The Rudolf Steiner Archive

The German Section of the Theosophical Society was responsible for organizing this year's congress of the “Federation of European Sections”. It is therefore more fitting that here, from within the circle of the organizers, there is less talk of what has been achieved than of what has been intended and striven for. For the organizers know only too well how little of what can be set as a goal on such an occasion has been achieved. Therefore, the following should be taken with a grain of salt, as a mere description of the underlying ideas.

Munich was chosen as the venue; the time was the days of Pentecost, May 18, 19, 20 and 21, 1907. The questions that the organizers asked themselves in preparing for the event were: How can such a congress express the task of the Theosophical movement in the present spiritual life? How can it present a picture of the ideals and aims of the theosophical work? Since the event is, of course, limited by the circumstances, it can only provide a limited actual answer to these questions. It now seems particularly important that the comprehensive character of the theosophical movement be emphasized on such occasions. The central point of this movement is the cultivation of a world view based on knowledge of the supersensible. And at such a congress, people come together who, in the spirit of such a world view, work across all national and other human boundaries on spiritual ideals that are common to all of humanity. Mutual inspiration in the best sense will be the most beautiful fruit of such events. In addition, it will be shown how the theosophical work should really be integrated into the whole of life in our time. For the spiritual basis of this movement cannot be called upon to express itself only in thoughts and ideas, in theories, etc.; rather, as a content of the soul that has emerged in our time, it can have a fruitful effect on all branches of human activity. Theosophy can only be properly understood if we set it the ideal of stimulating not only the imagination and the human soul, but the whole human being. If we wish to interpret its mission in this way, we may recall how, for example, the world view of the time found expression in the buildings and sculptures (such as the Sphinx) of the Egyptians. The ideas of the Egyptian worldview were not only thought by the souls; they were made visible to the eye in the environment of the human being. And consider how everything known of Greek sculpture and drama is the worldview of the Greek soul, shaped in stone and depicted in poetry. Consider how medieval painting presented Christian ideas and feelings to the eye, how Gothic art gave form and shape to Christian devotion. True harmony of the soul can only be experienced where the human senses are reflected in form, shape and color, etc., as the environment that the soul knows as its most valuable thoughts, feelings and impulses.

From such thoughts arises the intention to also give a picture of the theosophical striving in the external form of the event at a congress. The Rauzz, where the gathering takes place, can reflect the theosophical feeling and thinking around the visitor. According to our circumstances, we could not do more than sketch out what could be an ideal in this direction. We had decorated the assembly hall in such a way that a fresh, stimulating red formed the basic color of all the walls. This color was intended to express the basic mood of the celebration in an external view. It stands to reason that many will object to the use of “red” for this purpose. These objections are justified as long as one relies on an esoteric judgment and experience. They are well known to the esotericist, who nevertheless must use the color red for the purpose in question, in accordance with all occult symbolism. For him, it does not depend on what the part of his being feels that is devoted to the immediate sensory environment, but on what the higher self experiences in secret while creating in the spiritual, while the external environment is seen physically in red. And that is the exact opposite of what the ordinary sensation about “red” says. Esoteric knowledge says: “If you want to attune yourself in your innermost being as the gods were attuned when they gave the world the green plant cover, learn to bear ‘red’ in your environment as they had to.” This indicates a connection between the higher human nature and the color red, which the genuine esoteric has in mind when he represents the two opposing entities of the creative world-ground in occult symbolism in such a way that downward the green as a sign of the earthly, upward the “red” as a sign of the heavenly (elohistic) creative powers. Much more could be said about the reasons for opposing this color red, and much more could be said in refutation. However, it may suffice here to note that this color was chosen in accordance with occultism.

On the walls (on both sides and at the back wall) were placed the so-called seven apocalyptic seals in a size corresponding to the room. They represent certain experiences of the astral world in pictures. There is a reason for this. At first, some viewers may think that such pictorial representations are ordinary symbols. But they are much more than that. Anyone who simply wants to interpret what is depicted in them symbolically with the mind has not penetrated the spirit of the matter. One should experience the content of these seven pictures with one's whole soul, with one's undivided mind; one should shape it inwardly in one's soul according to form, color and content, so that it lives inwardly in the imagination. For this content corresponds to very specific astral experiences of the clairvoyant. What he wants to express in such pictures is not at all an arbitrary symbol, or even a straw-thin allegory, but something that is best illustrated by way of comparison. Take a person in a room illuminated by a light in such a way that his shadow is visible on a wall. The shadow is in some respects similar to the person casting the shadow. But it is a two-dimensional image of a three-dimensional being. Just as the shadow relates to the person, so what is depicted in the apocalyptic seals relates to certain experiences of the clairvoyant in the astral world. The seals are silhouettes of astral processes, of course in a figurative sense. Therefore, they are not arbitrary representations of a single person, but anyone who is familiar with the corresponding supersensible processes will find their silhouettes in the physical world. Such things cannot be invented in their essential content, but are taken from the existing teachings of the secret scientists. A student of these matters may have noticed that some of our seals correspond with what he finds in this or that work, but not others. The reason for this is that some of the imaginations of occult science have already been communicated in books; but the most important part, and the true part, may only now, in our time, be made public. And part of the theosophical work must consist in handing over to the public much that has hitherto been kept strictly secret by the appointed custodians. This is demanded by the evolution of the spiritual life of our time from the exponents of occult science.

It is the evolution of humanity, the expression of which in the astral world must form one of the most essential foundations of occult knowledge, as expressed in these seven seals. The Christian esotericist will recognize them in a certain way in the descriptions of the “Revelation of St. John”. But the form they presented in our festival hall corresponds to the secret-scientific spiritual current that has been the leading one in the West since the fourteenth century. The mysteries of existence, as depicted in these pictures, represent ancient wisdom; the clairvoyants of the various epochs of humanity see them from different points of view. Therefore, according to the necessary developmental needs of the times, the forms change somewhat. In the “Revelation of St. John” it is “set in signs” what is to happen “in brief”. He who is able to read a secret-scientific form of expression aright knows that this signifies nothing other than a reference to the secret-scientific signs for certain imaginations that can be experienced in the astral world and that are connected with the nature of man as it reveals itself in time. And the Rosicrucian seals also represent the same thing.

Only very sketchily, with a few words, shall the infinitely rich content of the seals be interpreted. Basically, everything – even the seemingly most insignificant – in these pictures means something important. – The first seal represents man's entire evolution on earth in the most general way. In the Book of Revelation, this is indicated in the words: “And having turned I saw seven golden lampstands; and in the midst of the seven lampstands one like unto the Son of Man, clothed with a garment down to the foot, and girt about the paps with a golden girdle. His head and hair, however, were white like wool, as white as snow, and his eyes like a flame of fire. His feet were like brass glowing in a furnace, and his voice like the sound of rushing waters. He had seven stars in his right hand, and out of his mouth came a sharp, two-edged sword; and his face shone like the bright sun.” In general terms, such words point to the most comprehensive secrets of human development. If one wanted to describe in detail what each of the deeply significant words contains, one would have to write a thick volume. Our seal depicts such a volume. Only a few hints are given: Among the physical organs and forms of expression of man, there are those that, in their present form, represent the downward stages of development of earlier forms, and which have thus already exceeded their degree of perfection. have already passed their peak of perfection; others, however, represent the initial stages of development; they are now, so to speak, the rudiments of what they are to become in the future. The esotericist must know these secrets of development. The organ of speech represents an organ that will be something much higher and more perfect in the future than it is at present. When pronouncing this, one touches on a great secret of existence, which is often also called the “mystery of the creative word”. This gives a hint of the future state of this human speech organ, which will one day, when the human being has spiritualized, become a spiritual organ of production (procreation). In myths and religions, this spiritual production is indicated by the appropriate image of a “sword” coming out of the mouth. Thus, each line and each point on the image means something that is connected with the mystery of human development. The fact that such pictures are made does not merely arise from a need for a sensualization of the supersensible processes, but it corresponds to the fact that living into these pictures – if they are the right ones – really means an arousal of forces that lie dormant in the human soul, and through the awakening of which the representations of the supersensible world emerge. It is not right for the supersensible worlds to be described only in schematic terms in Theosophy; the true way is to evoke such images as are given in these seals. (If the occultist does not have such images at hand, he should give a verbal description of the higher worlds in appropriate images.)

The second seal, with its corresponding accessories, represents one of the first stages of development of humanity on earth. In its primeval times, humanity on earth had not yet developed what is called the individual soul. What still exists in animals today is still present: the group soul. Anyone who can follow the old human group souls on the astral plane through imaginative clairvoyance will find the four types of group soul that are represented in the four apocalyptic animals of the second seal: the lion, the bull, the eagle, and the man. This touches on the truth of what is often so dryly allegorized in the four animals. The third seal represents the mysteries of the so-called harmony of the spheres. Man experiences these mysteries in the interval between death and a new birth (in the “spirit realm” or what is called “Devachan” in the usual theosophical literature). However, the presentation is not given as it is experienced in the “spirit realm” itself, but as the processes of this realm are reflected in the astral world, as it were. It must be emphasized that all seven seals are experiences of the astral world; but the other worlds can be seen in their reflections in the astral. The angels blowing trumpets in the picture represent the spiritual primal beings of the world phenomena; the book with the seven seals indicates that in the experiences illustrated in this picture, the riddles of existence are “unsealed”. The “Four Horsemen of the Apocalypse” represent the stages of human development through long earth cycles.

The fourth seal represents, among other things, two pillars, one rising from the sea and the other from the earth. These pillars hint at the secret of the role played by red (oxygen-rich) blood and blue-red (carbon-rich) blood in human evolution, and how this blood changes in line with human evolution from distant primeval times to distant future times. The letters on these pillars hint at this evolutionary secret in a way known only to the initiated. (All interpretations of the two letters given in public writings, or even in certain societies, remain only a superficial exotic interpretation.) The book in the cloud points to a future state of man in which all his knowledge will be internalized. In the “Revelation of St. John” we find the significant words: “And I took a little book out of the angel's hand and devoured it...” The sun in the picture points to a cosmic process that will take place at the same time as the marked future stage of humanity; the earth will enter into a completely different relationship with the sun than the present one in the cosmos. And everything is depicted in the picture in such a way that all the arrangements of the parts, all the details, etc., correspond exactly to specific real processes.

The fifth seal represents the further development of man in the future in a cosmos in which the conditions just indicated will have occurred. The future human being, who will have a different relationship to the sun than the present one, is represented by the “woman who gives birth to the sun”; and the power that he will then have over certain forces of the world, which today express themselves in his lower nature, is represented by the “sun woman” standing on the beast with the seven heads and ten horns. The woman has the moon under her feet: this points to a later cosmic relationship between the sun, earth and moon.

The sixth seal represents the evolved human being with even greater power over the lower forces of the universe. The way the image expresses this is reminiscent of Christian esotericism: Michael holds the dragon bound.

