The Rudolf Steiner Archive

Yesterday we spoke at least in a few words about the extent to which the Earth itself is a source of inspiration for people living on it. Of course, only hints can be given in a field that is as all-encompassing as this.

It is important and significant, especially in our time, to become aware that such connections exist as those we have been talking about, because man within the evolution of the earth is at the point, especially in our present time, of emancipating himself, as it were, from this earthly influence, and, on the other hand, to allow himself to be permeated by those influences that do not come from the world of the earth but from the spiritual world surrounding the earth.

This endeavour to get into human abilities, into human thinking and feeling, that which is not merely earthly, underlies our spiritual-scientific endeavour. All tendencies of modern education are really moving towards this spiritual-scientific endeavour, and it may well be said that there are two things that must increasingly come to the consciousness of the modern human being.

The first is that man, in relation to his own soul essence, belongs to a world that does not reveal itself to the external senses, but that lies behind the external sense world. Man belongs to such a world with his innermost soul being, which can be reached neither through sense observation nor through inferences and logic based on sense observation. It will be the task of our time to gain clarity on this point, that all knowledge conveyed by the external senses and their philosophy, which is based only on external sensory knowledge, cannot approach what the human soul actually is.

The second truth is one that you are familiar with from your spiritual scientific life, but you also know that it is still very far from the general consciousness of the present day. It is the important truth of repeated earthly lives, of the fact that the human soul is not exhausted in the body in which it lives between birth and death, in all that is connected with this body, but that it goes from life to life.

Because these two truths, that the soul belongs to a world that lies behind the sensory world and that it goes from life to life, are among the most important for our time, which must be understood first, I have added a chapter to the second volume of my Rätsel of Philosophy», I have added a chapter in which these two truths in particular are pointed out in an intensive way from the course of human development, because it is an urgent requirement of our time that more and more people learn to understand precisely these two truths.

Since this book, “The Riddles of Philosophy”, is not specifically aimed at anthroposophists, but at all people who can read and understand what they read, an attempt had to be made to point out these two truths as briefly but as sharply as possible. It may be said that it lies in the deeper consciousness of people in modern times to direct their thoughts towards these truths. For the time being, I will just say to direct their thoughts. We can see such tendencies to direct thoughts towards these truths everywhere. I have sometimes tried to cite people from the new spiritual history who tend towards such truths. Today I would like to give another example.

Emerson is undoubtedly one of the greatest minds of the 19th century, who wrote so meaningfully and forcefully, if not in pedantic philosophical language, then in a forceful language. Whether he is talking about nature or the human race, Emerson points out that the outer structure of the world, which man surveys with his senses and comprehends with his mind, is only the shell, the phantasmagoria, and that one can only arrive at the truth by trying to penetrate behind the phantasmagoria.

But minds like Emerson's go even further. And I would like to give an example of this. Among his very significant books, Emerson also wrote one called “The Representatives of the Human Race”. In this book, he treated Plato as a representative of all philosophical human endeavor; Swedenborg as a representative of mystical human endeavor; Montaigne, a significant mind of the 16th century , as representative of skepticism; Shakespeare as representative of the poetic faculty; Goethe as representative of the literary faculty; and Napoleon as the man of action, as representative of the man of action.

This book has certainly achieved something significant. It highlights the types of humanity in relation to the soul. It would make for an interesting reflection if one were to shed light on how Plato's representative of philosophical endeavor and Montaigne's representative of skeptical endeavor are actually met. This book marks one of the greatest achievements of human spiritual endeavor. Now, Emerson curiously devotes, I would say, a particularly loving portrayal to Montaigne, although this loving portrayal is only encountered when one thoroughly engages with this chapter on Montaigne. This is also very significant for Emerson's commitment to the spiritual-scientific world view. Anyone who seriously engages with this world view becomes aware of how truly every thing has two sides, how when one tries to express a truth, one can only say something one-sided and the second side must lurk in the background, as it were.

The skeptic who has a vivid sense of the fact that one is, as it were, already doing an injustice when formulating a truth strictly, is touched in the deepest sense by the spiritual-soul fluid that is always present in the human soul and that prevents one, as soon as one is only touched by the spiritual world, from stating a sharply contoured truth with too much aplomb, without pointing out that in a certain sense the opposite of it also has a justification.

This sense of having been touched by a feeling that comes from spirituality is what makes Montaigne an important figure. But that is not what I wanted to point out. I wanted to point out how Emerson tells how he came to Montaigne. He says: Even as a boy, I found a volume of Montaigne in my father's library, but I did not understand him. — When he had then graduated from college, he looked at the book again, and then he got the strange urge to get to know, sentence by sentence, what Montaigne had written. And he did that, following this urge. Now we see in the chapter about Montaigne, which Emerson wrote, that he was looking for an expression for why he was suddenly obsessed by Montaigne and suddenly began to absorb him completely. He finds no better expression for it than to say: It was as if I had written these books by Montaigne in a past life. From this you can see how a man of the most eminently modern mind, who approaches what is demanded by the present, is forced, when he wants to express himself about the most intimate things in his soul, to form an expression that tends entirely towards the spiritual-scientific truth of reincarnation. He cannot find a better expression and must therefore resort to the idea of repeated lives on earth.

Something like this is extremely characteristic and tremendously significant, and this now leads us to tie in with the idea that was expounded yesterday. If we look at the most distinguished minds of our time – and one of the most distinguished is Emerson – then, on the one hand, if they are as great as Emerson, they have inherited the knowledge of the earth, in that they are part of the evolutionary process of the earth. They know what is absorbed by a person today. They know that when you are placed at a certain point on earth, you speak a certain language and so on, that it is customary in the place where you are sent to hand these things down to the child, to the young person, and thus to bring that which is called education to the people. This knowledge, which is handed down to a people in this way, is knowledge of a wide scope. It is fair to say that this is knowledge of a broad scope, and one can see how Emerson actually proceeds.

We know that when he had a lecture to give, it seemed as if what he said sprang forth from his mind as he was saying it. Everything seemed improvised. If he was visited on a day when he was supposed to give a lecture, the visitors could see that all kinds of notes were lying around the room, from which he had gathered what he had to say, so to speak, about the outward appearance of his material. But behind what he passed on to humanity lay intimacies, and this is precisely an intimacy, which I have expressed, that the idea of repeated earthly lives shimmers quite chastely in one place.

One can see how even the best of our time, by feeling and feeling through such truths in their souls and also expressing them, remain chaste within themselves, do not yet want to carry these truths into the realm from which external knowledge arises.

If we now approach the matter from a spiritual scientific point of view, we have to illuminate it differently, because our time is the time whose mission it is to bring to clarity and to real knowledge what has so far been held back in the soul and only occasionally hinted at, clarity, to bring it to real knowledge, to shape it into forms of knowledge, so that our time really has the task of making many things that have emerged from the souls of the best up to this time of ours into full clarity, into a truth that is self-evident for people. And here we can describe exactly how it was when Emerson, in his rich lectures, would soon say a sentence expressing a realization about the industrial life of his surroundings and then a few lines later bring something that deals with ancient India, and then again something that deals with Shakespeare. So he gathers together, so to speak, the knowledge of the earth and then often a remark slips out of him that comes from the intimacy of his soul.

