in Egypt with Proteus, he was able to take the idol of Helen with him on his journey to Troy, so that Paris appeared in Troy only with the idol of Helen. And the Greeks fought over the idol because they did not believe the Trojans that the real Helen was not in Troy at all. Then, after the Trojan War was over, Menelaus himself made the journey to Egypt and brought his innocent wife home from there.
You may know that Goethe alludes to this esoteric side of the Helen legend in the “classical-romantic phantasmagoria” in the third act of the second part. Mephistopheles-Phorkyas continues the speech of Helen, who is already confused. In the third act of the second part, Goethe presents Helena with all the doubts that plague her. She has been abducted. Now she hears everything that is said about her. Everything is confused. Things that refer to the idol, not to reality, come to her ears. In the end, she herself no longer knows who she is. Out of all these doubts, we hear her say:
Do not remember the joys! All too bitter suffering
Infinity poured over my chest and head.
Mephistopheles-Phorkyas replies:
But they say you appeared as a double image,
Seen in Ilios and in Egypt too.
So Goethe hints at this complexity of Helena's character and brings it into his “Faust.” The Helena problem says a great deal, and it is not without significance that in the second part of the drama Mephistopheles acts as a mediator, using the key to point Faust to places that mean nothing to him, where Faust hopes to find the universe. Every word here has a certain meaning. Faust has within himself the possibility of changing his state of consciousness, of transferring it to what was experienced by consciousness in Greek-Latin antiquity, in the fourth post-Atlantean period. The universe should not be taken merely abstractly, but concretely, in spiritual form. Mephistopheles cannot enter into this spiritual form. He belongs to another region. He is actually there to act as a spirit in the spiritless world of material events, which is supposed to transmit its impulses primarily to the people of the fifth post-Atlantean epoch. In this fifth post-Atlantean epoch, certain people have the task of looking at the point of view that lies in the spiritual world, so that it can become conscious what is to be achieved with the impulse of evil.
Just as the eye cannot see itself, but only other things, so Mephistopheles, the impulse of evil, cannot see evil itself. It is part of what Faust must see, what Faust must learn to know. Mephistopheles cannot actually see Helena, at least not with his full attention. And yet he is not entirely unrelated to Helena. The attraction to Mephistopheles was only possible because of the impulses that Christianity gave to the fifth post-Atlantean period. Not without a certain attraction to Helena, but what Greek culture, especially for its initiates, wanted to express in the Helena problem remains foreign. The Christians of past centuries also know Helena, but in the form of hell. The word hell is not entirely without etymological kinship with Helena — the things have something to do with each other — even if it is a distant kinship. The Helena problem is complicated, as you can already see in the esoteric form of the Greek legend.
What is clearly expressed in various places in my mystery dramas is that Ahriman-Mephistopheles must be recognized and understood; this is what the Faust drama says in a certain sense. And Goethe, in turn, coined a phrase for Ahriman-Mephistopheles that is very important for the fifth post-Atlantean epoch. The human beings of this epoch must bring about a situation in which Ahriman-Mephistopheles feels recognized by them, so to speak. Remember the conclusion of my last mystery drama; it is an important moment when Ahriman-Mephistopheles feels recognized, when the impulse of evil knows that those who have to experience evil find a point of view that allows them to stand outside of evil rather than within it. This is very important. It has a profound meaning that Mephistopheles calls out the words to Faust:
I praise you before you part from me,
And see well that you know the devil.
That is very important. Mephistopheles would not say that to Woodrow Wilson! There would be no reason to do so.
This relationship between Faust and Mephistopheles contains much of the whole problem of the fifth post-Atlantean epoch. This epoch, I said, has the task, in a sense, of moving toward the struggle that is necessary with the most manifold forms of evil. Yes, the impulses of human development must become sharp again. Such impulses must arise that have arisen in the struggle with evil, and this experience is much more intense, I said, than that of the fourth post-Atlantean epoch, because the latter is in a certain sense a repetition of the Atlantean epoch.
What is the first experience in the course of human development on Earth? For we have such a first experience here. It is true that the fourth post-Atlantean epoch had to live through the problem of birth and death, but as a repetition of the Atlantean epoch. A first experience has now occurred again in the fifth post-Atlantean epoch. It consists in drawing anew from Maya, from illusion. Humanity must become acquainted with illusion, with Maya, with the great deception.