Finally, the seventh seal is that of the “Mystery of the Grail,” as it was in the esoteric current beginning in the fourteenth century. In the picture, there is a cube representing the spatial world, from which the world serpent rises on all sides, insofar as it represents the higher forces acting in the lower; from the snake's mouth comes the world line (as a spiral), the symbol of the purified and refined cosmic forces; and from it, the “holy grail”, which is faced by the “dove”: all this points - and quite appropriately - to the mystery of the world's creation, of which the earthly is a lower reflection. The deepest mysteries lie in the lines and figures, etc. of this seal.

Between each two seals, a column was inserted. These seven columns could not be executed in three dimensions; they had to be painted as a substitute. However, they are definitely intended as real architectural forms and correspond to the “seven columns” of the “true Rosicrucian Temple”. (Of course the arrangement in Munich does not correspond exactly to that in the “Rosicrucian Temple of Initiation,” for there are two of each column, so that if one walks from the back wall toward the front, one passes through fourteen columns, two of which are always facing each other. This is only a hint for those who know the true facts; we should only give a general idea of the meaning of this column secret.) The captains of these columns represent the planetary evolution of our solar system. Our Earth is, after all, the fourth embodiment in a planetary evolutionary system, and in the ways in which it is configured, it points to three future embodiments. (More exact details about this can be found in the articles in this journal that are headed “From the Akasha Chronicle”. The seven successive embodiments of the earth are designated by the Saturn, Sun, Moon, Earth, Jupiter, Venus and Vulcan conditions. In the usual esoteric descriptions, the Vulcan condition is omitted as being too far in the future. For reasons which it would take too long to explain here, the evolution of the earth is divided into a Mars and Mercury condition. (These reasons can also be found in the Essays on the “Akasha Chronicle”. These seven embodiments of the Earth: Saturn, Sun, Moon, Mars, Mercury, Jupiter and Venus are now expressed in esotericism by seven pillared capitals. The inner life of each of these stages of development is expressed in the forms of these capitals. Here too, the intention is that one should not study the forms of the capitals intellectually, but entirely through the feelings, in real artistic experience and in the imagination. For every line, every curve, everything about these forms is such that when you immerse yourself in them, you awaken dormant powers in your soul; and these powers lead to ideas about the great mysteries of the world, which underlie the cosmic and the related evolution of humanity on earth. Anyone who might criticize the design of such columns should consider that, for example, the Corinthian and the Ionic columns have also emerged from the embodiment of the secrets of existence, and that such facts are only unknown to the materialistic way of thinking of our time. From the way the motifs of world evolution are expressed in these column capitals, one can gauge how esotericism is to have a fruitful effect on art. The ancient columns, too, are born out of esotericism. And the architecture of the future will have to present to people what the esoteric world view of Theosophy can give as a hint today.

In Munich, for example, an attempt has been made to sketch out an interior in the spirit of the Theosophical worldview; of course, only some of the relevant information could be provided, and even that only in general terms, and above all not in the appropriate arrangement. But the aim was only to evoke something of what is essential. Among the esoteric devices in our meeting room were two columns standing at the front of the hall. What they suggest can be seen from the description of the fourth seal, on which the two columns can also be found. They point to the mystery of blood and contain the “mystery of the development of humanity”. The color of the pillars is connected with the blood secret. One is red; the other is a deep blue-red. Esoteric science writes four deeply significant sayings on these two pillars. When the human soul immerses itself in these four sayings, then whole secrets of the world and of humanity well up from their depths. Many books would have to be written to exhaust the full meaning of these sayings, for not only is every word significant, but so is the symmetry of the words, the way they are distributed among the four sayings, the intensifications that lie within them, and much more, so that only long, patient devotion to the matter can exhaust what lies within. The four proverbs of “Pillar Wisdom” in English are:

"In pure thought you find
the self that can sustain itself.

"If you turn your thoughts into images,
you experience the creative wisdom.

"Condense feeling into light,
you reveal the forming power.

"If you objectify the will to essence,
you create in the world's being.

We also tried to express the basic mood that we wanted to express in our “inner space” in the program book that was given to visitors. There is no need to say anything more about the red color of the cover of this book, after the significance of the red color in esoteric symbolism has been discussed above. On this cover (in the upper left corner) there is a black cross entwined with red roses in the blue oval field; to the right of it are the letters: E.D.N. - J.C.M. - P.S.S.R. — These are the first ten letters of the words by which true Rosicrucianism is summarized in a single sentence: “Ex deo nascimur, in Christo morimur, per spiritum sanctum reviviscimus.” The cross symbol, entwined with roses, expresses

exoterically expresses the meaning of Rosicrucianism. In view of the attitude of our Society to Rosicrucianism, it seems necessary to point out the serious misunderstandings which have been brought against it. Here and there, on the basis of historical tradition, an attempt has been made to form a conception of Rosicrucianism. Of those who have thus formed an opinion of it, some look upon it with a certain benevolence; but most regard it as charlatanry, enthusiasm, or something similar, perhaps even worse. It may readily be conceded that if Rosicrucianism were what it appears to those who know of it only from historical documents and traditions, it would certainly not be worthy of the attention of any rational man. But at present nobody knows anything at all about true Rosicrucianism who has not approached it through the means of occult science. Outside the circle of occult science there are no real documents about it, which is the name of the spiritual current mentioned here, that has set the tone in the West since the fourteenth century. Only now may we begin to share some of the secrets of Rosicrucianism with the public. By drawing from this source in Munich, we naturally did not want to present it as the only true source of the theosophical movement, but only as one of the paths by which spiritual knowledge can be sought. It cannot be said that we have given preference to this source in a one-sided way, while the theosophical movement should take into account all forms of religion and paths to truth equally. But it can never be the task of the theosophical movement to study the variety of religions as a pastime; it must use religious forms to arrive at their unity, at its essence; and we did not want to show what Rosicrucianism looks like, but through it we wanted to show the perspective to the one core of truth in all religions. And this is precisely the true mission of the Theosophical movement.

In the program book, there are five drawings. These are the motifs of the first five of the seven capitals mentioned above, converted into vignettes. In these five drawings, too, there is something of what is called “occult writing”. Those who immerse themselves in the line forms and figures with all their soul will inwardly perceive something of what are known as the important states for the knowledge of human development (Saturn, Sun, Moon, Mars and Mercury states).

This should describe the intentions of the conference organizers in preparing the framework within which the festivities were to take place. The venue for the event was the Tonhalle (Kaim-Säle), which seemed particularly suitable for this event.

The account of the proceedings of the congress must be preceded by the expression of the deepest dissatisfaction felt by all the participants at the presence of Mrs. Besant. The much-admired woman had just returned to Europe after spending two years in her Indian field of activity; and Munich was the first place where the European members were allowed to greet her again and hear her powerful speech. The German committee of the Congress had invited Mrs. Besant to preside over the honorary committee; and so the esteemed leader gave the assembly its consecration and imparted to it the mood that her whole being radiates to all those around her and to whom the magic of her words penetrates.

Our visit to the congress was a thoroughly satisfying one. We had the great pleasure of welcoming many members of the other European sections, as well as those of the Indian section. The members of the German section were present in large numbers. Officially the British Section was represented by its General Secretary, Miss Spink; the French Section by its General Secretary, Dr. Th. Pascal; the Dutch Section by its General Secretary, Mr. Fricke; the Italian Section by its General Secretary, Prof. Dr. Penzig; the Scandinavian Section by its General Secretary, A. Knös; and the Hungarian Section by its General Secretary, D. Nagy.

The opening of the congress took place on May 18, 1907 at 10 o'clock in the morning. It began with a musical introduction. Emanuel Nowotny played the Toccata in F major by Joh. Seb. Bach on the organ. — Thereupon the Secretary General of the German Section had to greet the participants on behalf of the German committee. He greeted Mrs. Besant and emphasized the significance of the fact that the Munich Congress enjoyed her visit. After greeting the representatives of the other sections and the German visitors, the speaker spoke words of love, appreciation and thanks to the founding president H. S. Olcott, who had passed away in February. In this opening address, reference was also made to the comprehensive mission of the Theosophical movement in the spiritual life of the present day, and the necessity was emphasized that the cultivation of spiritual life must form the basis of the Theosophical work. After that, the representatives of the European sections and the other fields of work spoke: from England (Mr. Wedgwood), from France (Dr. Th. Pascal), from the Netherlands (Mr. Fricke), from Italy (Prof. Penzig), from Scandinavia (Mr. A. Knös ), Hungary (Mr. D. Nagy), Bohemia (Mr. Bedrnizek), Russia (Miss Kamensky, Mrs. Forsch, Miss N. v. Gernet), Bulgaria, Belgium (and 2 others).

As at previous congresses, each speaker spoke in his or her national language.

Mrs. Besant then took the floor to greet the German section and to emphasize the essence of the Theosophical movement, as well as to point out in a few forceful sentences the spiritual life and its fundamental importance for society.

The Saturday afternoon was dedicated to lectures and talks by Mr. Alan Leo, Dr. Th. Pascal, Michael Bauer, Mr. James Wedgwood and Miss Kamensky. Mr. Alan Leo read his essay on 'Astrology and Personal Fate'. It dealt with the esoteric nature of astrology and spoke luminously of free will in relation to predetermined fate, showing the way in which planetary forces influence human life. Dr. Th. Pascal set out the results of his long inner research in the theosophical field in a thoughtful essay. It was fascinating to follow the subtle arguments of intimate trains of thought. Michael Bauer spoke about the relationship between nature and man. This very meritorious leader of our Nuremberg branch showed in his soulful and spirited way how the inner essence of nature and man's own inner being are interlinked in their depths. Mr. Wedgwood read his essay on “The Value of the Theosophical Society”. He explained how the study of occultism elevates man to an awareness of his higher destiny by giving him a knowledge of his place in the world process. What matters is the perspective that occultism gives the human soul. (No summary of the contents of the individual lectures and papers will be given here, as these will appear in detail in the “Congress Yearbook”. Miss Kamensky read her fascinating paper on “Theosophy in Russia” that same afternoon. Her brief but meaningful remarks showed how many Theosophical ideas are to be found in Russian literary and intellectual life. The work was a prime example of how to identify the seeds in a nation's intellectual life that only require spiritual light in order to grow into theosophy in the right way. The first day of the congress came to a close with the artistic performances of the evening. Joh. Seb. Bach's Prelude and Fugue in B minor, performed by Emanuel Nowotny on the organ, opened the evening. Marie von Sivers then recited the monologue from the beginning of the second part of Goethe's Faust, “Des Lebens Pulse schlagen frisch lebendig...” as an example of poetry arising from esoteric sources. The two members, Mrs. Alice v. Sonklar and Toni Völker, presented Robert Schumann's “Pictures from the East” on the piano, which seem quite suitable for promoting mystical moods. Miss Gertrud Garmatter then sang two songs by Schubert in her charmingly sensitive way: “To Music” and “You are the Peace”. And Miss Toni Völker concluded the evening with her beautiful artistic performance on the piano: Scarlatti's “Pastorale and Capriccio”.