Where does what lies in such a remark come from? This can only be answered by considering all sides of human nature. Man recognizes only the least, only a part of his life, which takes place from waking to falling asleep, during his time on earth. The other part of life is spent asleep, and this part of human life is very, very diverse.

It is true that for many, many people this life in sleep proceeds in such a way that they come into contact with elemental world entities that are connected with lower expressions of human nature than the daytime expressions. One would like to say that people engage in all sorts of nonsense from the moment they fall asleep until they wake up, in the realm of elementary life, of nightlife, things that they have outgrown when they are in the outer life. Who would not know that he often has to be ashamed of his dreams. This is a general experience that anyone can have. Man, then, during sleep, does all kinds of foolish things, in a company that is not a good one, but one that appeals to his passions, his instincts, and is much worse than the one in which he is educated during his waking life.

Only if we understand this can we better understand many historical events. To prevent people today from making too much of a mess of things in the physical world, they need to be endowed with the gift of not attaching too much importance to their dreams. He therefore forgets his dreams very easily, forgets the Allotriia from the dreams, and that is good for him, because he should be prepared to enter the spiritual world in waking consciousness, while the prehistoric times were there to let people enter this spiritual world during sleep until they woke up.

Strictly speaking, a stronger awareness of this world is not as far behind us as is usually believed. I will give you an example of this too. There is a picture by Albrecht Dürer that has posed many riddles for many people, especially scholars. The etching is about a satyr-like, faun-like figure that is holding a female being, as it were. From the background, another female figure appears, approaching the couple as if to punish them. And a Hercules-like male figure stands nearby, holding a club in his hand, which he uses to hold back the punishing female figure from the group of the woman with the satyr, preventing her from approaching. It is, one might say, quite remarkable, extremely remarkable, how the scholars have struggled to understand this picture. It is usually called 'Hercules'. But what it expresses is not found in the usual Hercules saga. So one wonders: how did Albrecht Dürer come up with this scene? And some very curious ideas have been put forward. One can see, for example, how helpless Herman Grimm is in the face of this picture. He does not know what to make of it. He comes up with the strangest ideas. And why is that? Why can't people make sense of it? Because he and the scholars do not know — as Albrecht Dürer still did — that people can still enter a spiritual world when they are asleep. Today, this awareness has been lost. But Dürer still knew, for example, that there are men who, during sleep, engage in all sorts of antics with the elemental world, men who are quite civilized during the ordinary time, but during sleep they fall back into the world of drives and do all sorts of useless things, all sorts of antics.

In the painting by Albrecht Dürer, we see the satyr and Hercules with the club. Good old Hercules, who is standing there, would like to be this satyr himself. But he lives in the physical world, in a moral world on the physical plane, and his wife does not allow him to do so. She comes along and wants to drive him away. But he likes it and holds her back.

We see here an inner process of the soul and know that Albrecht Dürer still knew something of these things. Thus much in the art of not so distant centuries can be explained, because at that time there was still an awareness of the connection of man with the spiritual-elemental world immediately adjacent to the physical.

But if we turn to such noble minds as Emerson's, we have to say that they do not engage in frivolities during their sleep, but in noble things. When they are in the spiritual world with their ego and astral body, they come into contact with the truths that are to be true anthroposophy in humanity. What future physical knowledge is to become comes to her consciousness. One could say that Emerson receives something like this in his sleep. That is why it fits so chastely and intimately into what he has to say about the physical life with his physical senses and mind, surveying the wide expanse of earthly life.

Now it would not be in keeping with the evolution of humanity if people were simply to grasp, as I said, in their life of sleep, what lies behind the appearance of sense and behind the phantasmagoria of the senses. For that is again the meaning of evolution, that the life of sleep loses more and more of its significance in knowledge. One must be a great spirit like Emerson if one wants to conquer something out of the life of sleep, like the idea of repeated lives on earth. But what is spiritual must come into humanity, must find its way into humanity. Just as these truths are related to the innermost human soul life, as they reveal themselves there, as it were, in a kind of dawn, especially in spirits like Emerson, so on the other hand there must be an earthly disposition to understand such truths in the light of waking consciousness. There must be an earthly predisposition to perceive oneself in such a way that one finds it natural to recognize these truths. You understand that this is not yet natural in the present, because we are still such a small group as spiritual scientists, and all those who stand outside of spiritual scientific striving see us as fools or something similar.

It is not part of modern education to recognize these truths directly. Man's natural temperament argues against it. As a rule, the logical arguments people put forward against spiritual science are extremely inferior, because people do not resist on logical grounds; they resist because, by their very nature, they are not predisposed to accept such truths today, through all that they are through the forces of the earth.

But there must come a time when man's nature will be so constituted that he can immediately grasp these truths, just as he can grasp mathematical truths today. Man must be organized naturally so that he can grasp these truths. For this it is necessary that he is physically so constituted for the time that elapses between birth and death that his brain is so developed that he can see these truths.

In the sense of yesterday's discussion, such a relationship must be established between the spirits that work in the earth and people, that people are constituted in such a way that they can absorb these truths, and this happens in such a way that an area of land, as I showed and sketched yesterday, leans from east to west towards the three gulfs I spoke of yesterday. This area of land is only a phantasmagoria on the outside. This area of land is in reality composed of the spirits of the earth. In reality, the spirits of this area of land work on people and physically shape them in such a way that they understand the truths of the spiritual and mental constitution of man and repeated lives on earth. What I would say is more for the Western spirits, which have to conquer from sleep, will have to become a more self-evident truth in waking life for those who lean towards the East in the evolution of humanity. The earth prepares its bodies, one would like to say, for what they need for evolution. This earth is absolutely that which I discussed yesterday: a far-reaching organism that is ensouled and that, from time to time, sends out the earth spirits from its soul life, which organize the bodies in such a way that they can intervene in evolution in an appropriate way.

You see, these things are extraordinarily deep and significant, and one must really get involved with such things if one wants to understand what it is all about. However, if you compare the earth as an ensouled and spiritualized organism with what man is as an ensouled and spiritualized organism, there is a great difference. Man is related to the actual spirits of the earth through the exterior of his physical body, in which he actually does not usually live in it, but in which he is stuck in it. Through the etheric body, he is related to the spirits of water; through the astral body, he is related to the spirits of air, and through his connection with the ego, he is related to the spirits of fire.

When a person leaves their physical and etheric bodies during sleep, they live with their ego and astral body only in relation to the warmth that pervades the earth and the air that flows and breathes through the earth. They are torn away from everything that configures earth and water in the physical body. Man is truly torn out of everything that, I would like to say, the physical and etheric bodies do as earthly beings when they sleep. Of course, air and warmth also belong to the earth, but only to the earth, not to the parts of the earth. Now, for man as a spiritualized being, warmth is, so to speak, that in which he dwells as in his own element. In the higher animals, there is already a preparation for this. They have their own warmth, not just the warmth of their surroundings. They live in their soul, in their own warmth. Man has particularly developed this, that he lives in his own warmth, that he has his own temperature. This is something that separates him from the great variety of the outside world. Heat is, as it were, something that every human being carries within himself and carries with him. There he is in his actual self, there he is at home in the warmth.

In the air, he lives in it to a lesser extent. I would like to say that the differentiation of the earth already exerts a certain influence on him. Whether he lives in mountain air, sea air or country air, that makes a certain difference. In this way, the human being comes into relation to what affects him from the outside. This is the case with the human being as a soul-inspired and spiritualized organism.

