The Rudolf Steiner Archive

When we gather at such an occasion at which an own room is dedicated to our efforts which we can give a spiritual character commensurate with our spiritual-scientific feeling, it is good to think of the big viewpoint which we want to get as supporters of spiritual science towards the world and its phenomena, its tasks, its big riddles. How should our time, our distressing time full of ordeals not urge our souls to get a more far-reaching viewpoint? In particular in our time, one has to long for a viewpoint that reaches farther than the external life and external human efforts.

Out of the tasks and the efforts of our spiritual-scientific world view we put up a sculptural group at an important place in our new Dornach construction. This sculptural group should explain that which our souls should feel in the most intimate and also in the deepest sense. This group contains a central figure. One may call this central figure Christ; one may also call it the divine in the human being which tries to position itself in the right way in the world. One may call this middle figure the “human being,” the cosmic human being, expressed in an earthly personality as Christ was expressed in the earthly personality in a temporal-historical life by Jesus of Nazareth.

But two other figures will be on the sides of this middle figure, the one on top like on a rock, winged, but falling off from the rock. Because of the peculiar posture of the hand of the middle figure, expressing neither hatred nor power, but inner firmness a strength is achieved by which the figure on the rock on top, the winged figure, breaks the wings and falls down into the depth. This breaking of the wings—this must be well expressed in this sculpture—is not achieved because the human being, who stands in the middle, the Christ-human being, breaks the wings, but because he stretches out his hand in his spirituality, the other, the winged being, does not endure that, and because he finds that unbearable for his being which lives below, he himself breaks his wings by internal strength and falls off. You have to record the fact that this being throws down himself that he is not thrown down by any adversary.

Below inside the rock we see another figure tied up in chains. This is eager to turn up the earth from below. But he does not cope in his striving with that which flows out from the downwards directed hand of the middle figure. He writhes because he is thrown back by his own nature and by the strength of the middle figure.

You anticipate that in this group is expressed what we call the Christ-principle of our universe in the middle figure, the luciferic principle in the angel falling off from the rock, and the ahrimanic principle in the figure in the cave which strives from below upwards. I endeavoured to design the three figures as very similar portraits—we may express such a matter in this intimate circle,—so that one really gets an impression of the form which Ahriman takes on appearing to the human being in such a connection, and also of the physiognomy of Lucifer which he takes on appearing to the human being. Until our days, the western religious world view lacks the knowledge that Ahriman and Lucifer work in the whole world interrelation.

Publicly one can only indicate the matters because today people still recoil from precisely expressing these matters. However, we remember that even in the yesterday's public lecture I said that the human being is led by meditation, on one side, to a region where he feels lonesome in his innermost nature and helpless, on the other side, to a region where he feels being penetrated in his nature with fear and powerlessness. What threatens us if we strive unilaterally only for freeing ourselves from the material, what threatens us if we strive for the spiritual in the abstract this is that we are seized by the luciferic principle. What threatens us if we only strive down for the material if we live longing for the material where we appear as fossilized—as I have explained it in the public lecture yesterday—this is the ahrimanic principle. And the human being stands between the luciferic and ahrimanic principles.

This must be recognised. But we have also to recognise correctly that it is not sufficient for us to say: we have to remove anything luciferic and ahrimanic from ourselves.—All the emotions of hatred and fear which we summon up against the luciferic and the ahrimanic elements are not good, actually, for our human nature. We have to realise that Ahriman and Lucifer have their justification in the whole universe. That is why it is indicated in the sculptural figure that Christ does not want to overcome Lucifer and Ahriman because He hates them or wants to harass them, but that Lucifer and Ahriman overcome themselves. It is wrong to develop feelings in us, as if we had to reject Ahriman and Lucifer, as if we had to fight against them directly. Even the normal divinity permeating the world did not order in its wise guidance of the universe that Ahriman and Lucifer are not allowed to exist in the guidance of the universe. They are there.

If we ask ourselves where the luciferic principle does exist in the human development even today, then we have to look at the East. In the East, in Asia and in the European Russia, Lucifer prevails in the culture. Although the Russian element has a vocation to develop the spirit-self in future, as I explained in the series of talks on the mission of the folk-souls, the threat exists that the Russian culture is entangled by Lucifer. It is on the way to experiencing that. The luciferic principle consists of the fact that good spirits lag behind. In the Greek-Orthodox Church was a good spirit until the sixth, seventh centuries. But a spirit that is good at a certain time changes into a luciferic spirit if it is detained beyond this time. Adhering to the orthodox religion means “to be in Lucifer's claws.” And that is much more the case with the spiritual forms that develop in the East that were justified in ancient times. Because they preserve themselves, they run into in the luciferic element. Everywhere in the East, we find many people who have to go through something in the luciferic element. Everywhere in the West, we find the souls imbued with the ahrimanic element, in America above all. In America the trend exists to develop a civilisation which is imbued completely with the materialistic ahrimanic element which is infiltrated with purely material views, even where one strives for spiritualism. Even where one strives for spirituality, one wants to seize the spirits, as it were, with the hands like the spiritualists. This tendency becomes stronger and stronger, and the longing for the material becomes bigger and bigger. It will also seize the west of Europe gradually. There the mission is fulfilled to introduce the ahrimanic element into civilisation.

These are the big points of view I had in my eye: that we see how we are roped in between the luciferic principle of the East and the ahrimanic principle of the West in Central Europe, but that we have a vocation to rise toward the forces that are shown by the Christ-principle. This principle makes Lucifer break his wings by overcoming the feeling of powerlessness, and, on the other side, emits forces against Ahriman which push back any fear of knowledge of the spiritual world. Because you cannot hold up the ahrimanic element pulsating through the world, it is there. Also Central Europe is seized by this ahrimanic element. People must only know how they have to position themselves to it, because the course of the ahrimanic element is the course through materialism. This course through materialism must be, and it has a deep wisdom-filled reason why this course through materialism must be.

Imagine that there is a one-sided religious movement—I expressly say “one-sided” religious movement, also in Christianity, and manifests itself in the element of Jesuitism the strongest. Think that it always turns against the real scientific progress. Nevertheless, the Catholic Church did only acknowledge the Copernican world view in the 19th century. The one-sided religion combats the external science, of course, this cannot be different. Two impulses are in this fighting against the external science. One impulse is that the one-sided religion may feel: in science which is done only in view of the external world Ahriman shows himself. This aspect of the quarrel is justified. Ahriman cannot be kept away from the external science if it does not look up to the spiritual world view; this is justified. However, the impulse of the one-sided religion against science is not justified.