I have repeatedly pointed out this matter from very different perspectives, once in my book “The Riddle of Man,” where I brought together the problem of freedom with the fact that mirror images, Maya, occur first in consciousness; then in the forthcoming essay on Christiani Rosencreutz's Chymical Wedding 1459, where I emphasized the role of deception for consciousness. These things can actually only be said for the first time now in their immediate form. But these things do not belong to an abstract theory, not to some abstract fantasy, but to immediate reality. And it is truly wonderful how Goethe was initiated into these things. This fifth post-Atlantean period must create much out of illusion. Goethe depicts the human beings of this period in Faust. When Faust enters the big world, he creates paper money, which is characteristic of the Ahrimanic nature of commerce in the fifth post-Atlantean epoch, this paper money, which is only the real economic proof that the imaginary, the unreal, the illusory reigns in commerce, plays its role.
In the periods of human development when money was not the main thing, but rather the exchange of goods, barter, even if money was available, the economy was not based on money – one could not say that external economic life was permeated by a network of illusions, as is the case in the fifth post-Atlantean period. But Goethe himself connects Faust with this economic illusion. What does he actually mean by placing Helena's second appearance just after the “imperial court”? What are we actually dealing with here? With the astrologer's suggestions, with what is suggestive. I already mentioned it yesterday: with deception, with illusion. It lives — that is what Goethe wanted to say — in external historical reality; it lives spiritually within it. The concepts, the ideas — how often have we spoken of them in these reflections — that so often lead to errors. The errors I have cited to you all spring from illusion. Remember, I mentioned to you as a characteristic error — but one could cite hundreds of this kind — that certain economists, who considered themselves particularly clever, said in 1914, based on their economic laws: This war cannot last longer than four to six months at most, it cannot be otherwise. But it has now lasted for so many years! Why is that? Why do people live with such ideas, which are reduced to absurdity by reality? Because this imaginary life is influenced by the phantom fabrications that Goethe has his Faust introduce at the “imperial court,” and because people do not see through what lives in their imaginations as phantom fabrications. As soon as the fifth post-Atlantean period dawned, the imagination of those who were capable of perceiving such things was directed toward accepting reality in the face of such ghostly fabrications. For this very phenomenon at the “imperial court,” Goethe had a model in Sachs's beautiful depiction of how a necromancer at the court of Emperor Maximilian causes Helena to appear. It is not Faust, but the emperor himself who wants to grasp the apparition and who falls prey to it, becoming paralyzed. This weaving of ghostly fantasies into the reality of historical becoming—I would like to ask: Where else is it portrayed so magnificently and so appropriately, so richly from the abundance of spiritual reality, as in this Faust? And, I said, the consciousness of the fifth post-Atlantean period and the fourth post-Atlantean period must intertwine. Faust outgrows Mephistopheles. For Mephistopheles, the only conclusion is:
To burden oneself with fools,
That ultimately harms the devil himself.
Faust is struck by apoplexy, is paralyzed. His soul has separated from his body. But then comes the scene we presented here last year: Faust's dream, which the homunculus sees through.
Where does Helena, the woman in this second apparition, come from, even if she is only a ghost? This is indicated very clearly. It is the astrologer who mediates her, albeit only from suggestion, from the rhythm of the stars. Connect what we see here from the rhythm of the stars with what I said about the macrocosmic, what works in the woman before fertilization. This Helena comes from the stars, but she leads the impulses in Faust's soul to another Helena. Homunculus sees it, as in Faust's vision, the birth of Helena appears: Zeus, Leda with the swan, the whole scene. Faust is led over there, and there you have the transition to the problem of the fourth post-Atlantean epoch, the problem of birth to be solved. This appears at the moment when Faust really outgrows Mephistopheles, when Mephistopheles has nothing of Faust but the outer physical body. Then the impulse to pass over into the fourth post-Atlantean epoch appears in Faust's soul.
The motifs are wonderfully interlinked here. We see the interplay of what lives within us from the fourth and fifth post-Atlantean periods, used in the most eminent sense by Goethe. But Goethe knew even more, for he points to the esoteric legend of Helen, how in Troy there was only the idol, the same thing that is founded in the stars, that is of cosmic origin. The other, the individual aspect of Helen, has moved to Egypt, to Proteus. In the falling Troy, what remained of Helena was what belonged to the third post-Atlantean period, what this third period had expelled, what Egypt had dismissed. But what Egypt preserved for the fourth post-Atlantean period, Menelaus took back from Egypt and brought it back to Greece.
Thus, in the esoteric legend of Helena, which Goethe probably used, the third and fourth post-Atlantean periods also play a role in the fifth. Goethe has wonderfully used this Helena problem.
Well, let's talk more about this tomorrow, not only dealing with the Helena problem in relation to Faust, but also pointing out some aspects of the Helena problem that can really enlighten us about many things within ourselves, things that may arise as questions from the reflections that must pass through our souls during this time.