The opposite is the case with the earth as a souled and spiritualized organism. What warmth is for human beings, that is for the earth just the earth, the solid earthly, and warmth is for it the 'outmost' that has a relationship to the souled earth like to us the earth. The earth is earth through and through, as we are warmth through and through. The earth is outwardly differentiated in relation to warmth. Depending on whether it extends its limbs into the icy regions or into the sultry region of the tropics, it opens its soul outwardly to warmth, just as we, in relation to our physical body, incline toward the region in which we happen to live. In the case of the earth, it is exactly the opposite of the human being, and this is the basis for the interaction between the earth as a spiritual and animate organism and the human being as a spiritual and animate organism. Through this interaction, that which comes about in the physical human body arises so that this physical human body, in the succession of nations and peoples, enters into the evolution of the whole earthly existence in the right way. We have an intensive relationship between the earthly and the human precisely in those peoples who, as a mass of people, moved from east to west. And one could express this intensive relationship as if one were to see a mighty being in the earth itself, and this mighty being would decide to intervene in evolution in an appropriate way, let us say from the 20th century onwards. Then it must say to itself: I must direct certain spiritual entities up to my surface, I must let them be active in such a way that they prepare physical bodies so that the physical bodies can receive through the brain the truths that are beneficial to humanity in this time of evolution.

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What I have just expressed is like a thought that the earth has. This thought can only be grasped if it is grasped with the right devotion and reverence, if it is not taken like the thoughts of external science, but if it is regarded as something sacred, as something that cannot be uttered without reverence, because one is reminded of man's connection with the spiritual world, because one is directly immersed in the communication between the human and the divine, where such things are expressed. Therefore, attention should be paid everywhere to ensure that the necessary atmosphere of feeling and sentiment is present when such things are expressed. This is extremely important in such matters. One might say: in a certain sense, such things must not be expressed in any other way than that they are based on the feeling, the mood of prayer. A looking up to the spiritual worlds must pulsate through what we think through so thoroughly as we approach such thoughts. And that this can happen in a natural way, through the external environment alone, is why our body is constructed, and why everything that is to appear in it is made.

Thus we see in what I have just described a kind of example of how the earth, as earth, works spiritually through what is contained in its solid element, how it creates and forms that which lives on it in evolution.

If, on the other hand, we go more to the west, we have different conditions. Yesterday I explained to you a situation where the west interacts with the east, where the liquid element leans over like a mighty being towards the east and expresses the three-part soul nature, leaning over into the three great gulfs, which the spiritually inclined peoples of ancient Finland still felt as Wäinämöinen, Ilmarinen and Lemminkäinen, and which today are so prosaically referred to as the Gulfs of Finland, Bothnia and Riga. In the ancient Finnish people, that which comes from the liquid element and that which comes from the solid element worked together. In the Finnish people, the element that more constitutes the ethereal human being and refines the physical human being, the liquid element, and the element of the earth, that which comes from the earth, that which constitutes the physical human being, united.

The question may be raised as to the significance of a people like the great Finnish nation, which has fulfilled such an eminent mission in the course of the Earth's mission and yet still remains for later times. All this has its significance in the whole progress of evolution, that such a people remain, that they do not disappear from the Earth when they have fulfilled their mission. Just as a person retains in living memory the thoughts that he has conceived at a certain age for a later age, so must earlier peoples also remain as a conscience, as a living memory in relation to what happens in later times: as a conscience.

And now one could say: The conscience of the European East will be that which the Finnish people have preserved. There must come a time when an understanding of the tasks of evolution will take hold of the heart, when the ideas of Kalewala will flourish from the very heart of the Finnish people, when this wonderful Kalewala epic will be imbued with modern spiritual ideas and when the whole of Europe will be made aware of its depth.

The European peoples revered the Homeric epics. The Kalevala flowed from even deeper sources of the soul life. This cannot be recognized today. But this will be understood when the teachings of spiritual science are applied in the appropriate way to explain spiritual phenomena in the evolution of the earth. An epic like Kalevala cannot be preserved without being preserved in living existence, without the souls that dwell in the body, which are related to the creative powers of Kalevala. It remains as a living conscience. In this way it can continue to work, not through the words but through that which has lived in it itself, continues to live, that there is a center from which it can radiate. What matters is that this is there, like the thoughts we have had earlier are there in later life.

In the West, there is more of what forms and shapes the etheric body. These are difficult truths, and you will have to get used to them, because I do not have the opportunity, which one will hopefully have one day in the evolution of the earth, to deal with the things that I have to deal with in an hour over the course of a whole year. You will have to be open to supplementing many things with your thoughts, to meditatively reflect on what has been said. Then it will become fully familiar to you. In particular, do not try to approach things with these or those hasty nuances of feeling.

In the West, there is more of an effect on the etheric body, which had to be formed in the same way, but at an earlier time, than it has to be done on the physical body in the East.

You see, it is very easy to misunderstand such things, because the differences are fine, very subtle. If, for example, we see in the West that it depends on the peoples that the etheric body has been formed more by the spirits of water, it is self-evident – because the physical body is an imprint of this – that the physical body has also been formed as an imprint of the etheric body, out of the forces of water. But the important thing is that in the East the forces of the physical body have a more direct effect. So we have to focus on what is important. External physical science cannot make this subtle distinction. It sees that the Eastern physical body is configured in one way and the Western physical body in another. It does not see any more than that. Only spiritual science can go into such differences in more detail. Furthermore, language is so clumsy and very unsuitable for expressing such differences. When you say something completely different, you often have the impression that you are actually saying the same thing. Yesterday, for example, I had to say that for Asian peoples it is important that the forces that build up the physical body lie in their own etheric body. Today I have to say that it is important for the peoples of the West that the etheric body is formed from the forces of water. If you take all of this together, you will understand that in the old days it was the case that the etheric body had to be formed in the Eastern peoples of Europe, but today, now, is the time when the physical body has to be formed , while in the western peoples it is the case that their etheric body is formed after their physical body has already received its character more from the outside, that their etheric body is directly exposed to the genii of the sea, the genii of the water.

In the case of Western peoples, what they are comes about through the impulses entering their etheric body. Where the impulses enter the etheric body more, what matters less is the spatial and more the temporal. How the impulses work in the succession of time is what matters more.

If we look towards the east, we see how thoughts well up out of the earth, as it were, to prepare human beings for future evolution. If we look towards the west, we see thoughts welling up out of the fluid, the forces that form the etheric bodies in the succession of time.

And there we see how, in the ancient times in the West, the etheric body of man was formed far into Central Europe in such a way that this etheric body lives out its immediate life in the body, alive, outwardly.

What does that mean? It means, my dear friends, that in ancient times in western Europe there lived people who brought their way of life to light from the etheric body in the same way that people now bring it to light from the physical body — where the etheric body has already worked with these old impulses. There were people who still had a living relationship with the spiritual world, especially with the elemental world. That belongs to ancient times. Those times are, so to speak, already over, when the genii of the liquid element spoke to the etheric body of man in the West in the most lively way. But when this etheric body is spoken to, it is different from our time, when it is mainly spoken to the physical body of man. The physical body of the human being is spoken to in such a way that an impression is made on his senses, that he acquires knowledge and adopts certain habits of life that are connected with the impressions of the senses.