This one-sided religious world view itself is inspired, is ensouled, so to speak, by the luciferic element in particular. Since striving for religious deepening and hating the scientific investigation of spiritual worlds is that Lucifer wants from the human beings. Lucifer could not arrive better at his goal, if all human beings were only religious. This religious attitude has a tremendously strong selfish impact. Imagine only how the human beings who do not strive for spiritual knowledge understand their religion. They want egotistically to become blest, live egotistically after death, as they imagine it. They want egotistically to be embodied only once in the world. In the one-sided religion, egoism has reached its peak, egoism of the soul, not only of the body. The best religious aspirations which surround us are in this egoism. The most pious people who touch us by their devoutness—Lucifer is he who controls their religious feelings. Lucifer prefers to get a lot of devout souls who have a sense for the spiritual, for the good they aim at egotistically. Because he does not want criminal souls, he wants to lead just the devout souls into his realm.

So we have, on the one side, the justified scientific element, which stands just at the threshold to the ahrimanic if it does not look up to the spiritual world, on the other side, the luciferic element which would be enslaved by selfish religiousness also in Central Europe unless the spiritual world view brought in a spiritual knowledge. This will be the progress of Christianity. It is exceptionally valuable to our souls if we penetrate ourselves with the knowledge that we stand between that what must be there, to the luciferic and ahrimanic elements from which we cannot escape which lose, however, their power if we recognise them. This is the characteristic of the spiritual world: if we recognise it, it loses the power through which it makes the human beings obsessed. Lucifer and Ahriman are invisible. If we get an idea of them in space and time, they lose their power over us.

You must not believe that if a person has a premonition of a bad spirit because of his clairvoyant capacity but does not behold it, the person does something worse when he represents the bad spirit pictorially or plastically. On the contrary, the following is correct: the spirit loses its power as a result of the sensory view. People will no longer become nervous by spiritually putting a figure, but the spirit as an invisible power loses its significance as an invisible force, and we consciously position ourselves in it. As God Himself uses Lucifer and Ahriman to put the world from East and to West back to the right track, so that the world does not experience an irregular development, but advances like by a pendulum movement, in the same way the world government lets the luciferic of the East, the ahrimanic of the West be effective.

However, it also poses the difficult and big task for us in Central Europe to look at this pendulum movement correctly. This pendulum is, actually, a small boat, as if a small boat were appended to a pendulum clock. In this small boat the souls of Central Europe are sitting who strive rightly for spirituality. These souls really have to dive in it and know that they have to grasp the right balance point. They have to recognise what is behind the threshold of the everyday consciousness; they have to take up it in their consciousness. Our present grievous days are admonitions above all to those who already anticipate a little bit of that which approaches the world in future.

It does not concern that within the war an external victory is won by the one or the other side, but it concerns how people live after this victory. Imagine that the Central European nations were victorious, however, on the field of this victory the purely materialist-ahrimanic world view would spread out and this would be detained by the luciferic element. If the East, on one side, and the West, on the other side, penetrated the Central European spirituality, an external victory would also not be salutary for this Central Europe. Since centuries, the human beings are penetrated rather strongly by the ahrimanic-luciferic element without noticing it. Imagine only that it was necessary to reject the oriental-luciferic element in our Central European theosophical movement. For that which we got as theosophy from the East was infiltrated by Lucifer and led also in its extreme to the recognition of an external human idol, a physically reincarnated Christ. This was the quarrel we had to have about the unjustified interpretation of the theosophical world view.

But we must be clear to us that we have to recognise correctly in Central Europe how we have to imagine what approaches humankind in future. We learn to see just by that which spiritual science can be to us that materialism, the materialistic world view is not allowed to extend about the area prepared for Central Europe. Those have to strive to prevent it who anticipate a little bit of the fact that a spiritual world view really spreads out, floating over Central Europe and radiating from there to the whole earth. It would be imaginable, externally imaginable as a hypothesis that this Central Europe would serve a materialistic civilisation after a victory. Then Ahriman would reap the fruits of this victory. This must be prevented.

Think only of such a tragic figure like Ernst Haeckel. Goethe wrote a theory of evolution. Since 1884, I attempt to make it clear to the people that it is a theory of evolution which is spiritual in the highest sense. But people cannot understand it in the deep way in which it is given there. When Darwin put it up trivially, people understood the teachings which could flow into their hearts and souls. The teachings had got a materialistic colouring. Take such a tragic figure like Ernst Haeckel. He got any thought, any fiber of his scientific life from England. Huxley, Locke, Darwin were his masters. Today Ernst Haeckel is somebody who turns mostly against England, he is one of the most furious fighters—as far as he can be it as an old man. He stood at the head of those who sent back their medals, certificates and honourings to England. However, it does not matter to send back medals and honourings unless the English coloured Darwinism is sent back.

And still some other things are there. The souls are prepared for materialism best of all if they are in a half-sleeping state for the external life, so to speak, if they are still childish souls. One does not notice that one can bring into the souls ideas which prepare them best of all to accept the materialistic view as a matter of course. Ahriman accomplished this, while he let a very effective spirit come into being who planted the tendency of materialism in the childish souls, unnoticed by the British people, without the human beings being aware of it. This is the exceptionally ingenious author of Robinson Crusoe. If anybody plants the ideas of Robinson in the childish souls, they get the propensity for materialism. In the book even religion comes into being of its own accord, as well as cabbages grow up. Nowhere is reflected on anything that should flow in from the spiritual world. See only Robinson moving through the world. There was a time of the literary development in Central Europe when imitations of Robinson existed in many languages. So many translations of Robinson are there. One cannot count them at all. So deep is this there inside. But the Central European culture has to show the way to spirituality again. And really a higher guidance inspired the brothers Grimm to collect fairy tales. If we give these fairy tales to our children instead of the ahrimanic Robinson, we bring them the propensity for spiritualism.

One is painfully affected if one—all that is symptomatic—experiences the following: a very significant philosopher of Austria, Ernst Mach, wrote a book, Analysis of Sensations, which was of great importance for many who want to think philosophically today. On the third page, he speaks of self-knowledge. We know that self-knowledge is exceptionally important, as I have often explained. Ernst Mach gives a proof of the fact that self-knowledge is rather difficult even for the external world. He tells: I passed a shop window where I saw my own picture, my own figure meeting myself. I thought: what an unpleasant, disgusting person meets me there. I myself was it.—Thus he said. He himself was it who has known himself so little that he said to his mirror image: what an unpleasant, disgusting person. And to make that clear completely, he adds: when he was already a professor, he had once returned from a trip at night and had got in a bus. When he got in, he saw in the mirror a man getting in and said to himself again: what a down-and-out schoolmaster is getting in there? So he adds: I knew the appearance of my type better than my individual appearance.