On Sunday, May 19, the morning assembly was introduced by the atmospheric Trio in E-flat major by Joh. Brahms (1st movement), played by Miss Johanna Fritsch (violin), Marika v.Gumppenberg (piano) and Hermann Tukkermann (French horn). Mrs. Besant then gave her momentous lecture: “The Place of Phenomena in the Theosophical Society.” She explained the role played by phenomena through H.P. Blavatsky at the beginning of the Theosophical Society, and how important they were at a time of doubt about higher worlds. She emphasized how the observation of phenomena related to higher worlds can never be dangerous if approached with the same spirit of research that is applied to observations in the physical world. She emphasized how little good it would do for the Theosophical Society if, for fear of the danger posed by psychic powers, it left the pursuit of the goal of “studying those forces in the world and in man that are not accessible to sensory observation” to other societies. It would be quite impossible to convey the manifold content of this lecture within the framework of a short report. Therefore, as with all earlier and later lectures of the congress, reference must be made to the “Yearbook” of the “Federation of European Sections”, which will appear following this lecture.

The second lecture of the morning was Dr. Rudolf Steiner's lecture on “The Initiation of the Rosicrucian”, in which the method of attaining knowledge of supersensible worlds in the sense of esotericism, which has set the tone in the West since the fourteenth century, is discussed and at the same time the necessity of these methods for the present period of development of humanity is shown.

On Sunday afternoon (5 p.m.), Edouard Schuré's “Sacred Drama of Eleusis” was performed. The German organizers considered this performance to be an especially important part of the congress. After all, it was able to show in an impressive way how theosophical ideas and feelings come to life in true, high art. Edouard Schuré is the great French artist and writer who, through his works in so many directions, communicates the theosophical spirit to our contemporaries. Schuré's works 'Les Grands Inities' (the great initiates) and 'Sanctuaires d'Orient' (the sanctuaries of the Orient) are completely 'Theosophy in the noblest sense of the word'. And Schuré's theosophical way of looking at things is fully transformed into a vital creative power when he works as an artist. He has that relationship between imagination and fantasy that is the basic secret of all great art. Edouard Schuré's truly mystical drama “The Children of Lucifer” is a shining example of how a world view striving for the heights of knowledge is completely transformed into artistic figures. Only a mind of this kind could undertake what Schuré did, to resurrect the “sacred drama” of Eleusis before the soul and the eye of the present man. This drama leads us to the door of that ancient time, where knowledge, religion and art still lived in one, where imagination was the faithful witness of truth and the sacred guide to piety; and where the reflection of imagination fell on this imagination in a transfiguring and revealing way. In Edouard Schuré there lives a modern artistic soul, in which the light of that mystery time shines, and so he was able to recreate what the priestly sages showed the audience in the “Drama at Eleusis” in Greece's distant past: the deep mystery of the world, which is reflected in the meaningful events of Eros' seduction of Persephone and her abduction by Pluto; of Demeter's pain and the advice she from the “Goddess of Transformations”, from Hekate, to go to Eleusis; from Demeter's initiation of Triptolem to the priesthood in Eleusis; from Triptolem's daring journey into Pluto's realm to the liberation of Persephones and from the emergence of a “new Dionysos”, who arises from Zeus' fire and the light of Demeter through the sacrifice of Triptolemos.

The congress organizers tried to present the drama evoked by Schuré to the visitors in German. It was made possible by the dedicated work of a number of our members and by the beautiful, loving kindness of Bernhard Stavenhagen, who created a wonderful musical accompaniment to the Schuré drama. Stavenhagen sent a musical introduction to each of the four acts, which prepared the audience for the dramatic action in an atmospheric way. With true congeniality, this important composer has absorbed the basic motifs of the mystery and rendered them musically. This musical performance was received with great enthusiasm by the participants of the congress. The willingness to make sacrifices with which members of the German section worked on this performance can be judged from the fact that all the roles were played by members. Miss v. Sivers played the part of Demeter, Miss Sprengel was Persephone, Miss Garmatter Eros, Frau v. Vacano Hekate, Mr. Stahl Pluto; for the part of Triptolemus we were able to the participation of our member, the excellent actor Mr. Jürgas, who created an impressive figure; Baroness v. Gumppenberg played Metanira, Dr. Peipers played Zeus, and Miss Wollisch played Dionysos. These are only the main roles, however; the choruses that intervene in the plot were also composed of members. Special recognition must be given to our esteemed member, Mr. Linde, who took on the laborious task of creating the decorations.

The morning of Monday began with the recitation of Goethe's poems “Song of the Spirits over the Waters” and “Prometheus” by Richard Jürgas, whom the participants now got to know as an excellent reciter, just as they had become acquainted with his acting skills the night before. Then the participants had the great joy of hearing the second lecture by Mrs. Besant, in which she spoke about the relationship of the Masters to the Theosophical Society. From her rich spiritual experience, she described the relationship of great individuals to spiritual progress and the way such individuals participate in the progress of the Theosophical Society. It is also impossible to give a picture of the far-reaching content of this lecture in a few words. Again, we must refer you to the Yearbook for more information. After this lecture, our member Frau Hempel delighted the participants with an excellent performance of her vocal art. This was followed by a lecture by Dr. Carl Ungers, who spoke very interestingly about working methods in the theosophical branches and explained the relationship of the non-clairvoyant theosophist to the messages of the clairvoyants, showing how the writing “Theosophy” by Dr. Rudolf Steiner can provide a basis for shaping this relationship in the right way. Later that morning, Mrs. Elise Wolfram gave her lecture on the occult basis of the Siegfried saga. She showed subtly and vividly how the deeper spiritual development of Europe is expressed in the myth, how Germanic and even older mystery wisdom has taken shape in Siegfried. The speakers' insightful interpretations were suitable for allowing the audience to enter into the mysterious life of part of the Nibelungen saga.

In the afternoon, Mrs. v. Gumppenberg read Mr. Arvid Knös's essay, “Absolute and Relative Truths”; then Dr. Rudolf Steiner gave his lecture, “Planetary Evolution and Human Evolution”. He described the development of the earth through three planetary conditions that preceded its present form and then pointed to the connection between the development of the earth and that of man. He also showed how one could know something about the future of development.

The evening was again devoted to purely artistic performances. The Sonata in G minor by L. van Beethoven was performed by Chr. Döbereiner (cello) and Elfride Schunk (piano). Afterwards, Gertrud Garmatter's excellent singing performance could be heard again (two songs: Weylas Gesang by Hugo Wolf and Frühlingsglaube by Franz Schubert). This was followed by solos for viola da gamba with piano, namely ı. Adagio by Händel and 2. the Aria con variazioni composed by A. Kühnel in 1645. Both pieces were performed by Chr. Döbereiner (Viola da Gamba) and Fräulein Elfride Schunk (piano). A brilliant performance on the piano by the Italian member Mr. Kirby closed the evening.

On Tuesday morning, the program began with Johanna Fritsch and Pauline Frieß performing the “Adagio from the Violin Concerto” op. 26 by Max Bruch. Mr. Richard Jürgas then recited some poems full of intimate feeling and mystical moods by our dear member Mia Holm. -— The rest of the morning was filled with a free discussion on the topic: The necessity of cultivating occultism within society. Mr. Jules Agoston from Budapest, Bernhard Hubo, Ludwig Deinhard, Dr. Carl Unger, Michael Bauer, D.Nagy, Mr. Wedgwood, Miss Severs and Mrs. Elise Wolfram took part in the discussion. The discussion was introduced by Jules Agoston, who emphasized the necessity of maintaining the spiritualist experiment; following on from this, Bernhard Hubo developed a contrary point of view based on his many years of experience; Ludwig Deinhard discussed the necessity of acquainting theosophical circles with scientific attempts to penetrate into the deeper foundations of the soul. It is impossible to report here on the rich and varied addresses of the above-mentioned speakers. Nor is it possible to do so with regard to the stimulating points of view that Mr. Nerei from Budapest gave in the afternoon during the discussion on “educational issues”. Following these points of view, Dr. Rudolf Steiner also spoke about education. — Mrs. Douglas-Shield spoke about the relationship between “Theosophy and Christianity”.

The closing act of the congress took place on Tuesday at 9 p.m. It began with the spirited and heartfelt Adagio in D major by our dear member and head of the Stuttgart lodge I: Adolf Arenson, which was performed by Mr. Arenson himself (piano), Dr. Carl Unger (cello) and Johanna Fritsch (violin). This was followed by: Tröstung (Consolation) by Felix Mendelssohn-Bartholdy, performed by Hilde Stockmeyer, Ave verum by Mozart performed by Gertrud Garmatter, the recitation of a poem by Mrs. Ripper, solos for violin by J.S.Bach, by Johanna Fritsch and Pauline Frieß, and variations on the chorale Sei gegrüsst, Jesu gütig, for organ by J.S.Bach, by Emanuel Nowotny. The Congress then drew to a close with short closing addresses by the representatives of the individual sections: Mr. Wallace spoke for the British section, Mlle Aime Blech (representing Dr. Pascal, who had to leave earlier due to his state of health) for the French section, Mr. Fricke for the Dutch section, and Prof. Dr. Penzig for the Italian section. Mrs. Besant then addressed some deeply moving words to the participants, and finally Dr. Rudolf Steiner spoke the closing words, in which he thanked the participants, especially those from foreign sections, for coming, and also expressed his warmest thanks to all those whose selfless work had made the congress possible.

And these thanks must be expressed to many, especially to Miss Sofie Stinde, who, as secretary of the congress, has done tireless and important work; to Countess Pauline Kalckreuth, who has worked tirelessly on all the preparatory work and tasks. Above all, we have these two to thank for the fact that we were able to pursue the above-mentioned intentions at all, and that we were able to achieve what has been achieved. Adolf Arenson took care of the musical part of the program. Our dear member Clara Rettich devoted herself selflessly to the task of painting the seven apocalyptic seals according to the occult instructions given to her; in the same way, Karl Stahl took on the task of painting the seven pillars in the hall. It is impossible to mention all the numerous workers individually by name. But it should not go unmentioned that dear members had set up a buffet in an adjoining room and did the necessary work, which greatly enhanced the convivial get-together, through which members are to come together after all.

Dr. Rudolf Steiner was authorized, at his request, and indeed unanimously and out of the enthusiasm of the audience, to thank Monsieur Ed. Schuré, the poet of the “Drama of Eleusis”, and Bernhard Stavenhagen, the composer of the musical part, on behalf of the congress.