These ancient Westerners were still more connected with the elemental world in their habits, in what lived within them. Among the Celts, there were people who knew about the elemental world just as we know about the physical world today; people to whom the elemental world was not closed, who could speak of nature genii, of water genii, of earth genii, just as we speak of trees, plants, mountains, clouds, who had direct contact with these nature genii. And the peculiarity of life in Europe is based on the fact that this was precisely the case in ancient times, because in those days, just as one acts today through the senses on the physical body, one acted on the etheric body of the human being.

Then, of course, work was still being done on the etheric body of the human being, but this etheric body was formed and developed in such a way that the relationship of the genii of fluidity to it took place more in the subconscious, and the conscious relationship with the nature spirits receded more.

How did this come about? For France, for example, it came about through the wave of Romanic evolution sweeping over the wave of Celtic evolution, permeating the Celtic element with the Romanic element. In the confluence of the Celtic and the Romance, we have two impulses. An old impulse, which directly mediates the connection between the elementary world and the etheric body, and in the new impulse, in the influence of the Romance, we have that which also enters the etheric body, but that it is like an historical, a historic wave, so that what I said in earlier lectures could occur, that a revival of the ancient Greek element could take place in the French element.

If we want to understand this western type of human being correctly, we must assess these various impulses, which also flow into the etheric body, in the right way. And now, so to speak, we have spoken of characteristic phenomena with regard to the influences on the physical body and with regard to the influences on the etheric body. The situation is different when we consider the middle region. There things are somewhat different. There we are dealing with something, I might say, much more unexpressed, with something that can be less clearly characterized. There we are dealing with the fact that both spirits of the earth and spirits of the liquid element have a direct effect on the physical body.

You see, it is a transition. Here, in the West, the spirits of the liquid element act directly on the etheric body. The spirits of the liquid element subside in Central Europe, and they are joined by certain spirits of the earthly element. They act directly on the physical body; less strongly on the etheric body. The spirits of the earthly element refine the physical body as you go further east. Therefore, in some way connected with Central Europe, we have everything that, over a long period of time, has provided Europe with such physical bodies that are accessible to the liquid and solid elements. And so we see how what flows into human evolution must become more complicated. We see how, out of this store, this reservoir, the people of the Franks, as I have described them, through the agency of the fluid and the solid, are preparing to reintroduce themselves into the Celtic-Romanic folk element; and only then does that which has confronted us as the active element in human evolution arise.

The Franks who remained behind thus retain the peculiarity of preferring to receive in the physical body that which emanates from the liquid and earthly spirits – the Saxons are related to them in this respect. The Franks who moved to the West united their nature with that which comes from the direct influence of the genius of the sea, which becomes even more significant when we consider that it incorporates the historical element of the Romance language.

In this way the impulses interlock and so we can understand how, above all, if we want to characterize Western Europe, we cannot come to an understanding unless we take into account everything that intervenes in the etheric body.

If we want to characterize Central Europe, we have to say that it depends more on the physical body, it depends more on what is configured in the physical body. Now we see how such impulses, like the ones expressed, concentrate in certain centers, as it were, how they characteristically emerge in certain centers. Two such centers, which are truly characteristic of each other, are found in Central Europe on the one hand and in the British Isles on the other. In Central Europe, where it is most strongly expressed, we have what I have called the solid element, and where what comes from the spirits of the liquid and the spirits of the solid flows into the physical body, where it is mixed, and in the British Isles, where - in some ways more strongly than in France, for example - what comes from the spirits of the liquid element has a preferential effect on the etheric bodies. This has led to people living in these two areas who basically carry the same impulses within them; only some carry them in their physical body and are suited to everything connected with the work of these genii in the physical ; the others, in the British Isles, have them in their etheric bodies and are thus called upon to bring about everything that is connected with the impulses of the etheric body. If I may say it grotesquely, I could say that if you put a German and an Englishman together, you notice the difference when you look at their physical bodies. You only notice the similarity when you put the German's physical body together with the Englishman's etheric body. Only then does it become apparent that the same impulses are alive there.

You see what emerges, caricatured, in the external view, which remains with the external phantasmagoria, I would say. Do not misunderstand the word. It only appears in its true form when one considers what becomes the basis of life, what the truth is. But because in the world the entities must work together, because it cannot be otherwise, because the world is a whole, it must be so that on the one hand certain impulses work through the physical body, on the other hand through the etheric body. I would say that is the way it should be. This is how the corresponding real interaction arises.

And so you see, what appears in the spiritual world is that a very special relationship has come about between the German world and the British world. I have explained this very special relationship for the East and West in a previous lesson, in which I showed you how a certain struggle takes place in the spiritual world for the East and West, caused by the diversity of the souls that come from an eastern and the souls that come from a western body.

The effect of the conditions just described is something else. I ask you not to take what I have to say today as if it can be understood or speculated upon rationally. One must observe in the spiritual world, otherwise one will not be able to arrive at the right conclusion. A harmony is gradually emerging between what is happening in Central Europe and the British Isles, a harmony, a true spiritual alliance that has gradually grown so strong that it can be said that spiritually speaking, no earthly souls love each other more than the earthly souls of Central Europe and the earthly souls of the British Isles. There the strongest love, spiritually conceived, exists, and that expresses itself outwardly in what we now see before us. Such are the complications of the situation.

One would truly not express such things if they were based only on a lightly founded knowledge, if one had not gained them through the most painful experiences. Do not think that you can generalize by thinking that every alliance in the physical world is a war in the spiritual world, and a war in the physical world is an alliance in the spiritual world. Things are as I have described them to you. And that this is expressed as a struggle is the expression in today's materialistic culture for the difficulty of really living out the matter in the spiritual.

Our time is reluctant to recognize what is present in the spiritual world, not only in words but also in deeds. It tries to present the opposite of what is present in the spiritual world, because the materialistic age is also reluctant to recognize the spiritual in deeds. And so the tendency of the spiritual world – namely, after the harmony of the physically achieved in Central Europe and the ethereally achieved in the British Isles – is drowned out in Maja by what is happening today in the form of struggle and mutual hatred.

You see, it is worthwhile for those who are not spiritual scientists to consider us fools, because the insights that emerge from the spiritual world are very much at odds with what can be observed in the physical world. But we can be assured that the further development of humanity depends on the fact that spiritual truths will really penetrate, that people really learn to see beyond the world of the senses. For this to happen, events are necessary, of which I have spoken more or less clearly in these days.

We can be glad that Karma has brought us together here in a neutral area, where it is possible to speak so frankly about these things, for it is not easy to speak about them, especially today. But it is good for the humanities to find their way into these things, because they may regard what happens in the outer world precisely as an incentive to look behind the veil. Much would remain quite incomprehensible if one could not see behind this veil. Things only get their full meaning when one sees behind this veil.

This evening, too, I would like to take a look at the more general conditions of the German essence within this lecture cycle, because it seems to me that in our great, but also painful and sorrowful time, spiritual-scientific considerations have a kind of ethical obligation in a certain respect, and because, in addition, the truly human feeling is to illuminate the horizon of the fateful events within which we stand from a spiritual-scientific point of view. This evening, however, it will be more a matter of allowing the “light of feeling” given by spiritual science to fall, as it were, on certain processes in German intellectual life and on the understanding that is brought to bear on this intellectual life. Tomorrow I will again take the liberty of dealing with a more specific spiritual-scientific topic.