If it is already so difficult for a person who does not often see himself in a mirror—this speaks for Ernst Mach that this has taken place—to recognise the external figure, then one will get an inkling how difficult it is to get self-knowledge in the soul. It is just this, however, what is necessary: attaining self-knowledge in the soul. I would like to say, it affects somebody almost tragically if one reads up in the same book even farther, and Ernst Mach speaks of the education of his son and says from really serious soul: thanks to God—no, he does not say that, but something that is commensurate with it—never did my children read any fairy tales. So they were not introduced in a spiritual world by fantastic ideas resulting from reading fairy tales.—There we see that nesting in the souls of the present which wants to lead the Central European culture to Ahriman. One has to say: that does not concern to be victorious, but that the right attitude of mind is victorious on the basis of the victory.

We are also heavily burdened in Central Europe, even in the case of a victory. Because we are connected with something that is infiltrated very luciferically. It was once a benefit for Europe that from South Europe the Arabian, Moorish culture spread out. For the past, it was justified, but today it has become ahrimanic. We are heavily burdened with the alliance with the Ottoman Empire.¹ We have to find the correct standpoint and not believe that we can arrange our sensations according to external political viewpoints.

The life of the external world is not suited to prevent Ahriman. The external banal literature leads directly to the ahrimanic principle and pours scorn on the attempts to clearly see the powers working into our world. That is why that must appear as a big warning, which appears to us under the sign of blood and grief; to make the present souls inclined to get the gifts of the spiritual life. Our souls have to tend to that which was prepared in the Central European culture especially expressing that we are put pendulum-like between two powers permeating the world and that we must find the balance. We have to realise that, on the one side, the world strives for ahrimanic hardening, strives to get solidified in the fire of the purely material; that it strives, on the other side, to ascend egotistically to an abstract spirituality.

Following the one or other side would ruin the Central European human being. Following only the science engaged in the external senses would persuade us to tear the roses from the cross and only to look at that which solidifies. We would gain a world view gradually which would completely deflect the human being from looking at the spiritual. It would allow to only looking at that which has solidified ahrimanically. Try to imagine the ideals of the ahrimanic science: it is a world of whirling atoms, a purely material world creation. One wishes to throw everything spiritual out of this world-picture. One wants to imagine, and one teaches it already the children at school, that once whirling gaseous masses were in the universe from which the sun formed which then again pushed off the planets. One makes it clear to the children at school, while one does an oil drop in water, pushes a small round paper sheet at its equator through it, pierces it with a pin in the middle and turns the pin then. Small drops are split off that way; a small planetary system comes into being. Of course, it is proved what one shows in such a way, but one forgets the most important fact that the teacher must turn the pin. In truth, however, you have to conceive a big Mr. Teacher turning the whole matter in space, if you want to imagine it honestly. But the thoughts, the sensations and feelings, which tend to Ahriman, are those which imagine the creation of the sun and the planets in the just described way. That also influenced the historical view. Herman Grimm² says once: a bone of carrion around which a hungry dog is circling is a more appetising sight than this world view which is based only on this Copernican world view.

This is a threat to tear the roses from the cross and to have only the black, charred cross. The other threat is to tear the cross from the roses and want to strive only for the spirit, despise what the divinity has put in the world development, not to want to dive affectionately into the thought that the phenomena of the sensory world express the godhead. This is the unilaterally religious world view which despises the science which only wants the roses and which tends unconsciously to the luciferic element of the East. In the same way, science, which wants to tear the roses from the cross and to keep only the charred cross, tends to the West. We, however, in Central Europe, we have a vocation to have the roses on the cross to have this what is expressed only by the connection of the roses with the cross, the roses on the cross. Looking at the stiff cross we feel that that which has come as a stiff material to the world entered the world from the godhead. It is, as if spirituality created a circle in the material for itself: ex deo nascimur.

We also feel that if we understand it correctly we may enter the spiritual world not only with Lucifer, but that we die, while we are united with that which descended from the divine higher Self to the world: in Christo morimur.

And uniting the cross with the roses, the material world view with the spiritual world view, we feel that the human soul can awake in spirit: per spiritum sanctum reviviscimus.

Therefore, the cross wound around by roses was the symbol of Goethe who positioned himself in the spirituality of the Central European culture. It must be our symbol. That is why we will remind—as far as we can be present in future, gathering in this room—of that which must be our ideal out of the big tasks of the earth development: winding roses around the cross, neither tearing the roses from the cross and holding only the cross in our hands, nor only estimating the roses and ascending by means of the roses to the spiritually blossoming, sprouting life in the abstract. It is expressed to us in our symbol, in the rose cross, what we want to take up more and more in our souls, in our feelings when we come together in a room dedicated to our attempts. Then we can be sure that the spirits who lead the earth development in good sense exist invisible among us; that our words, that all our thoughts and feelings, while we dedicate ourselves to the spiritual-scientific attempts that all this is really supported in such a room by the spiritual powers guiding our attempts. We can feel, cultivating our spiritual-scientific views, as if we are constantly inspired by the spirits who exist invisible in such a room. I would like to call on these spiritual powers that they are always present with the souls if they strive in serious truth, honestly and affectionately in this room. If that comes true, we can be sure that this spiritual-scientific world view finds the way to the gods as it was always found.

Today we come together in such rooms. They are separated from the efforts of the external world. The external world considers the events in our rooms as something sectarian, something superstitious. And thus we are gathered as it were underground compared with the intellectual culture of the present. This intellectual culture, which is deeply infiltrated by Lucifer in the East, by Ahriman in the West, is above ground. There we remember repeatedly in order to strengthen our hearts, to invigorate our souls that in another epoch the western world view ascended from underground to the surface. There was the world view of the Roman Empire, the world view which had taken up the distinguished philosophy and the artistic world view of the Greeks. There were basically brilliant minds among those who lived within this ancient Rome and its surroundings with this old world view. They were deeply despised who cultivated a quite new teaching underground in the catacombs. However, those who cultivated the new teaching, separated from the world view above ground justified at that time, knew that they had only to hold on the contents of their striving and to retain what had entered in the world as a result of the Christ Impulse.