The sculptures by our highly talented member, the sculptor Dr. Ernst Wagner, who strives for the highest artistic goals, were an excellent artistic presentation for the congress. The sculptures he provided for our exhibition were placed in the area around the main hall, and, with the red wall of the hall providing an atmospheric background, they had an inwardness. The following works of art were present: Portrait bust, Woman praying, Portrait bust, Relief for a sepulchral chapel, Bust, Sepulchral relief, King's child, Dissolution, Sibyl, Relief for a sepulchral niche, Portrait bust, Pain, Christ mask, Mask “Death”, Bronze statuette. Except for these works of art, only the following could be accommodated in the main hall: the interesting symbolic painting “The Great Babylon” by our member Mr. Haß, which was placed above the boardroom, and a carpet by Ms. Lehmann, which fascinating utilization of mystical ideas in the applied arts, and finally a relief by M. Gailland depicting Colonel Olcott, and a sketch of H.P. Blavatsky by Julia Wesw-Hoffmann.

The exhibition of a series of artworks and reproductions of such artworks that have a particular connection to theosophical thought took place in the adjoining room. Here you could see: etchings by Hans Volkert; reproductions of two pictures by Moreau; reproductions of two pictures by Hermann Schmiechen; a statuette: The Master, by Heymann; a picture: From Deep Distress, by Stockmeyer; reproductions of various pictures by Watts; three reproductions of works by Lionardo; pictures by Kalckreuth the Elder, by Sophie Stinde (landscapes); by Haß (After the Storm, Fairy Tale: The King's Daughter, The Storm Cloud, Five Fir Tree Studies); a reproduction of Knopf, the painter. The next congress of the Federation will take place in Budapest in two years (1909), at the kind invitation of the Hungarian members.

The first lectures on spiritual science in Munich were given by Rudolf Steiner in November 1904 at the invitation of the two leaders of the later Munich main branch, Sophie Stinde (1853-1915) and her friend Pauline Gräfin von Kalckreuth (1856-1929). Sophie Stinde, sister of the then well-known writer Julius Stinde and a talented landscape painter herself, from that point on put all her strength into the service of Rudolf Steiner's movement; in his own words, in a truly “exemplary” way. “There is so much,” he said at her cremation ceremony, ”when the path of spiritual work is taken, which must be placed in human hands, of which one can be sure that they will carry it out in such a way that one might not even be able to carry it out oneself... And Sophie Stinde was one of those people who helped in the most vigorous way when action was needed (Ulm, November 22, 1915, in library no. 261 “Unsere Toten” [Our Dead]).

In this way, Sophie Stinde not only built up the actual Munich work, but she also became - renouncing the practice of art she loved - the main bearer of the organizational burden for the large Munich events: the Munich Congress in 19 07 - to whose art exhibition some of her landscape paintings also belonged - and the summer festival events that emerged from it, held annually from 1909 to 1913, with the premieres of Rudolf Steiner's mystery dramas. In this context, however, she was also the “first” to have the “bold” idea of tackling the realization of the central building, in accordance with Marie Steiner's statement. She created the necessary documentation to enable the project to be developed, and thus became the founder and first chairwoman of the Munich and then the Dornach building association.

When Rudolf Steiner spoke at the building site in Dornach for the first time since her death, he said that it was only through her deep artistic sense that she, who was “most intimately connected” to the building, was able to “unfold the will that then spreads and takes hold of many, the will for development that finds expression in this our building.” Sophie Stinde was among the very first to whom the idea of this building arose, and one can feel that we would hardly have found the way to this building from our Munich mystery thoughts if her strong will had not been at the starting point of the idea of this building.” And continuing, he said: ”Her place in the outer physical world will be empty in the future. But for those who have learned to understand her, the idea of exemplary, dedicated, sacrificial work within our ranks will emanate from this place. And this idea must live in particular in the rooms under the double dome, in the rooms in which Sophie Stinde's soul already worked during her earthly incarnation as her co-work. If we grasp our relationship to her in the right sense, it will be impossible to turn our gaze to our forms without feeling connected to her, who turned her gaze first and foremost to him to whom she dedicated her own work and in whom Sophie Stinde's soul will continue to work.” (Dornach, December 26, 1915, in Bibl. No. 261 ‘Our Dead.’)

The following chronicle illustrates how Rudolf Steiner, together with Marie von Sivers and the Munich friends, carefully prepared the 1907 congress over a long period of time in order to inaugurate the renewal of the mysteries in the modern Rosicrucian sense, in the spirit of harmonizing science, art and religion. The dates, however, mark only the most essential points in the context of the congress preparations. In between, Rudolf Steiner constantly traveled all over Germany to give lectures at various locations.

June 1906
The 1907 congress is to take place in Germany.

This was decided at the third congress of the Federation of European Sections in Paris on June 3-5, 1906.

June / July 1906
Marie von Sivers' initiative to combine the congress with a mystery play

Marie von Sivers had already conceived the idea of staging a mystery play at the congress while she was still in Paris, as can be seen from the letter to Schur dated July 18, 1906, quoted below: “The Sacred Drama of Eleusis” in Edouard Schure's reconstruction. Schure had just met Rudolf Steiner and Marie von Sivers in person for the first time in Paris, after Marie von Sivers had already corresponded with him for seven years. It was through him that she had become aware of Theosophy and had thus met Rudolf Steiner in Berlin in 1900. Marie von Sivers wrote the letter quoted below from Landin in Mark Brandenburg, where she was staying with Rudolf Steiner and a few other friends for a short rest. Sophie Stinde, who had been appointed secretary of the congress, and Countess Kalckreuth, who had been appointed treasurer, also came there to “discuss the affairs of the Munich Congress with Dr. Steiner and Fräulein von Sivers.” The easiest opportunity for this is there... There will be a winter full of exhausting work. Pentecost is very early next year.” (Sophie Stinde to Ludwig Kleeberg, July 5, 1906.

Marie von Sivers to Edouard Schuré, from Landin, July 18, 1906: ¹

”... If the inn near your house still exists, it would be nice to see you again and rest a little in your surroundings. Then you could talk to Dr. Steiner instead of asking him questions in writing. And we could talk about staging your mystery drama. For example, the Persephone scene with the choir of nymphs in the chapter on Plato is a very beautiful prelude to the Eleusinian mystery. We have a member in Stuttgart who is very earnest and very musical.² Perhaps Theosophy will inspire him to compose the choruses. They would deserve it..."

September 1906
The Eleusis performance is discussed again with Schuré.

Rudolf Steiner and Marie von Sivers stay with Schuré in Barr in Alsace for five days.

”... Stimulating conversations took place during the walks to the ruins of old castles, to Mont St. Odile, to the Heidenmauer. It was there that I, moving from a review of the time of the Druid mysteries to the Greeks, dared to ask Schur& the question that Dr. Steiner, as far as he was concerned, had already answered in the affirmative: whether we might dare to present his drama of Eleusis at the congress to be held in Munich next year. Schure was very pleasantly surprised...

October 1906
The time and place of the conference and its form are officially announced.

At the general assembly of the German Section in Berlin on October 21, 1906, Rudolf Steiner announced the proposal to hold the congress in Munich for “purely practical reasons,” since “only there” were the suitable forces available “for the long and demanding work.” Pentecost seemed the most appropriate time.

In answer to a question about the organization, he replied that all previous congresses should be seen as “experiments”. The task of the German Section should be to bring everything into “intimate harmony”, so that works of art, music and speech interact with the rest of the arrangements in a way that evokes a particular mood and resonates with it, striving to “evoke the ancient mysteries”, which is why the performance of a mystery play is planned.

October / November 1906
The exact congress schedule is drawn up and the necessary rooms are rented. The mystery play is to be performed by members of the society under the direction of Rudolf Steiner.

From October 27 to November 6, 1906, Rudolf Steiner gave three public lectures in Munich and a cycle of eight lectures for members of the Society. Marie von Sivers reported on it Edouard Schuré:

"We have just returned from Munich, where Dr. Steiner gave one of his cycles entitled ‘Theosophy as Illustrated by the Gospel of John’. It was magnificent. During the twelve days we were there, we also drafted the plan for the congress and rented the halls. They are to our taste – dignified, spacious, well-proportioned and free of ornamentation, so the decoration will be our responsibility. We can try to approach the idea of a temple. The stage is also large, and we will be far enough away from the audience to achieve the illusion of mystery, which is very important to us. Now we would like to ask you for permission to perform “The Sacred Drama of Eleusis”, not with actors, but by distributing the roles among members of our society. Dr. Steiner does not want any 'theater routine'; he will be our director and open up the deeper meaning of our roles for us. Since he can do everything, he will be able to do that too. He will also know how to select those who have special abilities for certain roles with a sure eye. I believe that you are not taking much of a risk, especially since the performance will not be public. Only members of the Theosophical Society will be present and the newspapers will not interfere. Only in the event of an unexpected success could one consider repeating the performance in public, provided you agree.

Now, as you said yourself, some changes would have to be made and then the finished translation given to the composer. So we have to get to work right away, because the congress is taking place at Whitsun (on May 19). Sometimes, when you take things in hand with energy and goodwill, the stars come to your aid. They inspire us and send us the good spirits. Who knows whether such an undertaking, carried out with courage and faith, might not open the door to greater successes. If you are not active yourself, you cannot expect others to take risks. Of course, you have to be prepared for a huge task. If you refuse, Dr. Steiner himself will write something in the spirit of the ancient mysteries, because we value mystery; but we would very much like yours.

It is true that Dr. Steiner wants to give me the role of Demeter, and that frightened me. I would have chosen Persephone rather than the mother of the gods. But Dr. Steiner says that this mother must have something of a nun about her and that even my mouth is particularly suitable for this role, but not for that of Persephone. I can't exactly be the one to resist; I just think that I now have the most difficult role and at the same time the one on which most depends. Above all, the scene between Zeus and Demeter would have to be changed, because it is not written for profane people, and perhaps the narration of Hecate, when she announces the will of Zeus to Demeter, would also have to be retouched a little, because in German the things are immediately much rougher.

Perhaps one could also string together individual scenes with living pictures or pantomimes, interrupted by music. In the big scenes, the choruses of the nymphs, the blessed and the mystics must alternate beautifully with the spoken word.

Of course you are overworked, I know that. But maybe the genius of the drama will take hold of you and you will succeed in combining it into a whole, which is created in individual parts.

I often return in thought to the peaceful valley of the Vosges, where we found such warm and understanding hospitality. I hope to see you and Madame Schure in Munich... If you only knew how Dr. Steiner has to work! I don't think anything like it has ever happened before...

December 1906 to February 1907
The congress program is printed and sent out.

December 8: Rudolf Steiner writes to Marie von Sivers from Stuttgart: “What about your translation of the Eleusinian Mysteries? We need to have it soon... At the beginning of January we must be able to send out the congress programs. So we will probably have to be in Munich then.

December 11th and 12th: Rudolf Steiner gives lectures in Munich.

December 20, 1906 and January 4, 1907: Rudolf Steiner and Marie von Sivers make a private stopover in Munich on a short vacation to Venice.