If we look at those phenomena in German intellectual life that can particularly express the whole character of this intellectual life to us, one of them is the one that has already been these lectures: Herman Grimm, the great German art historian, who viewed art from the deepest sources of what German intellectual life, with all its impulses, has poured into his soul. In one of the lectures this winter, I took the liberty of calling Herman Grimm, so to speak, “Goethe's governor in the second half of the nineteenth century.” In the way he lived with everything he produced, in what – concentrated in Goethe – was contained as German essence, as essence in the German folk soul, and what then poured into the stream of German intellectual life – in this way Herman Grimm is, in a certain respect, a representative personality of German intellectual life from the second half of the nineteenth century.

Not quite two years before Herman Grimm's death, essays from the last period of his life appeared, which he gave the collective title “Fragments”. In the preface to these fragments, he says something extraordinarily characteristic. He points out that these individual, sometimes very short essays on this or that question of German or foreign culture arise from a whole of his intellectual world view. And Herman Grimm mentions that he had intended to combine the lectures he had given on this subject over fifty years at the University of Berlin into a single book, which would present the growth and development of the German spirit. But at the same time, he points out how, each time he moved on to the next lecture, he found himself compelled to rework what he had already written. And now he says that this would have to be done for the last time if these lectures were to be combined into a book on German intellectual life as a whole; he does not know whether he will live to do so, because this reworking requires a lot of effort and time. But – and this is the characteristic thing – this whole of German intellectual life stands before his soul, and he wants the individual essays that he publishes to be understood as if they were individual parts, taken from the whole, that stands before his soul.

Herman Grimm did not live to write the book he had in mind. He died in 1901, not quite two years after publishing these “Fragments”. He had actually planned to write an entire spiritual history of the development of the European peoples during his youth. And if we now consider how he in turn – as he often emphasized – wanted the individual main parts that he had given to be understood from this overall presentation of European intellectual life – his great work on Homer, his biographies or monographs on Michelangelo and Raphael and finally his work on Goethe – if we take this into account, we are confronted with something extraordinarily characteristic. We are actually dealing with something that lived in Herman. . Grimm's soul, which was never really portrayed by him in the form in which it lived in his soul, but from which, one might say, every single line he wrote and every single word he spoke in his life emerged. And if we now consider the whole way in which Herman Grimm speaks about art and German cultural life, something else in addition to what has just been said emerges. Herman Grimm always endeavors to advocate with all his soul, with his entire undivided personality; and anyone who has the urge to have all things clearly “proven,” who loves a line of argument that advances from judgment to judgment in a demonstrative manner, will not find what he is looking for in Herman Grimm's presentation. One would like to say: everything he has written springs directly from his entire soul, and one has nothing as proof of the truth but the feeling that overcomes one: the man, this personality, has experienced a great deal in the broadest sense in the things he presents; and he presents his experience. Thus the individual thing he presents springs from a whole that is not really there at all.

What is it, then, that lives in Herman Grimm? What is it that teaches us the conviction that every single thing arises out of a whole? What do we sense, as it were, as a shadow of the spirit behind all the details that Herman Grimm presents, that he has given to the world?

I would like to describe what one senses and what permeates one as one turns the pages of his books: it is the sustaining power of the German spirit, that German spirit which, for those who truly understand it fully, is not just some abstraction that one categorizes with concepts , with ideas, that one expresses in images, but which is really felt like a living being through all of German history; like a being that one feels as if one were holding a dialogue in one's soul with this being and allowing oneself to be inspired by it for everything one has to say. So that basically, once you have such an experience, you need nothing more than the certainty that this spirit is behind it as an inspirer – and you have given something that has good “proven” reason. This being, which one can say is the living German spirit, is slowly and gradually approaching German development; but it is entering the consciousness of the best minds in the most definite way.

We can find this German spirit, this fundamental German spirit, particularly characteristic in one remarkable place. It is there where one of the best, one of the most brilliant Germans, Johann Gottfried Herder, has tried to depict the overall life of humanity in its development. Herder, this great predecessor of Goethe, basically set out early on to let his gaze wander over all the development of the peoples in order to get an overall picture of the forces, of the entities that live in this development of the peoples. And what he was then able to accomplish as a presentation of his ideas about this process of development, he summarized in his “Ideas for a Philosophy of the History of Humanity”. In these “Ideas” we encounter a tableau, a journey through the development of humanity in such a way that we sense that in all the individual phenomena and events, beings and forces live that all have a fully vital effect on Herder's soul. Already in his early youth, Herder turned against Voltaire's historical approach. He fully recognized that Voltaire was one of the most ingenious men; but what he found in his view of history was that this whole view ultimately culminated in a sum of ideas that prevail throughout history, as it were. In contrast to this, Herder objected that ideas only ever give rise to ideas. Herder did not want people to speak only of the “ideas” that are effective in history. He wanted to speak of something less abstract, something more alive and more concrete than the ideas of history. He wanted to speak of how invisible living beings are behind all historical events. He once said, for example: What the outer historical events are is actually only of value to the observer if one takes into account the spirits and spiritual forces at work behind them, from which what can be perceived through the senses first clearly emerges; for what takes place externally is only like a cloud that arises and passes away, but behind which lies the whole activity of the spirit that runs through human history, which one has to observe.

Slowly and gradually, German development rose to such a grandiose historical perspective. It can be said that such a historical perspective was already present in ancient Greece. We find there already echoes of it, longings to give such an overall picture of human development. But such efforts then receded again; and only later, as in Italy in the fifteenth century, do we find new attempts in this direction, as well as in the rest of Western Europe, in France and England. People began to seek connections in the historical development of humanity. But these connections were conceived in a certain materialistic sense. What happens in the course of history is made dependent on climate, geographical conditions and all sorts of other factors. It was only when the German mind took hold of this comprehensive view of history that it was truly brought to life, one might say. And in Herder's soul arose an image that synthesizes natural events and the crowning human events that take place upon them. Herder first turned his attention to how the beings of nature develop and how the spirit, which works in nature at a subordinate level, comes to be more characteristically expressed in man. This spirit, which Herder consciously lets emerge from the essence of the All-Divinity, works in nature, but it also interweaves the human soul. And what man accomplishes in history is not for him merely a sum of successive events, but it has significance in that man on earth himself continues the coherent plan of the divine spiritual entities through what he does.

There is greatness in Herder's calling man an “assistant of the deity” in his earthly work. In this there is again something of the ideas and intuitions and feelings of German mysticism, which seeks God directly in the human soul itself. Herder seeks God in history, as He manifests Himself in the deeds that take place in historical development. God Himself does what historical development is; and man, insofar as he is imbued with God, is God's assistant. For Herder, the whole of nature is built upon the next, then the human kingdom and on that the kingdom of higher spirits; and he makes the significant statement: Man is a middle creature between animal and angel. Herder thus places man in the overall development in such a way that man appears as a direct expression, as a revelation of divine spirituality. And when one examines how Herder, who was not a systematizing philosopher and was far from constructing any abstract ideas, came to sketch out an overall picture of development with inexpressible diligence and truly ingenious foresight, through which the deeds of man can be summarized with the deeds in nature, then one must say: It is a divine power that inspires Herder himself. He is aware that the divine powers that rule in history live in himself. It is the sustaining power of the German spirit in Herder that creates an overall picture of human development and also of natural development.