They strove in the catacombs and knew: those lived above ground who were out to kill them who pursued them who did not understand them.—After we have got these conditions of the ancient Roman Empire clear in our mind, we look at the human development a few centuries later. What was above has disappeared. What lived underground in the catacombs has ascended; it passes triumphantly through the West. It already lived in the souls of those who were striving for that which should then conquer the world although they were repelled, despised and mocked living underground in the catacombs. We must feel that way, my dear friends, as if we were still spiritually outcast and mocked and pursued by those who cultivate the so-called justified world view today. But in such a way as it happened in the first epoch of the western Christian development, it will go on. What one would best destroy—not like once, while one covered human beings with pitch and burnt them, but while one mocks them—it will gain acceptance. What jeers and mocks there, what wants to conquer the earth only with an ahrimanic and luciferic world view this will have disappeared, like the ancient Roman culture, the ancient world view disappeared in a certain way. However, what is cultivated in our catacombs—they are spiritual catacombs, the world has progressed, nevertheless—what is felt in these catacombs, what is imagined, what is reflected, what penetrates our souls: it will ascend and arrive triumphally at the culture of the next epoch. We may keep in mind that at every moment when we pass the gate to such a room. And staying in it, we keep in mind that we are still like in a submarine which will take the direction upwards—and absolutely will take it if we become engrossed strongly in this with which we have learnt to connect our souls. With this vow that we want to penetrate ourselves strongly with the spiritual Christ Impulse which is developing a further level, with this attitude, with this vow we really will enter this room. We enter in the sense of these feelings that everything is dedicated to the spiritual powers, to the spiritual individualities who permeate our movement, as we can know, who spread out their blessing and protecting hands about us. We want to keep in mind that when we come together here in future.

• 1. the Ottoman Empire entered the First World War on the side of the Central European powers in 1914.
• 2. Herman Grimm (1828–1901), in his Lectures on Goethe

Author's note ¹ Prague, April 4, 1924

I would like to speak of a kind of education and teaching that strives to develop the whole human being, body, soul and spirit, in an equal way. Such an education can only be achieved if the educator is aware of how the physical is formed out of the soul and spiritual during development. For one can only contribute to the formation of a being if one understands the laws of this formation.

Anthroposophy leads to such knowledge of the human being. It does not look at the physical one-sidedly, as it happens in the scientific world view. It rises to a spiritual vision and thereby looks at every age of the human being at the way in which the spirit works on the body of the human being and how the soul lives in the body.

In the face of such a view, clearly distinct epochs arise in the growing human being.

The first epoch runs from birth to the change of teeth, around the seventh year. The appearance of the second teeth is not just a localized process in the human organism. When the first teeth fall out and the second teeth appear, something is happening in the whole organism. Until then, the soul and spirit participate intensively in the formation of the body. During this period of human development, body, soul and spirit are still highly unified.

The whole human being is therefore like a comprehensive sensory organ. What later is concentrated only in the sensory organization, still works in the whole human being at this time. The human being is therefore completely devoted to the activities of the environment, just like a sensory organ. In the most pronounced sense, he is an imitative being. His will reacts reflexively to everything that happens around him.

Therefore, the only way to educate a child at this age is for the educator to behave in such a way that the child can imitate everything they do. This must be taken in the broadest sense. There are imponderables at work between the child and their educator. The child is not only influenced by what it perceives with its external senses in its environment, but it also senses the attitudes, characters, and good and bad intentions of other people from their behavior. Therefore, as an educator, one should cultivate purity of life in the child's environment, right down to one's thoughts and feelings, so that the child can become what one is oneself.

But one should also be aware that one's behavior has an effect not only on the soul but also on the body. What the child absorbs and allows to flow reflexively into his will continues to vibrate in the organization of his body. A teacher with a violent temper can cause the child's physical organization to become brittle, so that in later life it is easily influenced by pathogenic influences. How one educates in this direction will become apparent in later life in the state of health of the person.

The anthroposophical art of education does not focus on the spiritual and soul aspects of education because it wants to develop only these, but because it knows that it can only develop the physical properly if it develops the spiritual, which works on the body, in the right way.

A complete metamorphosis takes place in the child when the teeth change. What was previously absorbed in the physical organization and working in it becomes an independent soul being and the physical is more left to its own forces.

Therefore, when dealing with the soul of the age at which the child is to be educated and taught in a scholastic way, one has to bear in mind that one is dealing with forces that were previously the malleable forces in the body. One only works in an educational and teaching way if one keeps this in mind. The child at this age does not yet absorb with an abstract mind; it wants to experience images, as it has worked with images up to this period of life. This is only achieved if the educator and teacher relate to the child in an artistic way through the soul. They cannot assume that the child already understands what they are communicating. He should work in such a way that the child is immersed in love in the images that he unfolds in an artistic way. He should be the self-evident authority for the child. The child cannot yet absorb what is true, good and beautiful because it understands it, but something must be true, good and beautiful for the child because the beloved teacher or educator presents it as such in front of the child.

Everything in teaching and education must be brought out in a pictorial way. All teaching must be artistically designed. You cannot start with reading and not with the letterforms, which in their present form are foreign to the inner experience of the human being. One must begin with a kind of painting drawing. The child must paint and draw forms that are similar to certain processes and things, like the signs in the pictographic writing of prehistoric peoples. First there must be a picture, which the child fixes from the things and processes of the world. Then one should proceed from the picture to the letter forms, just as pictographic writing developed into abstract sign writing.

Only when the child has progressed from painting to drawing to writing in this way should one move on to reading. This is because only one part of the human being is activated in this process: the ability to comprehend that is tied to the organization of the head. In painting, drawing and writing, a more comprehensive part of the human organization is also involved. This is how you educate the whole person, not just one side of the brain.

All education should be based on the same attitude until the second decisive point in the child's development. This lies in the onset of sexual maturity. Here, too, not only a local part of the human organism undergoes a metamorphosis, but the human being as a whole. It is only at this point that the relationship between the human being and his environment unfolds, which is revealed in the more abstract conceptualization. Only from this point on should one count on the adolescent to grasp things intellectually and freely. Before that, everything should be presented in a pictorial form, and in grasping it, one should count on the child's love of pictures.

Such an education has the whole of human life in mind, not just childhood. It is quite a different matter to occupy the child in a pictorial way, so that what it has absorbed is only later understood, than to develop only the intellectual system one-sidedly at an early stage in so-called visual instruction, which is not true visual instruction because it has no artistic element. What is laid down in childhood only comes to expression in later life. A child who has gone through the pictorial stage at the appropriate age will become a person who can still be fresh and fit for life in old age; a child who is taught in a one-sided way to understand what is often thought to be appropriate for childhood will become a person who ages prematurely and is susceptible to disease-causing living conditions.