January 13: Marie von Sivers writes to Edouard Schuré:

”... I understand your horror at the thought of our undertaking. I share your fear, only I have the impression that there is a necessity here. It is as if it had to happen. For us, it is a sword of Damocles hanging over the Congress, because we have now linked it in an organic way with a mystery play, and all the coincidences and potential misfortunes that threaten this performance also threaten our Congress. But we have to stick our necks out and take on the burden, without, however, losing sight of the stars. The composer has not yet said his last word, but the idea inspires him. He is now in the process of reading the work. It is Mr. Stavenhagen in Munich...

January 21: Letter from Rudolf Steiner to Marie von Sivers in Erlangen regarding the congress program.³

”... I am sending you the congress program. I have now finished it in a state that can be sent to the printer... Please have it printed immediately and exactly according to the manuscript...

I escaped for a few hours here in Erlangen today. I couldn't get off anywhere on the way from Karlsruhe to Nuremberg, and if I had been in Nuremberg this morning, you probably wouldn't have received this urgent congress matter either. Because wherever it is, the people are always there.

Please give the printer a copy of the Congress Program from last year so that he doesn't make an impossible size. And impress upon him that he should really make the text in two columns – facing each other – German-English, as it is in the manuscript.

Key passages from the program text:

The intention of the congress program is to express a unified theosophical idea. Since the theosophical worldview represents an ideal of the 'future, it is self-evident that such an idea cannot be fully expressed in the present. But perhaps it can be achieved through the organization and distribution of what is to be presented that in the whole of the congress the Theosophical guiding principles: concentration and clarity of ideas, and in particular the Theosophical mood: calm and inner composure, are expressed.

The content of the events should include: lectures in the field of the Theosophical world view, artistic performances, purely social gatherings.

The artistic performances should be chosen from the fields of visual, musical and poetic art in such a way that the individual pieces combine with the Theosophical world view to form a harmonious whole. Therefore, an attempt should also be made in one of the events to present a mystery in a dramatic way.

Essays and lectures

These will, in accordance with the practice of the congresses to date, cover:

1. All matters relating to brotherhood and the great goals of society.

2. Religion, mysticism, philosophy and science.

Including:
a) comparative religious studies,
b) mythology,
c) folklore,
d) art history,
e) historical, etc.

3. administration, propaganda, etc.

4. occultism.

The papers should be in the hands of the Secretary of the Congress by April 10. They can be written in any of the languages of the federated sections.

The visual arts

The intention is to link everything that is to be presented in this field with the entire event to create a harmonious whole. Therefore, an exhibition will not take place in a separate room, but in the spacious and pleasant congress ballroom itself. And in the choice of the works of art to be exhibited, as well as in the decorative connecting elements, a harmony is to be created that will provide a basic mood for the rest of the room. Therefore, from the fields of fine art and arts and crafts, only those achievements will be considered that fit into the framework thus defined. However, the underlying idea will be so broad that it will encompass many things.

Music

The musical performances will be in keeping with the other events and, where possible, at least in spirit, related to the Theosophical world view. They will also take place in the congress hall itself.

The Poetic Arts

These are to be emphasized through recitations and a stage presentation with a mystery play character. It is to be hoped that the efforts of the German committee will succeed in overcoming the great difficulties that this part of the program in particular will present. But it would still be desirable if, even on a modest scale, it could be shown how the Theosophical world view is able to invigorate the artistic.

The important thing about all these events is to express that 'Theosophy must not remain just a sum of theoretical views, but can be transformed into something that can be perceived by the senses and that is in keeping with the mood. In this way, it must indeed have a fertilizing effect on the rest of culture.

January 25-26, 1907: Rudolf Steiner returns to Munich for two public lectures.

February 17: Death of the founding president of the Theosophical Society, Henry Steel Olcott.

February 25: Rudolf Steiner writes to Marie von Sivers in this context:

“... However things turn out, everything will be fatal for the T. S. [Theosophical Society], but not unfavorable for the spiritual movement. Even the decline of the T. S. as such must not frighten us in any way...” (Library Assn. Nr. 262, page 106).

March 17-19: Rudolf Steiner is in Munich again and gives lectures.

April/May 1907
The rehearsal period in Munich and the design of the hall

April 6: Rudolf Steiner and Marie von Sivers arrive in Munich. In between, Rudolf Steiner travels alone to Berlin for a short time to arrange the necessary matters for the upcoming election of the new president of the T.S.¹ On April 29, he returns to Munich. During the six-week stay, work continues non-stop on the performance of the drama and the decoration of the rooms. Marie von Sivers translates the drama into prose, which Rudolf Steiner then sets to free rhythms. He distributes the roles, directs and the scenery and costumes are also made according to his specifications. He supervises the decoration of the hall, draws sketches for the planetary seals, sculpts the capitals for the planetary seals for the actual congress program, and so on.

May 18-21, 1907 (Whitsun)
The congress as an attempt to renew Western mystery

The conference, with approximately 600 participants, was opened at 10 o'clock on May 18 by Rudolf Steiner, who was serving as the president of the conference. Annie Besant, as honorary president, spoke after the various general secretaries. During the artistic evening event, Marie von Sivers recited the Ariel scene from Goethe's Faust, Part J.

On Pentecost Sunday, May 19, Rudolf Steiner will give his first congress lecture “The Initiation of the Rosicrucian” in the morning; in the afternoon at 5 p.m., the “Sacred Drama of Eleusis” will be performed, a mystery by Edouard Schur with music by Bernhard Stavenhagen.

The following overview was enclosed with the program:

Short summary of Edouard Schuré's Sacred Drama of Eleusis

Presented at the Congress of the Federation of European Sections of the Theosophical Society on May 19, 1907.

1. Prologue: Persephone is admonished by her mother Demeter not to let Eros move her to pluck the seductive Narcisse, but to weave at the veil of the world, in which the destinies of the world down to chaos are incorporated, but not yet the conscious life of men. The nymphs act as a warning element, they seek to persuade Persephone to fulfill the vow. Eros appears as a seducer. Persephone plucks the Narcisse of “desire” and can thus be stolen by Pluto.

Act 1, Scene 1. Demeter appears before Hecate, lamenting her pain and asking about her daughter's whereabouts. After she has heard that she has been abducted by Pluto, she wants to know where she can live among a free people and give herself over entirely to her grief. Hecate directs her to Eleusis, where the king has just died. In order to enter there unrecognized, she is transformed by Hecate into an old beggar woman.

2nd scene. Metanira, the widow of the deceased king of Eleusis, is surrounded by her three daughters, who are mourning their father's death; but she herself is only concerned that her son Triptolem should persuade the people to elect him as his father's successor. He does not want to obtain the crown by persuasion, but only to have it if the people choose him without influence. (Act 3.) Then Demeter enters (Act 4) in the guise of an old beggar woman. She is well received by the daughters and by Triptolemus, but sharply rejected by Metanira. Since Demeter (Act 5) speaks to Triptolemus alone, sparks become visible under her robe. She tells Triptolem about the loss of her daughter, and he promises to descend into the underworld to bring her back. Demeter recognizes his great nature and says that she wants to make him “the most divine of heroes”. She touches him, causing a light to appear. Metanira rushes up (Act 6), cursing Demeter, who then reveals herself and ordains Triptolem as the future priest of sacrifice at Eleusis. Metanira, however, is expelled from the sanctuary. She therefore curses Triptolem.

Act 2. Pluto on the throne, next to Persephone. He wants to persuade her to drink from his goblet the fruit of the pomegranate. Lamenting shadows appear before Persephone, who is tossed to and fro by her fate. They want to prevent Persephone from enjoying the fruit. A chorus of demons wants to seduce her to do so. Triptolemus appears (Act 3) with Hecate to fetch Persephone.

Act 3. Zeus laments the fate of Persephone and Triptolemus, who is now also imprisoned by Pluto. He says that only Dionysus in a new form could accomplish the work of liberation. Demeter appears. Zeus tells her that a new Dionysus must arise to liberate the damned, and that this can only come about through his, Zeus', fire combined with Demeter's light. At first, Demeter does not want to accomplish this work because she does not want the Dionysus in his new form to be torn apart again by the wild Titans. But Zeus says: this Dionysus will be stronger. Demeter sinks into sleep. From her dream, the new Dionysus is created in union with the power of Zeus. Before he appears, a “choir of invisible blessed ones” solemnly proclaims the mystery of becoming. Then Triptolemus and Pythagoras appear in a chariot drawn by fiery dragons. Persephone recognizes in Dionysus the god with whom she has always been united through longing, Dionysus in Persephone the sister to whom he belongs for all eternity. Zeus sends Triptolem as an initiated priest to Eleusis. A choir of invisible heroes speaks of the secret of initiation.

The choruses are:

Nymphs:
O Persephone! O virgin!
Heaven's chaste bride
In thy veil thou weavest
The gods' bright forms
Earth's vain delusion
Be ever far from thee!
Truth's pure radiance
Only shine for thine eye!
In the empyrean lives for you
Dionysus, the consort,
Chosen by heaven itself
Like a distant sun's chaste ray
His kiss touches you only.
From your breath he lives,
In his light you breathe —
There is no greater good
To be found in the wide universe.
Do not think of that.
Withdraw from
the vain question.

Do not search further!
Escape dangers,
threatening to humans
and also to the gods.

O divine maiden!
It is only a dream,
but it becomes a being when When guilty desire
Weaves the veil further,
Calls it into your soul.
In radiance must fade
Heaven's bliss for you,
When the promise of salvation
Sounds in vain,
Forget what Eros unchaste
May reveal to you.

Unhappy one, stop.

Beware, Petsephone,
disaster can easily
arise from magic.

Choir of invisible demons in Tartarus

Persephones Besieger,
Dem großen Pluto,
Ihm sei Ehre!
Hell rejoices
At your wedding feast.
In a thousand bonfires
Tartarus glows.
Until now,
Earth's children escaped him
In their innocence.
They were too easy
For the realm of darkness.
But now, possessed by
the goddess of the heights,
in countless numbers
we shall conquer them for ourselves.
For they will draw
the errors of their lives
and the beauty of their forms
into our realm.
This must be populated
with vain shadows,
You Stryges, Harpies
You monsters, rejoice
In the tree of lies.
Glory to Pluto!
Hell trembles with joy
And will hold
Its prey
The dark Tartarus.

Forget, forget,
You shall drink
From this chalice
And give us
The drink to
Drink the strength of life
We desire
From this chalice!
It burns in us
Hell's thirst,
It alone
Can quench it.

Choir of Shadows

You see only souls in us
Bowed down by the power of misfortune,
Wandering on this shore,
We implore

Salvation, O Queen
From you, asking you

To lead us up
Into Elysium's fields.

Do not drink, Persephone,
The red blood
In the black chalice.
And let us rise
From Hekates' darkness,
Into the Elysian realm.