“Evolution” has become the magic word that seems so significant for the world view of our time. In the days when Herder lived and when Goethe spent his youth, he rose through Herder and others to the world view supported by the German spirit. The idea of evolution entered into German intellectual life. This idea of development was more profound and more profound than it is taken from the materialistic world view. For in what is regarded as “developing”, the German mind saw the mind at work; and in every single natural product, insofar as development is considered, he saw mind as the architect, the carrier, the accomplisher of development. Thus he was able to introduce the idea of the spirit as developing, shown in the becoming of man, fruitfully into the history of ideas, into the whole history of development.

And standing beside Herder as one of the great signposts in the spiritual life is Winckelmann, who first brought art history into that current which can be called: the world view based on the history of development and carried by the German spirit. Goethe says of Winckelmann, the first German art critic: “Winckelmann, a second Columbus, discovered the evolution and destiny of art as bound to the general laws of evolution, keeping pace with the rise and fall of civilization and the destinies of the people.

Thus we see how, through these minds – it has already happened through Lessing – mind is seen in all becoming as the actual bearer, as the actual substance of development. And this world view leads directly to a sense of being carried by the mind, to being carried by the mind. And this permeates the soul with confidence and inner strength. One is tempted to say that all this already contained an inkling that this German spirit, with all its idealism, contains the seeds of a truly scientific spiritual world view that humanity must move towards. For when we consider that spiritual science strives for knowledge of the world, which is attained through the soul developing its inner powers slumbering in its depths, so that it comes to see with the organs of the spirit or — to use Goethe's words — with the spiritual eyes and spiritual ears, to see what, as the invisible, works and lives behind the visible. If one considers this and then recalls a certain saying of Herder's, then a feeling of confidence comes over the soul: humanity will one day partake of spiritual world-view. For how beautifully Herder's saying resounds: “The human race will not pass away until the genius of enlightenment has passed through the earth.” Herder's gaze was always directed towards the intimate weaving and essence of the spiritual that prevails in all sensuality. Herder regards every human being – not just the great historical figures – as thoughts that are not merely thoughts grasped by our brain, but as something living, existing and weaving. And when they are suited to be seized by the spirit of the age and incorporated into the stream of events, then Herder speaks of those people who, through such thoughts, have a formative effect on an entire era: often these people – the geniuses – live and work in the greatest silence; but one of their thoughts, grasped by the spirit of the times, brings a whole chaos of things into good form and order.

When we consider these things, we can never say that they arose out of mere abstract philosophical reflection; for they do not stand in isolation as the impressions of a personality, but stand as if organically with the continuous stream of German intellectual life, and always in such a way that one must regard the personalities who express them, who thereby reveal their convictions, as inspired by the sustaining power of the German spirit. And this sustaining power of the German spirit is deeply felt even in the most recent times by those who have an inkling of it. What is felt as this sustaining power of the German spirit is not only taken up in an abstract philosophy; it is taken up in the deepest feeling of souls.

Thus, for example, when the late Paz! de Lagarde (who died in 1891) – another of the most German minds – once said the following, which is quite characteristic of his whole attitude to this fundamental force of the German spirit: “On one occasion I was requested by a relative of a friend whom I was accompanying to the grave to deliver the funeral oration, and to do so first at the cemetery.” Apparently, Lagarde then spoke of what connects the human soul with the eternal, with the spiritual, what passes through the gate of death as a living being, for now he continues: “Now I actually felt ashamed. What was I then actually? What am I then actually, that I dare to speak of that which is connected with the eternal-spiritual? I was ashamed, but I found that what I had said found fertile soil in the minds that had escorted the dead to the grave.” And now Lagarde says, drawing the conclusion, as it were: “That is how it is for the German when he speaks of love of country: he feels that this speaking of love of country is basically such an intimate, sacred thing that he feels ashamed to speak of it; but he also feels: if he speaks of it, it can fall on receptive minds.”

One need only recall this saying, which truly captures the essence of the German character in the most eminent sense, and one can see from it how the German, when he feels truly at home within the German national character, must to the spirit of his nation, in which he perceives the expression of the divine spirituality of the world in general, and how he feels it to be a living being, which he approaches — even with knowledge — only in reverence. Lagarde is one who, in the second half of the nineteenth century, out of deep learning but also out of deep, soulful feeling, spoke about Germanness in many ways, about the sources of Germanness, about the prospects of Germanness. He is one of those who never tire of pointing out again and again that the essence of Germanness resides in the spiritual, in that which, as the spirit common to all, permeates the entire German evolution. He who wishes to grasp the essence of Germanness at its root is not satisfied with what a materialistic view designates as “blood” or “race” in the nature of a people. Lagarde was not satisfied with this; for he felt that the essence of Germanness can only be expressed through spiritual ideas, through spiritual perceptions. Thus Lagarde says: “Germanness lies not in the blood but in the soul. Of our great men, Leibniz and Lessing are certainly Slavs, Handel, a son of a Halloren, is a Celt, Kant's father was a Scot: and yet, who would call these un-German?” — In which Lagarde, one of the most German of Germans, seeks the German essence, that is the supporting force of the German spirit, in which the one can immerse himself who understands German essence within himself and how to realize it. Time and again, the best Germans never tire of explaining how the essence of the German can only be expressed and revealed through the spiritual.

When one reflects in this way, the German spirit takes on an ever more concrete and real essence. One feels it flowing through the stream of German life, especially through the stream of German intellectual life; and one then understands how the German, in the course of his development, felt the need to enrich his own being in the present more and more with what the German spirit had already allowed to flow from its sources into the German nation in older times.

Thus we find, as the German Romantics, leaning on Goethe, as it were, renewing the old German essence, delving not only into the folk song but into the entire German spiritual being, in order to absorb it and revive it in their souls, so as to allow what is peculiar to Germanness as a whole to take effect in their own souls. And then we see again how the German development in the Brothers Grimm is inspired by what German essence produced in ancient times. We see how the Brothers Grimm descend to the people and have the old fairy tales told to them in order to collect them. And what lies in this collection of German fairy tales, which really convey such a hundredfold impression, taken directly from the people's minds? Nothing else lies in them but the fundamental power of the German spirit!

And how does this fundamental power of the German spirit continue to work?

We have been able to see it particularly in the achievements of the already mentioned Herman Grimm. Often, when one allows these fine, elegant, comprehensive artistic characteristics of Herman Grimm to take effect on the soul, when one especially visualizes some of the extremely intimate subtleties that lie in these writings, one must ask oneself: How did this personality manage to make the soul so elastic, so pliable that it could delve into the deepest secrets of artistic work and artistic creation? And I believe there can be no other answer than the one that follows from the clues as to how Herman Grimm, before he began to contemplate the art of humanity, expressed himself poetically and artistically. For this expression is particularly characteristic of the supporting force of the German spirit. I would like to point out only a few.