• 1. On April 4, 1924, Rudolf Steiner gave a lecture in Prague with this title. The author's note presented here is apparently a text written for press representatives to make it easier for them to report on the lecture. Rudolf Steiner prefaced it with the following note: “This is only an outline of what I will say; the spiritual researcher cannot actually do such things; in a lecture, he draws from the spirit, not from memory, and is therefore misled when his lecture is to be written down verbatim. Please excuse this.”

Goethe's “Faust” undoubtedly belongs to one of those works in world literature to which one can, decade after decade, return to and find within it ever again, something new. This ever fresh insight may bring about the belief that we can benefit fundamentally ever more from the work than had been obtained on a previous occasion. Maturing with age this experience is indeed possible involving other works of world literature—however, with Goethe's “Faust” one has the impression, that ever new experiences of life are needed, as are offered by approaching age, in order to fully absorb certain secrets and inner aspects found within these works.

Discoveries made by delving ever deeper into Goethe's “Faust,” within the work itself, prompting a decisive wish to turn to Goethe's biography, to explore his life ever anew, because through the observation of Goethe's “Faust” one realizes that these rightful insights will enlighten this work. An objection is only natural that such a reference of the poet to his work begs incompletion. One may say a work of art must be grasped, as it stands, independent of the personality of its creator. One can also put aside some more or less pedantic tendencies and through the observation of Goethe's relation to his work hold him to it, that out of such a flood of power something higher must appear, more significant than each impression and suchlike. These are the thoughts from which this theme of today's lecture has grown.

I wish to speak now about the personal relationship of Goethe to his “Faust,” not in the narrow personal sense but regarding the relationship of the spiritual character of Goethe to his “Faust.” One could easily come to the conclusion, that by studying these relationships of Goethe's personality to his “Faust”—what Goethe mentioned about himself, regarding his life, his striving, his manner and way, his attitude to knowledge and questions about art—that these details could be particularly useful. Yet as one enters deeper and deeper into Goethe's life, one notices this is actually not so. Here exactly lie difficulties within the observation regarding Goethe's spiritual character. On the other hand there is something which penetrates not only into peculiarities of Goethe, but within one's soul life itself. One goes along with the idea of being convinced, through Goethe's statements, as expressed in letters directed to one or other individual, that these are useless in relation to the consideration just mentioned. One discovers, on looking at the way Goethe considered himself, that one can't really get the key to exactly that which had depth in the most meaningful work of Goethe, in “Faust.” When clearly stated riddles need truthful answers out of Goethe's work, from observation of his life, about that which lived in his soul, which he expressed in his work and particularly in his “Faust,” one realises that there was something so huge, so all-encompassing and with expansive enlightenment that Goethe himself, in his personal consciousness, within his knowledge, couldn't grasp what really was working in his soul. If not so much misuse of the expression “unconscious—subconscious” has been used during the last decades, I wish to apply it to Goethe with the eminent sense that that which is found within Goethe's creation, streams so gradually into our soul, that it becomes larger than all which Goethe can utter about it prosaically.

Exactly that which I express now, applies in a particular degree to the relationship of Goethe to his “Faust.” I can't allow myself, due to a time constraint, to closely discuss Goethe's relationship within the folk tradition in which appears the “Puppet Show” and such-like. I wish to restrict myself to the discussion regarding the relationship of Goethe to his “Faust” itself.

Before all else, it is necessary to enter into Faust as boldly as possible. Precisely out of Faust himself the insight is revealed related to Goethe and his “Faust.” What is most admirably Goetheanistic within this which is revealed through a lengthy observation of Goethe within it? What is Goethean in “Faust”? When looking at Faust—we see from the Prologue a tendency which doesn't exist at first—starting with the Monologue: “Philosophy—I have digested ...” the contemplation of “Faust,” then one usually gets involved in the following: within this lives Goethe's attitude against outer knowledge, against the drive for external knowledge. One sees the larger reference within the opening which leads Faust towards despair in the power of his four faculties and so on; it is noticeable then, how Faust, doubtful in the power of all four faculties, gropes towards magic, and so forth. However, working at length with “Faust,” one doesn't get the feeling that already within this Monologue specific Goetheanistic ideas are presented. That begins at a specific point. In this rebellion against the four faculties, this grope towards magic, Goethe opposes the Faust-tradition; it was not in this which Goethe's soul, in essence, wanted to reveal himself through Faust. The part of Goethe's soul revealing itself for the first time in “Faust,” encounters an opposition, where Faust, after he opened the Nostradamus book and the sign of the macrocosm, turns away towards the other sign which brings him to conjuring up of the Earth Spirit. Here unfolds, as Goethe writes this scene in his “Faust,” that which lives in Goethe's soul in a quite unique form, the world riddle. What is this, however? Goethe allows his Faust to open up a book on magic, called the Book of Nostradamus, at the sign of the macrocosm—expressing the connection between humanity and the almighty world powers. The sign of the macrocosm expresses the world as three-fold; that the earthly and heavenly separations are threefold, and that within the threefold world stands the occult connection with the threefold human being of body soul and spirit.

Upon this relationship Goethe arrived momentarily in his life. It dawned on him in such a way, that he allowed Faust to strive towards the revelation, and through the images of these signs, find the connection between humanity and the entire world. During this time Goethe was not tempted to consider that something acquired in this manner from spiritual knowledge, was satisfactory. Deeply, decisively we heard Goethe's words as he turned away from the sign of the macrocosm: “What spectacle! But oh! Only a spectacle, no more!” Within this lies Goethe's entire withdrawal during the seventies of the 18^th century, from what was generally recognised as the connection of humanity with the entire world, the universe. Goethe believed he had reached clarity in the thought that everything within imagination—acquired through ideas—was nothing other than a mirror-image of reality. Thus Faust turned away from the symbol and its revelation to another sign, which directed him to reveal the Earth Spirit. Look closely now within the depths of Goethe to understand why he turned away from the macrocosm and towards the microcosm. Goethe already belonged to the world view of those who didn't in the ordinary sense relate to the history of specific knowledge, constructed from an accumulation of ideas about the laws of nature and of humanity. No, in fact Goethe didn't strive in this sense for knowledge, he strived for knowledge in so far as the result of this knowledge would empower the human soul, in order that each human being's striving in his becoming, may result in crystallization. Goethe also belonged to those in spirit who, to a certain sense, I might say, in order not to be misunderstood, harbour a particular nervousness, a fear for that which is taken up by the soul in the form of conceptual knowledge. By this is meant: whoever has really struggled once with conceptual knowledge, with an idea through which one in reality can penetrate into the world, would know how unsatisfactory the result can be, that one can't thus, through this idea, express everything which has been thus penetrated and which had been revealed in the depths. One wants to always, when one has acquired knowledge, say to oneself: yes, you have brought about this or that in your thoughts, you know however, what lives in the soul and is revealed from the depth of the soul world is only partly incorporated in these ideas. There is a worry that something had been lost along the way between life and this knowledge. One has a constricted feeling in this situation. Once a conceptual idea is taken up, there is the possibility to regain, later, through the spirit, that which had been lost. One must doubt, when one has once had an idea which was not fully expressed, to once again bring it into a lively representation. This worry lay in Goethe's soul. With this he was always occupied—with world riddles rather than expressing riddles in a pure and strong way and thereby giving a superficial elucidation and satisfaction. He had a shyness, a respect for knowledge. He said to himself: that which you entreat as knowledge to the human soul, can only be a spectacle, only a spectacle ... oh, only a spectacle!—thus Goethe turned away from that which the universe revealed to him, and allowed himself to turn to the sign which is not revealed by the universe but that which rises from the depths of the soul itself.