Choir of the Invisible Blessed

When in the realm of dreams the spirits float
The goddess of all earthly fertility,
Then powers of creation stream through the universe,
The fervor of the gods spiritualizes the world
And people tremble to the depths of their souls.
Creation struggles out of the twilight of the senses.
New divine beings come into existence.
Men shall bow in reverence
When the holy reign of the spirits is revealed.
Forms without number stream into life
When the eye of the god sends a glance
Into the immeasurable realm of space.
Worlds germinate out of nothingness into being,
They sink out of being into nothingness,
And thus create the gods' days,
As light and darkness do for men.
But you, seed of the abyss, you souls,
Who see yourselves scattered in the realm of the dead,
The control that was previously lacking to you shall
be given into your own hands! The fiery hearth from which you once arose, was hidden from your soul until now...It will now reveal itself to you! The power of the Mother of the Gods will give life to what the Father of the Gods forms. And from the living form shall arise The new God, the strong light bearer.
And you shall receive him in your souls,
So that from his power can change,
What was mortal in you, into immortal being.

Choir of Invisible Heroes

You witnesses of deeply hidden science!
What lies at the world's deepest bottom, In the depths of the heart as a secret treasure
This sanctuary must still be closed,
Like a gem that rests in the rock.
To carry the pure ray of wisdom into the world
Is the seer's high duty,
But to betray where it lies,<
May only he who wants to lose it,

Monday, May 20: Rudolf Steiner gives his second congress lecture “Planetary Evolution and Human Evolution”.

Tuesday, May 21: Rudolf Steiner speaks about educational issues in the morning and about the hall design in the afternoon. In the evening, the congress concludes with musical performances and closing speeches.

May/June 1907

Marie von Sivers reports to Edouard Schuré on the performance of his mystery

A vivid impression of the performance and the work problems is conveyed by what Marie von Sivers reported to Edouard Schuré, who had not come to Munich himself:

"Munich, May 26, 1907. This is the first day on which I have had a few quiet hours in my room; soon people will be flocking in, but I will try to give you, if not an aperçu, then at least a few scraps of information. My long silence before the congress was most painful to me. I did not dare to ask you to come, because if the event had failed, you would have experienced embarrassing moments and undertaken a long journey with hardships to receive unpleasant impressions. And then, until the last moment, we really did not know if we would make it. The obstacles were very great. You have to bear in mind that the actors came from different cities and were only able to come together very late. One of two ladies whom we regarded as our stars and who promised to be excellent in the roles of Persephone and Hecate had to leave to care for a sister-in-law in Brussels who had suddenly gone mad. ; the other became mentally ill herself, and for a week we had her here without being able to send her to her mother, from whom she inherited the illness and from whom she was tormented throughout her life. Finally, she had to be taken to a mental hospital; it was truly a catastrophe. So the chances of the performance being a success had become very slim. After much hesitation, we decided to try a very poor young girl who has an extremely difficult life and seems quite hopeless in moments of despondency because she lacks energy. She then sits down, puts her hands in her lap and says, “I can't do it to myself.” Fortunately, she could “offer” herself the role of Persephone. That had been the question. Then the spark that had once lain dormant in her was ignited, and she became happier every day. Her voice, which was initially very weak and always slid down into her chest, grew stronger every day; but it was only in the last week that we could be sure that she would be understood. Even now, this young girl is still completely transfigured and she still has the airs and graces of a princess. These days will have been the most beautiful of her life. On the whole, the rehearsals were a source of delight and harmony for many. We always had quite a number of listeners who could never get enough and who liked the play so much that they would have liked to hear it every day. The nymphs and the phantoms were very eager, but gave us a lot to do. All these people had never acted before. Except for Triptolem, who is a professional actor but a member of the company, and me, who used to perform in amateur theaters, none of our people had ever seen the limelight. Enthusiasm replaced everything. Metanira was disappointing. The one who was supposed to play this role had to take on the role of Hecate, and the new actress, a very clever lady, showed no understanding of the stage at all. The role of Triptolemus had initially been entrusted to a young man who really wanted to act, a very pleasant fellow who looked like an ephebe, but so bleak in his gestures and so incapable of any kind of upturn in his speech that for a while we thought we would have to give up on the whole thing because of him, until the actor who was originally supposed to play Pluto arrived and replaced him with some success. Dionysos was a delightful young girl, half Italian, half Polish, who was the last to arrive and initially spoke with an accent that made us jump. She was nice, but extremely clumsy, and the final apotheosis was in danger of falling through because of her. So we had to work with her intensively every day and teach her the essence of German pronunciation. As a result, my voice, already exhausted by a cough and constant speaking during rehearsals, was in such a state that during the last week I was completely hoarse and feared that I would not be able to speak at the performance, especially since I had no opportunity to take care of myself and withdraw from all my other obligations. Apart from my duties as secretary of the German Section and of the Congress Bureau, we had to organize, just for this performance: two painting studios (for the scenery), a tailor's studio (even the costumes were all made by our members according to Dr. Steiner's specifications), and finally two further studios where our painters worked on the decoration of the hall (of the later Temple, based on drawings by Dr. Steiner). There was a flurry of activity like an anthill – feverish haste everywhere, because people only plunged into the big expenses when they were really sure – more or less – that they could play.“

”May 28. Mr. Stavenhagen (who, by the way, is not Dutch) only finished his music three days before the performance and he didn't even make it to the planned final chorus. The music was beautiful, though; I don't know what the foreigners thought of it, but the Germans thought it was “like the harmony of the spheres”. And the acting company also thought it was very beautiful: dignified, strong and ethereal – thoroughly religious.

I believe that it was beneficial for the poetry not to be mixed with music. The beautiful preludes created a mood of religious contemplation; then the word alone prevailed and the idea could emerge all the more clearly.

The Germans were truly enthusiastic; they did not make banal compliments, but they were deeply moved by the drama itself and urgently requested a repeat performance; however, this was not possible. The foreigners were more critical and reserved, but as you yourself suspected, a large number of them came with hostile feelings, determined to resist the progressive spirit, to treat with irony what went beyond their understanding, and to reject anything they considered unorthodox. But it was strange to observe how gradually their resistance diminished, and some were finally moved. The Blechs and Mr. Pascal ³ will certainly never give up their reserved attitude, but the latter is at the end of his , and the Blechs are extremely narrow-minded; I also think that it has made a strange impression on them that we emphasize the importance of your work so strongly, while they have probably passed it by through their English education. Their feelings are therefore very mixed.

You were right to recognize Dr. Steiner's hand in the translation. I don't know why Mr. Sauerwein ⁴ told you that it was mine. Incidentally, I don't know Mr. Sauerwein and have never seen him. Mr. Steiner spoke to me about him as a theosophist whom he once met in Vienna, who was at the congress on the day of the performance and who is known to you. Since he went to Paris, he asked him to greet you from us. Perhaps Mr. Sauerwein saw the two works that I translated on the book table and concluded that I am also the translator of The Sacred Drama.

I did the prose translation and only here, over the last month, has Mr. Steiner set to work to bring it into rhythms. With what difficulties! He was constantly interrupted, constantly called upon. He would leave, come back for five minutes, continue his poetic work, and then leave again, called by someone else. He worked in all the arts and crafts, and instructed everyone: painters, sculptors, musicians, carpenters, upholsterers, actors, seamstresses, theater workers, electricians. If he had had the necessary materials and workers at his disposal, he would have achieved something fabulous in a short time: the temple of the future. As it was, he could only sketch out ideas, but they will have a fertilizing effect.

With all of this, the final scenes of the drama could only be completed in a moment that already seemed highly critical to me. I had faith that they would make it, but I didn't want to rely on it; it would have been foolhardy. It would have pleased and frightened me at the same time if you had written that you were coming, but I didn't dare encourage you to do so. One does not want to challenge the protecting spirits, but only cautiously ask for their help. What has amazed me most is that I have found my voice again for the performance – as calmly and confidently as if it had never been tormented by coughing and exhausted by tiredness."

"Kassel-Wilhelmshöhe, June 17, 1907. I... deeply regret not having sent you these sheets written in Munich, which I believed I would still be able to supplement in full detail. But every day brought something unexpected. For the cycle by Dr. Steiner in Munich, ⁵ About two hundred people had stayed, who simply blew us away. It was very difficult to leave. During the last days, we had ten people waiting to be received at nine o'clock in the evening. If we take the morning train, as in this case, we pack our bags between two and six o'clock in the morning without going to bed. Mr. Steiner then went directly from the train to a public lecture in Leipzig, and another followed the next day... On the morning of June 15, we had to take the train to Kassel, where a two-week cycle is now taking place....

^{6With the title “Theosophy and Rosicrucianism”, contained in Library No. 100 “Human Evolution and Christ Consciousness”.}

The Munich Congress as the starting point for the separation from the Theosophical Society

Rudolf Steiner's esoteric and artistic design of the Munich Congress also had a strong impact on social history. From the point of view of social life, it meant a large-scale attempt by Rudolf Steiner to place the Western-Christian-Rosicrucian esotericism, which he had advocated from the very beginning, in the international context of the 'Theosophical Society'. However, as he describes in his 'Autobiography' (see page 33 of this volume), this was rejected by the non-German Theosophists. This 'inner attitude' was the 'real' reason why the Anthroposophical Society could not continue as 'a part' of the Theosophical Society.

Due to the decline of the Theosophical Society, which Rudolf Steiner had already foreseen at the time, he had a long conversation with the new president, Annie Besant, during the congress, with Marie von Sivers as interpreter. Marie von Sivers later reported that in this conversation Rudolf Steiner had tried to point out to Annie Besant “in a warmly respectful but deeply insistent way” many things in this context and at the same time explain to her that from now on he was obliged to base his “own esoteric work, independently of hers, entirely on the soil of Western Christian mysticism”. She listened to this in silence.⁷ Rudolf Steiner himself once commented on this conversation to the effect that “Annie Besant said in Munich in 1907, in front of a witness [Marie von Sivers] who is always willing to testify to it, that she was not competent in relation to Christianity. And so, at that time, she ceded the movement to me, so to speak, insofar as Christianity was to be incorporated.” ⁸

Annie Besant wrote to the German Theosophist Wilhelm Huebbe-Schleiden on June 7, 1907, shortly after her return from Munich to London, in the context of this conversation: ⁹ “Dear Dr. Hübbe-Schleiden, Dr. Steiner's occult training is very different from ours. He does not know the Eastern way and therefore cannot teach it. He teaches the Christian Rosicrucian way, which is a help for some people, but it is different from ours. He has his own school and is also responsible for it. I consider him a very good teacher in his own direction and a man with real insights. He and I work in perfect friendship and harmony, but in different directions. Always your Annie Besant.” In reality, this ‘friendship and harmony’ was by no means as ‘perfect’ as Annie Besant expressed it in this letter. In the course of the following years, this became more and more apparent, until in 1912/13 the German Section of the Theosophical Society transformed itself into the independent Anthroposophical Society.

H.W.