The first of the stories and poems collected in the volume Novellen is Herman Grimm's The Songstress. This is a story that, as is usually the case when presenting novellas, is used only to depict events that take place before the eyes of people, that can be grasped directly with the imagination that is tied to the body. Herman Grimm also masterfully presents what takes place in the external world: he presents a female personality that is deeply attracted to a male personality; but through her character and her whole being, this female personality rejects the male one. It would take too long to go into the details now. So it comes about that the male personality commits suicide. The female personality remains behind. And now, after the death of the man who loved her, she feels not only pain and suffering; no, something intervenes in her soul life that is directly supersensible. She spends a night at a friend's house, the friend at whose house the suicide of her lover had taken place. She feels disturbed. At first she does not know the reason for it. But then she says that she cannot sleep alone in the room; the friend should watch over her. And as he watches over her, it turns out that she has a vision, which the poet clearly shows that he wants to express more than a mere play of the imagination. At the door of the bedroom, the ghostly figure of the deceased enters. And if one investigates what Herman Grimm actually wants to express with this apparition, it is that he wants to say: with what is happening here before the eyes of man on earth, the event is not yet exhausted; but spiritual factors, spiritual entities intervene in physical events; and when death has occurred, what has passed through the gate of death is present there in the spiritual world and is effective for those who are receptive to it.

Herman Grimm is thus a novelist who allows the spiritual world to shine through his artistic portrayal. What actually appears to the bereaved lover has often been described in these lectures. It is what the etheric body of the deceased in question can be called, which can show itself in the form of the deceased to those who are receptive to it. But not all people are receptive to this.

Herman Grimm also wrote a novel, “Unüberwindliche Mächte” (Insurmountable Forces), which is of great importance as a cultural-historical novel and also otherwise in the spiritual history of humanity, but unfortunately it has been neglected. Here too, the lover dies. And when she seeks healing in a place in the south, she wastes away more and more in the memory of her lover and finally dies. Herman Grimm describes her death in a very unique way in the final chapter of 'Unüberwindliche Mächte'. He describes how a spiritual figure rises out of her body and rushes towards her lover. Again, Herman Grimm does not conclude the account with the events visible on earth, but brings together what is visible to the senses, what is visible to the mind, with the supersensible, which continues beyond death.

I would not cite such examples if they did not correspond entirely to what spiritual science has to say about these things. Of course one cannot cite artists as proof of spiritual science. But if one cites such examples as proof of what spiritual science has to offer humanity, it can be done to the extent that the nascent spiritual science lies in a spirit like Herman Grimm, who was artistically active in the second half of the nineteenth century. He is not yet able to express spiritual science as such, but artistically he presents things in such a way that one perceives: spiritual science wants to make its entry into the spiritual culture of humanity out of the supporting power of the German spirit.

Herman Grimm — this emerges from his entire literary work — never wanted to admit to himself what actually formed the basis for his giving such descriptions. He was somewhat shy about bringing these things, which he only wanted to approach in the most intimate, artistic and spiritual way, into ordinary concepts. But if he was not able to approach these things in the way that spiritual science can speak about them today, and yet these things are properly – one might say “expertly” – presented by him, then what lived in him? The inspiring force was the sustaining power of the German spirit! And so we find this sustaining power of the German spirit to be a very real entity, and we must turn our spiritual gaze towards it if we want to get to know the German character at all.

Now Goethe once spoke a very significant word, which should be taken into account when speaking of the relationship between the German spirit and the individual German, when speaking of how German essence lives directly in German lands – one might say – lives before the eyes of people when they have fixed their eyes on any personalities and any people within the German lands. In a confidential conversation in recent years, Goethe said to his secretary Eckermann: “My works cannot become popular; anyone who thinks and strives for that is mistaken. They are not written for the masses, but only for individual people who want and seek something similar and who are moving in similar directions.”

This is a significant statement. One would like to say: it is in the nature of Germanness — to use this word of Fichte's — to really feel the German spirit as a living thing and to still experience the totality of the German essence, the unity of the German spirit, as something special alongside what appears externally as German life. The totality of the German essence is no less real for that; it can at least be present for each individual. Hence the urge of the German to consider the individual phenomena of the world in connection with the whole development of the world and of humanity. In the second half of the nineteenth century, a poet living in the German-speaking districts of Austria went, one might say, around the whole world to understand the individual human being from the perspective of the overall spirit, despite the most diverse cultural influences. I refer to Robert Hamerling, who in his poem 'Aspasia' attempts to make the collective Greek spirit speak through an individual human being; who then attempts to portray the intensely personal German character in his 'King of Zion'; who further tries to express the actual spirit of the French revolutionary hearth in his drama “Danton and Robespierre” and finally wants to express the spirit of our time in his “Homunculus” in a grandiose, comprehensive way through poetry. Hamerling always feels the need to depict the individual in connection with what, as a spiritual weaving and becoming and as a sum of spiritual entities, animates and permeates the stream of human events. The view of the whole, of a living spiritual reality, interweaves the German intellectual work through the individual phenomena where it appears in its most intense manifestations.

Therefore, for someone who—one might say—does not look much further than a few meters beyond his own nose and considers something in a limited area of German life, it is extremely difficult to grasp the German character; for it can only be grasped by really considering the connection between the German soul and the spiritual entities that are weaving through the world and bringing themselves to revelation in the German spirit. And this is, in addition to much that has already been mentioned in these lectures, the reason why this German spirit, why this fundamental German spirit can be so misunderstood, why it is now so reviled and so insulted. One must ask oneself: How does this German spiritual life relate to the spiritual life of other nations?

I would like to discuss a characteristic example today, tying it in with a specific occasion when it became clear how difficult it is for a German who feels connected to the German spirit to make himself fully understood when the application of what he feels from the German spirit is to be applied to a single phenomenon. Recently, there has been much talk of the fact that the aging, somewhat decadent French intellectual life has undergone a kind of rejuvenation, that there are young French people who no longer go along with official Frenchness. And in many circles, which will hopefully have their eyes opened more by this war than they were previously open, people had begun to see something in this young Frenchness that would now understand the German mind much better than official Paris and official Frenchness. People had pointed to characteristic phenomena within young Frenchness. Indeed, there is much to be found there that one might say is quite significant. There are young French intellectuals who are not satisfied with official France itself – but that is the France that is currently at war with Germany.

What do such young Frenchmen say? – I would like to give just one brief example by quoting what Leon Bazalgette has said:

You can see how they swell with satisfaction when they utter the words: “French Renaissance” (three years of existence – they announce – the child is chubby-cheeked and already playing with little soldiers), “Awakening of national pride”,

These are the men who would divert the entire energy of a people to pour it into the enthusiasm of that still unknown virtue: hatred. In an age when the whole world trembles with activity, ambitious endeavors, dreams and new desires that cross borders, their only thought and aspiration, of which they are proud, is to settle an old neighborhood dispute with a fist fight. Oh, poor conceited people, who are incapable of conjuring up other forms of heroism than the “revenge”. Poor little fools of passion, who have no more appropriate desires to satisfy your hunger for action...

... In the name of what great idea – one of those ideas for which almost no one at all times has hesitated to give up his life – would we go to war with Germany? Is it about our freedom? Do we live under the yoke or are we threatened by it? Is it about countries that need to be civilized by being annexed, or about peoples that need to be snatched from slavery? No, it is solely about trying to reconquer territories that belonged to us and that we lost in a war, territories of which a good half are no more French than German...; and even less is it about reconquering these territories as such as it is about satisfying an old desire for revenge. That is the “idea in the name of which this country, which likes to give itself the title of ‘fighting for noble causes,’ would start a war.