Thus Goethe allows Faust to doubt that within the immense universe he may perceive the manifestation of reality, and thus turns him to search for a revelation from the depths. Goethe's Faust encounters the Earth Spirit in such a form as it appears in the hidden depths of the human being, in the subsoil of the human soul as the case may be. Approaching the great All, we approach the spirit of revelation, and so we come to that which lives in the soul's depths, and arrive closer to spiritual revelation. In this moment however we discover the danger which accompanies every approach to knowledge. This danger within the striving human being's soul during earthly life is what Goethe now confronts and this he mystifies into his “Faust.” Before Goethe's Faust stands the direct revelation of his individual inner being. Faust has to turn away from it. That which lives in consciousness, which expresses itself clearly within Faust's soul, cannot grasp what lies in the depths of his very own being. For most of humanity, that which is unknown, that in us which we could lightly deny, scares Faust and he falls back, dazed. He has to turn away. “Not you? Who then? I, replica of the image of God! Not even you!” The Spirit responds: “You match the spirit you comprehend, not me!” Who then is this spirit Faust understands? Towards whom must Faust turn at this moment?

Right here is one of the dramatic moments in Goethe's “Faust.” One need relinquish all revelations of ideas which one usually seeks to interpret “Faust”; one needs to look at the drama, at the artistic elements themselves, at the presentation. Giving oneself over to this without comment, explanations or considerations, one steps into this place of a real mighty opposition. Who is his match? Here Wagner steps in. “You match the spirit ...”—which spirit? Wagner matches him. That is the dramatic knot. One is not allowed to see the traditional interpretation which is always given, where Faust is presented as the higher striving, spiritual idealist and Wagner hobbles in on the stage as insignificant, even gesturing a bit in Faust's manner. Wagner may be allowed to appear as Faust's mask, because it is self-knowledge which Goethe wants to represent: You are no more than what resides in Wagner's soul. Whoever explores the dialogue between the two, discovers a certain philistine air in Wagner; he has a locked personality, a character which has brought a conclusion to his striving. One only sees him once as unabashed, which happens in this scene when Faust meets Wagner and reveals that he doesn't go searching for rain worms and suchlike. In this scene, considered as dramatic, artistic and not philistine, self knowledge appears to Faust. What was it then ultimately, which Goethe made his Faust recoil from, and to what did he turn?

Goethe's soul stands in a time, when this scene was written, during the seventies, when a duality existed between—which I wish to phrase as—“world knowledge” and “self knowledge.” Faust turns away from world knowledge as he does from the sign of the macrocosm. Goethe didn't desire world knowledge. He believed everything can be found within self knowledge acquired through striving for a worthy existence. This is the route to self knowledge. In this Faust-Wagner scene we encounter in Goethe's striving something quite extraordinary, bringing self knowledge of human fulfilment into expression and to revelation. When both impulses, world knowledge and self-knowledge are considered, it must be pointed out that in both, specific human dangers are connected.

With world knowledge it is thus: trying to penetrate ever more into world knowledge, demanding human imaginative capabilities to penetrate ever more into what is offered in a spiritual sense perception, one arrives at a percept which can be called the “temptation of illusion.”

There exists for instance in human culture, and Goethe felt it, such diversity in world knowledge, that it offered, through the tangling of its laws, an illusion, (which the Indians term Maya) ever accompanying us in life, insofar as it forces itself into life and so places the personality in the wide world. We are, in our search for a relationship to things, subject to illusion. Only through this, that we strain with all our all power to protect our consciousness, disallowing it to be charmed, as Faust does after his oath with the Earth Spirit—only in this way can we work our way through illusion. It can appear to one with the deepest discernment in this form before the soul, as Goethe describes later, calling it the Mephistophelean force. Danger in this world knowledge exists in such a secretive way precisely so we don't notice it, in all our worldly thoughts and every experience, in simple indications of life, emotionally intertwined, that it finally does not originate within us. Closer observation shows that, that which is so emotionally inter-mixed does not come from within us, but from other forces. What the human being can conclude in the illusion of a Mephistophelean danger comes down to the so-called intermixing of instinct, of a kind of willing and of desire into this outer knowledge. We often believe we have objective knowledge, but we only have it when we admit to giving in to no illusion, that the aforementioned is mixed into outer knowledge.

When we, however, try to throw out all we have as knowledge, derived from feeling, willing, from passion, the remainder is what Goethe allows Faust to call: “A spectacle! Oh, only a spectacle!” No one needs to search for other ways to discover reality. What we are led to believe is suffused with illusion. As Faust stands before the sign which calls his soul to awaken to such a observation of the world, where everything connected to the will and passion is thrown out, he finds a mere spectacle, a show. This he doesn't want. He wants to dive into self knowledge. He believes the human being can be driven down to the core of the world. Here another danger threatens. While illusion acts as a threat towards world knowledge, due to us delving into the depths of the soul, so another threat finds us in as much as so-called knowledge leads us to wishes, feelings, affectations, towards world riddles, yet they do not allow separation from wishes and will.

It keeps pace with our constitution. We seek in us, through a false mysticism, the everlasting and only find the most recent with a vague mix of the everlasting within it. Acknowledging that, we know that every moment we dive into ourselves, we are confronted with a vision threatened by a void, appearing more as a facade than mere fantasy, which merely drives us into wasted error. Goethe was well known regarding these secrets of human existence, that we, when we don't constantly correct ourselves with common sense and dive into the mystical and encounter deep contemplation, we may get involved in visions. We don't need disease to be a visionary, we enter into a life which becomes a visionary life when it turns ill.