• 1. Marie von Sivers and Edouard Schuré corresponded with each other in French. Translation by Robert Friedenthal.
• 2. Adolf Arenson, who did not write the music for the Eleusinian drama, but did write the music for Rudolf Steiner's four mystery dramas from 1910 to 1913.
• 3. This congress program must have been sent out soon afterwards. For the conference itself, Rudolf Steiner designed a different “programme booklet that was given to the visitors.” Pages 193-201 and Plate I of this booklet are reproduced in facsimile.
• 1. Immediately before the Munich Congress, H.S. Olcott's successor was elected. Annie Besant was elected.
• 3. Prominent French Theosophists.
• 4. Jules Sauerwein, who translated, among other works, “Secret Science”.
• 5. 22 May to 6 June 1907, announced in the Congress Program as “A Course on Theosophy according to the method of the Rose-Cross», printed under the title «The Theosophy of the Rose-Cross», Library No. 99.
• 7. Marie Steiner, Foreword to “Study Material from the Meetings of the Circle of Thirty, Stuttgart 1922/23”, private reproduction . Dornach 1947.
• 8. Rudolf Steiner, Address Berlin December 14, 1911, intended for Bibl.-Nr. 251; also contained in excerpts in “Aus dem Leben von Marie Steiner-von Sivers, Biographische Beiträge und eine Bibliographie” by Hella Wiesberger, Domach 1956.
• 9. The original letter in English is reproduced in facsimile in Emil Bock, “Rudolf Steiner, Studien zu seinem Lebensgang und Lebenswerk”, Stuttgart 1961.

Memorial notes by Eugenie von Bredow

Necessity for the esotericist to understand the plan that humanity is unconsciously working out under the guidance of the white lodge.

The humanity of the earth is its center, that which is important in this world. On many other worlds other entities are at work and the people of those worlds are like our higher animals. The people of the earth have been given the planet by the gods and are, so to speak, reshaping it. At first their development takes place on the plane of the sensuous - in the broadest sense of this word. For this it was necessary to train their intelligence so that logical thinking would unite people into one humanity.

The Atlanteans could not yet think; they were guided by the gods. The Aryans must become masters of their world from within themselves. Intellectually, the unity that excludes different views has already been achieved. There are no different views on the construction of a steam engine or the like. Science and its products, the harnessing of the forces of nature, the means of transportation have united the different races and nations into a single entity. Five thousand years ago: what a difference, for example, between the products of the Chinese and European peoples. Today, a certain bridge has been established even between these dying peoples and the Occident. A bishop of Bremen writes about the customs in the Mark in the 11th and 12th centuries, how animals were slaughtered and horse's blood drunk in religious cults. This was in eastern Germany, while cities were already flourishing in the west. $uch contrasts side by side would be impossible today.

However, mankind has only just begun to harness the forces of nature. This will change completely in the near future and into the next millennia. People will draw out the forces in the flowing water and make them useful to themselves, they will catch the powerful forces that lie in the sun's rays through powerful mirrors and know how to make them useful to themselves; they will learn to control the forces in the earth's interior that are now being triggered by volcanic eruptions and that originate from a powerful spiritual being in the earth's interior; the most marvelous machines will be devised by men to put all these triggered forces at the service of mankind, indeed they will get the magnetic power of the whole earth under their control, for the earth is but a great magnet whose south pole is at the north pole and whose north pole is at the south pole. Now they can only guide their ships by this force. When the changes of the earth were necessary in ancient times, the forces of the gods tilted the axis of the earth; in times to come, mankind will be able to turn the axis. The formation of the intelligence and logic of mankind is thus taking place more and more and brings about the unity of mankind in the sensual field.

The formation of the moral was first made possible by the gods through the ethical teachings of all the great religions. But a time must come when men will recognize the law of good as clearly as they do today the laws of logic. What is good and what is true in the spiritual realm can then no longer be a matter of opinion, as it is still expressed today by the various religions, by the formation of parliaments to resolve this or that legal issue. When people become aware that there is a good, a moral, which is as definite and clear as a mathematical theorem, then people will also have united in this area to form a humanity which has a completely different physiognomy from the humanity of today.

The fourth master, Christian Rosenkreutz, founded the Rosicrucian Order in order to lead people to this knowledge of morality, to reveal its laws to mankind, so that a multitude of people working consciously out of themselves in this field would arise. The different intellectual training of the West requires different teachings. In the East, the spiritual teachings given to the Indians by the ancient Rishi had a strong influence on the people. Christian Rosenkreutz and his seven disciples laid the foundation for the knowledge of the law of morality, so that it would not resonate in people as given by the religions, but so that the law, recognized as such, would awaken to individual life in each person. The truth in the areas of morality, morality and goodness should arise in people as something that is recognized and felt.

The work of the esoteric schools is to initiate this unity that binds people together into one humanity.

No explanations of this mantram have been handed down from the Theosophical working context. But in the lecture Leipzig, October 13, 1906, the following remarks were made that relate to the content of the mantram:

I spoke to you earlier about the fact that forces lie dormant in every human being that can be developed and that elevate him to a higher level of existence. Just as the physical world is perceived through physical organs, so the supersensible world can be perceived through supersensible organs. At that time, the means by which man can make himself see were given, albeit in fragments. Today, in order to lead over to our subject, we want to mention certain means that are used in inner schooling.

At each stage, new instructions are to be followed. What is discussed today is not enough on its own, but it is part of the process. On the path to becoming a disciple, an instruction is given that aims to help people develop a very specific relationship with the supersensible world, a moral relationship. At the first stage, the human being must realize that just as he is a sentient being, so too are animals sentient beings. However, just as the human being has an individual soul, so the animal groups have a generic soul. Thus, all lions, all sharks, all frogs, and so on together have a soul. In other words, while the human being has the soul within, the animal souls, which are, as it were, the psychic connecting threads of the animals, extend into the astral world, and there are the community souls of the animal groups. When a person is hurt, he feels it alone. But if you hurt the lion, the group soul, which does not live on the physical plane but on the astral plane, feels it.

The training is now aimed at developing a relationship, a relationship of feeling, with the animal souls on the astral plane. Here is an example of this: in some areas, the ancient Germans revered the horse. They planted a horse skull as a symbol on their houses. The choice of such a symbol shows that they had a very specific relationship with the horse. Where did this come from? The horse only came into being at a very specific time. In the middle of the Atlantean era, this species of animal appeared, of course, little by little. This coincided with the development of wisdom. Even if man did not make this particularly clear to himself in terms, he had a comparatively attraction to the horse like the lover to the beloved. Even today, the Arab has a special relationship with his horse. Some indications can be found in mythology. Thus, the cleverness of Odysseus devised a wooden horse. In this sense, man will develop a feeling for the generic soul of the various animals. When this becomes conscious, then the relationship to the astral plane begins to emerge.

In this way, a moral relationship with the plant world can also arise. The occultist not only sees the beauty of the plant, but also feels something like a smiling or sad countenance. There is a great deal to be gained from this moral feeling. If you develop such a moral relationship, you will enter into a relationship with the lower region of the Devachan plan.

You can also develop a fine sense for the dead stone world. Rocks have a group soul on the Devachan plan, just as animals have a group soul on the astral plan. The souls of minerals live in Devachan. That is why they are not accessible to humans. Just as the fly that walks over our hand has no idea that there is a soul behind it, so people do not know that stones have souls.

If stones have souls, then you will also understand how a moral relationship with them can arise. A human or animal body has desires, passions and instincts. The body of a plant has no more desires, but it still has instincts. The body of a stone has neither desire nor instinct, and so it presents us with an ideal for human beings, in that our instincts should be spiritualized. And in the distant future this will be achieved: human beings will have bodies without desires or instincts. One day man will be like a diamond; he will no longer have inner urges, but these will then be outwardly controlled.

The stone already represents this chastity today; it is desireless matter. The occult disciple must already now develop this desirelessness within himself. In this sense, the stone is above animal, plant and human. An old Rosicrucian formula begins with the words: “I have laid the eternal creative word in the stone.” Chaste and virginal, the stone preserves this creative word in the depths of physical existence.

If one can develop such a feeling for the stone into a spiritual experience, one becomes clairvoyant in the highest parts of Devachan.

Strakosch Sanatorium Wiesneck 15.2.57

Buchenbach im Breisgau

Dear Mr. Bock!

From the fact that I am writing from Wiesneck, you will be able to conclude that many things have turned out quite differently than we expected. We came here on July 31, stayed in the so-called country house, which is furnished for convalescents, and hoped to regain our strength by Michaelmas so that we could then resume our normal life in Dornach. But in August, Frau Strakosch suffered a dangerous relapse. We suddenly had to move to the actual sanatorium, where we are still today, because the periods of improvement were followed by repeated relapses. As a result, I was unable to carry out my intended visit to Stuttgart to see you. In December and early January, little went well, but fortunately Ms. Strakosch has been getting a little stronger in the last few weeks. However, we will probably have to stay here for some time. Given these facts, you can well imagine that I am still a little upset. We hope that you were able to recover properly in the Black Forest and we wish you – unfortunately belatedly, but all the more sincerely for it – all the best for your health and your work. In view of the tragic events in society, your work is now more important than ever. Will friends in Germany finally wake up and take positive action?

And now to the subject of the F.M. and M.Ac. – I would like to proceed in the order of your letter.

The 5th degree was that of the “Knights of the Rose Cross”. – I have only ever met Michael Bauer in the fourth degree. From the very beginning, there were 9 (nine) degrees in the M.Ae.. The number of 33 degrees is based - as Rudolf Steiner told me - on the fact that the F. M. could not read occult correctly. Because two threes 3 3 must be read 3x3 = 9! This simplifies the question. In the M.Ae. the first three degrees - symbolic degrees - (they corresponded to my view) were called the “II. class”. When one was initiated into these degrees, the answer to the question of the Dweller of the Threshold, “Have all the conditions been fulfilled?” was: “The Great Master has granted a dispensation.” From the 4th degree onwards, we knew that one had to have occult abilities. Therefore, there were only a few members of these degrees. There were about 12 in the 5th degree; Marie Steiner was the only one in the 6th degree. It was called the Kadosh or Avenger degree.

What you mean by the transition from black to red in connection with the 5th degree is not clear to me. I only experienced during each practice of the ritual how at a certain word of the so-called “Rosicrucian conclusion” the black curtains fell and the walls lit up in red.

I never heard of an analogy between the degrees of the M.Ac. and those of the outer F. M.; it may never have been mentioned, because Rudolf Steiner soon said that we were now on our own. (In terms of meaning, I no longer remember the wording.) The degrees of the FM did not apply in the M.Ac. I knew personalities who had reached high degrees in the FM, but in the M.Ae. they had to start from the bottom. We were also not allowed to call ourselves or identify ourselves as “Freemasons” in relation to the FM.

We had only three altars. At the altar of the East, Rudolf Steiner always stood as the “master”; Marie von Sivers was always at his left. The other altars were occupied by personalities from the respective cities.

There was no mention of a transition from compass to straight edge in my case. I only know that in the formula spoken in the ritual from the first degree onwards, only the brothers of the past, the present and the future are mentioned, and that the first are referred to as: “We take compass and straight edge in our hands...”