Thus these two elements which are found in life stand out in another way. Goethe didn't proclaim it. It stood before his soul, when we keep everything in mind, which appears as illusion in world knowledge. What does it come to when one considers these illusionary things in a philistine or pedantic manner? To what are we continuously led, away from reality? This illusion is linked with everything which we grasped during our quite normal development. Not continuously coming to terms with the danger of illusion in our soul-life, we may not be defeated by that underlying development which we allow in growing, sprouting, prospering not only during child development, but also in mature development. This however connects to that which, from the age of thirty five, indicates the descending human existence.

This backward directed development is connected to all which lives in our soul. We couldn't become wise or clever through life's experiences if we didn't develop from birth, that which during the descending development brings in an extraordinary existence. We actually live from forces which direct us towards death, not towards growth. We die from birth onwards, and at the moment of death everything is drawn together which worked through our entire life. It works in such a way that that which develops forwards carries that which withdraws, bringing our soul qualities to the fore. If the Mephistophelean, the life of illusions, weren't bedded into world knowledge, we couldn't develop as human beings; these descending forces couldn't live in us. Through this illusion, everything is connected to that which we bring as disturbances into the world, which leads some individuals to destruction and which is connected to the origins of our forces.

It's different with elements arising out of self-knowledge. As we descend into our inner soul, we certainly reach into the spiritual part of our being. We seize hold of ourselves in our personal kernel which connects to the kernel of the world where, in an unconscious way, we forcefully experience will forces and desires living within us. As a result we can develop a specific influence on those around us; we just tend not to study this properly. This disturbance influencing our contemporaries, those we are living with, causing impairment, originates in fact from the descending forces, out of which we could only have grown, if we had grasped them in a proper, spiritual manner. These forces are Luciferic. It is extraordinary that Goethe had within his feelings this duality, the Ahrimanic-Mephistophelean and the Luciferic. Originating within a western spiritual development and western tradition he did not manage to make a clear distinction between the Mephistophelean and the Luciferic. Out of this Goethe unfortunately created the single Mephistopheles. When commentators frequently emphasized that Mephistopheles was an actual character, Goethe continued to sense, subconsciously, that Mephistopheles had to be presented as a duality, as ahrimanic and luciferic. Therefore it is a given that, the moment Faust must turn away from the Earth Spirit, where he doesn't show himself mature in his knowledge, that which moves within his own soul, be it in the soul of man as a whole, Mephistopheles appears as Lucifer to Faust. This results in the merger linking our wishes, feelings and desires within our depths. This follows in other words in the totally wonderful, magnificent, vivid tragedy of Margaret. It also makes it possible for Faust to explore the connection between wishes and will; it results in the most part to that which we go through in the first part of Goethe's “Faust.” Here we experience everything which appears as a luciferic element. However, everything originates from what Goethe actually explored during the seventies and eighties as carrier of human knowledge: people didn't want to know anything about the relationship between themselves and the wider world. However, the feeling remained in him, prompting him to find a solution.

It is interesting that everything which turns towards the luciferic element, results in dissatisfaction. We can only reach satisfaction when we try to find the relationship with the luciferic on the one side and ahrimanic on the other side of the Mephistophelean, which rises from world knowledge. It is interesting that from the beginning of the combination of Mephistopheles with Faust, Goethe left this unresolved. He felt that there had to live a deeper level which flowed between Mephistopheles and Faust, which he however didn't know through his everyday consciousness. Later he wanted to bring it out in a disputing scene. That is the ahrimanic character which lived in Mephistopheles and came to expression when Mephistopheles installed himself and argued about world riddles. In this very discussion, actually, lives illusion. In this way Goethe wanted to introduce something which had brought out another element before his spiritual eye.

Now we observe something extraordinary in Goethe's personal development. He had treated Mephistopheles as an individual character, bringing Faust to a poetic expression. In 1790 he offered “Faust” as a fragment. Schiller stimulated him to continue and what is remarkable, is the manner in which Goethe declined. He saw himself as old, finished and done, couldn't go any further. What actually happened there? The personal relationship Goethe had to his “Faust” became something quite different.

This change can only be understood through insight into the world view Goethe had built for himself during the nineties. What did this knowledge of nature become? It was much spoken about; here and there even justice was done but really penetrating the moving target was hardly achieved. In essence, Goethe wanted to build a bridge, with the help of the knowledge of nature, between self knowledge and world knowledge. When one looks at Goethe's method of nature observation, one discovers that singular results and their discoveries are hardly the main issue. The manner and method, how thoughts unfold, is what matters. How was this? It was so, that Goethe searched for a complete different kind of comprehension and types of ideas to which we are accustomed. When we don't want to focus on this point, we will never understand Goethe's nature observation. Right into the colour teachings we can't understand Goethe, if we fail to focus on what Goethe wanted. He wanted to reach such concepts with his metaphysical teachings, which did not follow one imagination to another, from one idea to the next idea in an outer way, no, by contrast, he wanted us to dive into the reality itself in order for the idea to unfold itself in our soul life, which is actually sufficiently unselfish to share in world experience at the same time. He wanted, in this way, to reach, though his nature observation, what really lies behind reality; he wanted to join self knowledge and world knowledge. Goethe couldn't, because of that which scientifically confronted him, deepen a satisfactory nature observational method, according to him; he had to bring forth a world view from within his being; this he had to achieve honestly and only then the possibility would be given to connect self knowledge with world knowledge. Earlier he had believed that through self knowledge something could be accomplished. But only, diving so deeply down into self knowledge, that the depth of the world is understood in the same manner as we understand Goethe's nature ideas, then the bridge can be built, to find the illusionary element of the world.

So Goethe was stimulated by Schiller to take “Faust” up again.

Here self knowledge could come to its full right. However, now it was one-sided and had to be linked to world knowledge, to the macrocosm. Faust had to turn again to the sign of the macrocosm, from which he had turned away earlier. It had to be placed within the universe of good and evil forces. The forward and backward moving forces had to take up the striving of Faust from the fields of world knowledge. This was what came to him as a necessity. Mephistopheles had to accept the ahrimanic character. That is why Goethe developed his Mephistopheles more and more in this manner. That is why there's such a contradiction in this characterization. Goethe placed Faust in the universe through writing the Prologue in Heaven. The good and the evil forces are at war, and Faust stands in the middle of it.

Occult scientific development had not advanced to such a degree that Goethe could be clear about this. From his single Mephistopheles he could not have created two characters. In his sub-consciousness however, they lived. From this Goethe became ill during the nineties. This is what made Faust so difficult, so heavy. Frequently the second part of “Faust” is left unrecognised, while within this second part only allegory is looked for. When really searching for insight, the second part presents nothing more full of life, nothing more direct and more lively than all the characters! Why do they appear as allegorical? We, as single individuals, place ourselves in the world with our life's work and our individual ideas—we are urged to withdraw somewhat from this reality as an abstraction—but this is what we should surely learn from, in the present! We live in a present time, in which we should ponder the relationship of human beings who are so taken with reality, giving us the most fruitful illusions. Right within ideas, be it in social or political fields, lives abstractions, the allegorical. We live with them. It is the very manner in which the Mephistophelean element enters into our worldly experience in our own lives.

This is depicted vividly and with endless humour in the Emperor scene of the second part, where outer associations of reality with illusion are presented in a grandiose and humoristic way: stupidity and cleverness, as they appear side-by-side in life. In a wonderful, clear way they come to meet us. We then see how Faust, in the thorough way in which he has positioned himself in the world where illusionary elements exist and where they combine with stupidity, he finds it necessary to once again delve down into his own soul.

Now self knowledge is expressed in a yet higher sense. It links to the moment when Faust bows to the mothers with: “The mother! Mother! It sounds so wondrous!” Quite wonderful it sounds when we shift into our own depths, as Faust delves into himself. Now Goethe needs to give Mephistopheles, while he has two figures within him—Lucifer and Mephistopheles—a kind of minor role. In order to understand him fully, Faust sinks down into the worlds where Lucifer's power grips one in loneliness. That which he had experienced in the depth of soul, lived out in a dream, he goes through in such a way that we see: from it flows whatever he has brought up from the depths of his soul and out of self knowledge, and now self knowledge within world knowledge is transformed. There had to be something here regarding science, which links to self-awareness. That which we discover in the depths of our souls, numbs us, only allows us to dream, when we can't bring it out of our depths.

Had we had the chance in Goethe's time, or do we have an opportunity in our time, to develop such spiritual knowledge? What Faust took from the mothers, no, that wouldn't have made it. Human knowledge appeared to be an artificial product, understood like a mechanism. No Homunculus bulges forth out of lively reality. Now comes that towards which Goethe strives for within the entire depth of his soul. That which has grown out of world knowledge, must now unite itself with self knowledge. They had to become so blended together that they become one. This is what Goethe achieved: his wonderful knowledge of nature, biological and other metamorphosis-knowledge, brought together in a bond, equally including what Faust brought from the mothers on the one side, and on the other side, what could be given to him in his time as outer world knowledge.

Through this striving Goethe steered into the Greek era. His quest wasn't towards a one-sided spiritual abstraction or life abstraction—but to the consummation of the soul. This exact perfection, living in the Greek soul, cannot be restored, yet some vestige must have been left which can be won again, something similar to Hellenism which can be experienced again in later times. In Italy Goethe had experienced this in Greek art. He regarded the Greek artist as one who had solved nature's mysteries. As he observed the Greek civilization, perfection dawned on him. In his time they hadn't reached as far as solving the split between world knowledge and self knowledge. Faust had to, through that which incorporates an inner becoming within Hellenism, take up this power and use this to amalgamate self- and world knowledge. Now Goethe tried, towards the end of the second part of his “Faust,” to depict, as much as modern art allowed at that time, Faust as he appears amid all that had been brought from the mothers, towards that which the great universe revealed to humanity. Precisely from this basis, because he wasn't split within his consciousness in the depth of his soul, he had to—what he justifies in his way—adapt traditional form. He places Faust into the traditional form of the Christian church, in order to, after he had brought forth the deep elements in his soul derived from the mothers, direct him again towards that which he had turned away from in the beginning: the possible revelation in the sign of the macrocosm. We see Goethe at the close overcome what he as younger man had rejected: one-sided self knowledge. Faust is introduced into the universe, in the steams of the world-all, into secrets, where the ahrimanic world combines with the physical.

This is the great tableau at the closing of “Faust,” where Goethe strove to introduce Faust into the macrocosm. We can't understand Goethe's “Faust” when we fail to have this insight into the work which had accompanied Goethe during nearly sixty years of his life and had shared his own destiny, but in a higher form, as is usually meant. Goethe had as a younger man turned to mere self knowledge and refused to be bothered by world knowledge. His struggles with nature's manifestations and nature's powers expressed in his nature observation, led Faust into the wide world. At the end Faust stood there, saying: “A spectacle, oh, but not only a spectacle, but an element which man lives through and through into which every human life flows in all the streaming which courses through the macrocosm, through the universe!”—Faust turns back to that which the sign of the macrocosm had wanted to reveal to him.

It looks bad when we only quote “Faust” in one or the other facet. We have to admit, Goethe had conquered what he had mixed up in his youth. I don't believe that Goethe, due to a gradual contradiction in his advancing age, belittled that part of “Faust” which he created in his youth. Precisely as a result of this, he stands there largely because he is so honest in his personal relationship to “Faust” while he shows how he had struggled and strived to find the way, from self knowledge to world knowledge.

Whosoever participates in these steps, really penetrating into the single elements in which “Faust” lives, will judge him differently.

To descend into his own soul, Faust again turned to Bible translating. He didn't stick to the traditional translation: “In the beginning was the Word,” but tried: Sense, power, deed. “In the beginning was the deed!” Just this manner of translation invites Mephistopheles to enter; he is the diminutive of superficiality in which Faust, at this point of his development arrives at the trivial: “In the beginning was the Deed” from the deeper: “In the beginning was the Word.” However, through this, because Faust finds himself within all the illusions of world knowledge, through this he can overcome Mephistopheles. It is a great work in world literature which allows us to lay our eyes on a relationship so close to the bone.

“Faust” has become no lesser work of art. It is more accomplished through the fact that great power flowed into a single soul, a person of the highest ranks, who strives and struggles with the spiritual riddles of mankind. This I believe anyway, that in Goethe's “Faust” stands a work towards which mankind must return, repeatedly.

It made an extraordinary impression on me when I read a critique written in English, translated from a French work by a Spaniard, a harsh criticism, exercised on Goethe's “Faust” from the standpoint of taking everything within it as that which must be combated against within by central European people. I believe, that all man's weaknesses, all that which doesn't allow one to get along, wherever one is, be recognised, that in Goethe's “Faust” not only the central Europeans but the entire world has appeared in a work, containing specific meaning, which shouldn't only be given to mankind, but is continuously being sought by mankind. While Goethe's own search is so closely connected with the search in mankind, I also believe that Goethe, through his “Faust” has given mankind a most precious gift, because the greatest good is that towards which mankind should come, because when you really understand yourself, you have to search for this good, without end.