I do not want to give up hope that I will be able to talk to you about these and other things one day. In a strange way, two rhythms overlap in Mrs. Strakosch's and my life. As you know from volume 1 of my “Life Paths” ($. 35), Rudolf Steiner invited me in March 1908 to work for anthroposophy, that is 49 = 7 x 7 years, and for 33 years this work has been developing within the form that Rudolf Steiner gave it at the Christmas Conference.

Ms. Strakosch and I thank you very much for your kind wishes and send you our warmest regards,

Alexander Strakosch

Speaking exoterically, theosophy is a knowledge. What we esoterics learn in exoteric lectures we should take into our feeling, willing and thinking in such a way that we can then pour it out again into exoteric life. That's esoteric work. And what happens through the same? How can we carry a quite simple theosophical truth directly into life, for instance, the one about going to sleep and waking up, where the physical and etheric bodies remain behind on going to sleep, while the ego and astral body go into the spiritual worlds?

A primitive man used to receive prayers that he said in the evening before going to sleep, and in the morning after waking up, and that was good, for he strengthened his soul with spiritual forces as he prepared his soul for higher worlds, and after he left them, he again permeated his soul with higher forces, and as it were, sucked out soul forces from spiritual worlds.

The mineral, plant and animal kingdoms below man are permeated with spiritual forces that always become renewed; the same is true of the four elements fire, water, air, and earth. Things are different with men. If a man doesn't connect himself with these spiritual forces, he doesn't' receive them. If he goes to sleep without preparation he doesn't get any forces in the worlds he enters then. No matter how learned, scientific and high-ranking a materialist is, if he goes into spiritual worlds unprepared in the evening, he stands far below a simple primitive man who has already connected himself with them through his prayer. Man has increasingly forgotten prayer in our materialistic age with its very admirable scientific achievements. He goes to sleep and wakes up with his everyday thoughts. But what does he do thereby? Something happens through this omission. He kills some of the spiritual life and forces on the physical plane each time.

A man goes into spiritual worlds unconsciously. For instance, if he went to sleep at 11 p.m. unprepared and awakened at 12 in spiritual worlds, he wouldn't know his way around; he'd have the feeling that he was spread out over endless spaces and that he had lost his center. He would be in ecstasy or “beside himself” in the real sense of the word. In ancient Druidic mysteries this ecstasy was artificially induced to let a pupil experience higher worlds consciously. But 12 helpers had to stand at his side so that the pupil didn't lose his ego; they poured the whole power of their pure egos into him. That's how much power was necessary to prevent this dissolution.

This Druidic initiation was the outer way, whereas the inner one was followed in ancient Egyptian mysteries. There the candidate for initiation had to look for the path through the lower astral world for three to five days, that is, to climb into his own interior, and 12 pure priests had to stand beside him, to prevent his lower drives, desires and passions from overpowering him—that slumbered deep in his nature and would otherwise have worked themselves out in the course of his incarnations.

Unheard of vices would have been awakened in him if the 12 priests hadn't protected him from this through their purity. These two paths wouldn't be possible today, for a modern would rebel against such interventions in his ego and against being treated like a child with respect to his drives, desires and passions.

The Rosicrucian school combines both paths in it and also leaves a man completely free. Through the meditations he's given he must himself acquire the forces that helpers used to give him. An esoteric increases the spiritual forces that are necessary for mankind through this work on himself. He combats the desolation that will arise through the terrible materialism in which men have simply forgotten their connection with spiritual worlds and have forgotten how they can get forces out of them for themselves. When souls become ever more desolate, empty and despairing it'll be the task of esoterics to let their spiritual forces work in a living way. They'll maintain their soul's cheerful equilibrium in spite of all blows of destiny and thereby let happiness stream into the rest of mankind to ease their soul pains as torture, as a result of the attainments of materialistic science. Moderns have found many means to anesthetize physical pains to make them disappear. But they haven't really disappeared that way. Exoteric science tells us that no force is lost, and the force of pain doesn't get lost either—it just has an effect in other regions. The pains come back as soul agony. Men will have to go through strong soul pains, and esoterics will then use the spiritual forces that they bring down from the heights to ease these sufferings. Be it ever so unconsciously, each of us resolved to ease mankind's sufferings when we set out on an esoteric path.

Our occult exercises are supposed to bring us to imaginative knowledge. Not so long ago they had imaginations that could be understood by any pupil without further explanation. Today such imaginations must be explained in words, because very few esoterics would be able to understand them by themselves. An imagination will now be given here that's useful for any esoteric who has the feeling that he's not making any progress in spite of his efforts. The pupil should imagine that his teacher or master is standing before him in the shape of Moses, and that the latter asks him: “So you'd like to know why you're not getting ahead on the esoteric path?” “Yes.” “I'll tell you why. It's because you worship the golden calf.” Then the pupil sees the golden calf next to Moses. The latter lets fire come up from the earth that consumes the golden calf and turns it to powder. He throws this powder into some clear water and gives the mixture to the pupil to drink. A few centuries ago any esoteric would have been able to understand this image. Now it must be explained as follows.

When we go back in our memory, we get to a point where our memories stop and ego-consciousness began. What lies before that is what we made out of ourselves in previous incarnations and brought into this one. That's the golden calf that we worship without realizing it—our sheath nature.

The pupil should now replace the image of the golden calf with the image of what he was as a child, before he had an ego-consciousness. He becomes fully aware that what he feels is his ego is just a Luciferic effect. For, ordinary consciousness is based on memory and memory is a Luciferic force, since it's Lucifer's task to carry the past over into the present. If one strips oneself of what one has through ego-consciousness, then what remains is what we've brought with us from other earth lives.

Some people may feel that it's hard to have to think of themselves like that, but we won't be prepared to meet the Guardian of the Threshold without strict concepts like that.

Then the pupil should imagine that fire burns the child's form that he is; he's become a little bigger since then, but basically he's still the same sheath man that the child was, except that the illusion of an ego has been added. He sees how the form turns to powder, and this becomes a strong awareness that all parts of these physical, etheric and astral sheaths must become as indifferent to him as a pile of ashes, as indifferent as clay is for a sculptor before he's made something out of it. He must think away his physical body and its outer shape, his etheric body with its memory, his astral body with its sympathies and antipathies—or think that they are a pile of ashes.

One might not be able to put this into practice right away. It doesn't mean that one should suddenly hug someone one disliked, but when we carry out this imagination as an exercises, we must be able to get rid of all antipathies.

And the powder is thrown into the pure water of divine substance, the way it was before the Luciferic force worked on it. This is how the sheath nature is to be sacrificed and the divine substance is to be given back. But an esoteric also arrives at the insight that everything that's now only a pile of dust for him was formed out of the spirit. His body's shape was sculpted by the spirit, the spirit made him into what he now is as a form. And we should take what the spirit has made out of us back into ourselves. We should drink the water again in which the dust was dissolved. Then we have it pure, after the golden calf was burned, pulverized and dissolved. If we do this, we'll feel that a whole place in us seems to become empty; it's the place where the ego usually is—we feel that this is getting empty. When one can either become a Buddhist and go into a region for which a man should feel that he's too worthy—into nirvana, into an extraterrestrial sphere. Or one can arrive at a new awareness of the Christ impulse and can feel it stream into the place of our ego that has become empty.

Christ would never have been able to come to earth among the Hebrew people if Moses hadn't destroyed the golden calf, thrown it into water, and given it to Israel's children to drink. This doesn't mean that one should do this imagination every day—but maybe every 3 or 4 weeks. It's basically just another clarification of our Rosicrucian verse.

My dear sisters and brothers! If we heed and do everything that's been given till now in the Mystery dramas and esoteric lessons, if we really do all of this in complete devotion, then we can already get very, very far into high spiritual worlds. Moderns don't need anything more to get into very high spiritual worlds. We must live entirely in meditation, concentration and contemplation, and leave everything else outside. One can only attain something by sticking strictly to the prescribed rules. Meditation time must be looked upon as something beautiful and elevated in our esoteric life. During meditation one should first immerse oneself completely in the content of the exercises. So one must empty the soul of all everyday thoughts and feelings and must live in the content of the given exercises. And then make the consciousness devoid of content—also of the meditation material – and listen while one is awake. It's true that this is quite difficult. Some say that they hear their blood pulsing, and that this disturbs them. That's all right—let them hear the blood pulse. Then they'll sense the life in blood and thereby become aware of a piece of inner life.

Exoteric life takes place in the world of cognition. We know something because we confront an object, look at it and make mental images of it. This changes the moment we meditate. Through meditation we enter another world where we have our ideas, thoughts and concepts before us, outside us: we know that we're connected with them. But we can't get rid of them, we run after them. Thoughts ascend from the soul's depths. We see beings like carnivorous animals that devour them. We connect ourselves completely with the thoughts, etc. So we experience things here, whereas in exoteric life we know them. In meditation we're in a world of experience. We shouldn't immediately make ideas about what approaches us in this world. We should just open ourselves, listen and feel what wants to stream into our soul. This develops the lotus flowers so that they can become active. Further on we arrive at the world of bliss or shapes. But only one who has prepared himself for this world experiences it as a world of bliss. For an immature person it's full of terrifying things and it tears him apart. For him love turns into hate there, beautiful into ugly and he now likes what was disgusting to him before, and so on. Everything is in reverse. One only becomes really mature enough for a correct experience of this world of shapes if one goes through a training in self-discipline. What did the Gods do to protect us from an experience of this world of shapes before we're mature? They gave us pleasure, the enjoyment of creative activity here in the physical world. The beauty that we feel in a work of art, in a Raphael, in a Leonardo, such as were shown in scene three of Guardian of the Threshold isn't the permanent thing, also not the art work itself, but what's eternal is the spiritual part—what went on in the artist's soul as he worked, from which the work of art was created.

What is God in maya? What has to be said now must sound rather paradoxical. God is not what we experience in the spring in up-building forces, in shooting, sprouting things, in all beautiful and luminous things—God is real and active where we see destructive powers of nature; God is in autumn storms, in all shattering, disintegrating and crushing things. It sounds horrible and shocking, but it's a fact: God is most active in all destructive and disintegrating things. We're given pleasure from work with physical things to protect us from entering the world of shapes, of bliss too soon. In waking day consciousness we're separated from it as by a thin layer of ice. While we're in esoteric training we shouldn't bring these esoteric teachings into exoteric life or want to regulate exoteric life in accordance with these teachings. That could only lead to folly. Our education in exoteric life must result from exoteric pedagogical principles. One could set it up as an ideal that esoteric life should run completely independently. We must preserve absolute equanimity with respect to spiritual experiences, just as we should remain calm in everyday life with respect to all events, ideas, etc., so that we don't get excited or upset. One attains this equanimity by reverently thinking, feeling and living oneself into the three mantras, It thinks me—It works me—It weaves me, by letting these 3 sentences go through one's soul over and over again. And then we'll also understand our rosicrucian verse in the right way:

Ex Deo nascimur
In Christo morimur
Per Spiritum Sanctum reviviscimus.