One was — one would like to say — somewhat touched by the charity in certain circles at the sound of some voices that came from the young Frenchmen, those young Frenchmen of whom it was said that they wanted to found a new France. And one of those who, especially before the war, was also counted among these young Frenchmen by certain Germans who would create a new France, is Romain Rolland, who wrote a great novel, “great” in the sense of spatial expansion, because it has very many volumes. It is interesting to note how certain circles here, albeit perhaps smaller ones, viewed this particular novel by Romain Rolland.

One critic could not refrain from saying that this novel “Jean Christophe” — the German name is Johann Christof Kraft — is the most significant act that has been done since 1871 to reconcile Germany and France. In fact, there were quite a number of those who said: This novel 'Jean Christophe' shows how one of those young Frenchmen looks at Germany with love, with intimate love, and how he is one of those who will make it impossible for these two nations to live in discord in the future.

Not only has this proved to be a deceptive hope, but something else has emerged: Romain Rolland is one of those who, with Maeterlinck, Verhaeren and so on, immediately expressed themselves in a rather unmodest way about Germany and the German character when the war began. But now it is interesting to see a little how this man, Romain Rolland, of whom so many of us said that he could understand the German character so well, that he really grasped from the innermost core of the German national soul and the German spirit what is the supporting force of the German spirit – how this man understood the German character. I am well aware that I am not offending any true aesthetic sensibilities by saying what I must say, uninfluenced by the many judgments that have been passed on this novel, especially in the direction I have indicated.

What particularly excited people is that the Frenchman portrays a German, Johann Christof Kraft, who has outgrown the German way of being — we will see in a moment how — and who, after spending his youth in Germany, goes to France to find his further development there. In this, one sees a very special bridging of the contrast between the German and French way of being. Now, in order to fully understand what is to be said, we must first visualize the basic structure of this Jean Christophe.

I know how highly the critics regard this novel, and they have expressed their opinions as follows: the character of Jean Christophe is one that has been taken directly from life; no trait—so they feel—could be different in this drawing. But I must say: this Jean Christophe seems to me to be a rather indigestible ragout, his character welded together rather disharmoniously from the traits of the young Beethoven, Wagner, Richard Strauss and Karl Marx. The admirers of Jean Christophe may forgive me, but that is the impression. This Jean Christophe grows up – he is simply transported to the present – in much the same way as Beethoven grew up. One recognizes all the traits of the young Beethoven – but distorted into caricature – down to the last detail, but in such a way that the life of the young Beethoven appears everywhere as a grandiose work of art, while the life of Jean Christophe appears as a caricature. Now, it is not the poet's task, when he alludes to history, to be faithful to that history. I can make all the objections that critics make in this regard myself; nevertheless, I must say this: Jean Christophe grows up in an environment that, in the opinion of many people, provides a picture of the German character. His grandfather, grandmother, uncle and other friends are presented. He grows up in such a way that the German character, which he outgrows, is perceived as the greatest obstacle to his developing genius. German character, for example, is presented as follows. Like Beethoven, young Jean Christophe is a kind of early composer; he makes compositions at a young age. His father, who is a drunkard, feels compelled to show off this precocious talent to the world. This father is a secretary, servant to a small German prince. The particular Germanic nature of this father is presented in cultural-historical terms when, while planning a concert with the young, seven- to eight-year-old Jean Christophe, at which the prince is also to be present, he reflects on how he should dress the boy. In the end, he comes up with a very clever idea, which is described as “a culturally historical idea of genuine, true Germanism”: he has him put on long trousers and a tailcoat, along with a white bandage, so that the boy looks like an eight-year-old little man. I will not recount how this German undertaking later unfolds, because that would take us too far afield. I will also not describe in detail how he feels disgust for everything that the entire German environment offers, this environment that is marked with “love” — according to some people — and that is supposed to give a true picture of the German character. But when he can no longer stand this environment, he feels compelled — as it says in the book — to be inspired by the Latin spirit. So he goes to Paris. There he finds a friend who is a clear reflection of Romain Rolland himself in many ways. This is the person who expresses what the young, newly emerging French identity promises for the future; it is he who teaches this confused mind, this doll welded together from the young Beethoven, Wagner, Richard Strauss and others, some order of mind. That is the “love” with which, according to certain people, a German character, Jean Christophe, is drawn. Jean Christophe then also goes through various experiences in Paris – we now notice some traits of Richard Wagner. And when he loses his friend, he turns further south, undergoes many experiences that border on the criminal, which even lead him to suicide, which then only fails. And now, after Jean Christophe, who has not been able to flourish in his German surroundings, has gone through Latin ways, he comes to himself, as it were, in a lonely old village; he conquers his own spirit. Eternity opens up for him.

Now let us just take in a few examples of the truly loving immersion in the German character, taken from the novel. For example, the father, who is portrayed as Beethoven's father, Melchior, is characterized. Of course I know that someone might say: You are taking words out of a novel that may not actually reflect the author's opinion. But the artistic composition of this novel is entirely in line with what Schiller demanded in the beautiful words he wrote about “Wilhelm Meister” and what really belongs in the artistic composition of a novel. When Goethe was criticized for the fact that certain traits of the personalities in his novel did not appear entirely morally, Schiller said: “If people can prove to you that the immorality comes from your own soul, then you have made an aesthetic mistake; but if it comes from the characters, then you are justified in every respect.” This golden rule of art is also something that was later incorporated into the sustaining power of the German spirit. The best works of art that we find in Germany were truly written under the influence of this Schiller-Goethe attitude. But in Romain Rolland's work, one constantly encounters, almost on every third page, statements that clearly show that it is the author speaking and not the characters. Therefore, it is only an excuse in this case if one objects that one should not find what the author says on occasion – one cannot even say that it is the characters who express it – but what the author says on occasion of the characterizations characteristic of the way in which the author has immersed himself in the German essence. For example, Father Melchior is described in the following way:

“He was a smooth-talker, well built, if a little plump, and the type of what is considered classical beauty in Germany: a broad, expressionless forehead, strong regular features and a curly beard: a Jupiter from the banks of the Rhine.”

Then, to characterize Melchior's friends, how they gathered at the father's house and played and sang there together:

“Occasionally they would sing together in a four-part male choir one of those German songs that, one like the other, move along with solemn simplicity and in flat harmonies, ponderously, as it were, on all fours.”

What a loving description of the German character! I will only quote it as a characterization. Then there is an Uncle Theodor in the novel who is actually the grandfather's stepson; he is described in the following way. I have nothing to say against the fact that individual persons are presented in this way, but I do object to the fact that this description is supposed to be a cultural image of the German character; for one notices that Romain Rolland continually mixes in what itches him so that he can say it about the German character. Of this Uncle Theodor it is said:

What a loving description! Then Jean Christophe falls in love with a young noblewoman, who is portrayed as the epitome of a young German girl. Her name is Minna:

“Minna, for all her sentimentality and romanticism, was calm and cool. Despite her aristocratic name and the pride that the little word ‘von’ instilled in her, she had the mind of a little German housewife –” and then it continues:

“Minna, this naively sensual German little girl, knew some strange games.”

And now, to explain in cultural-historical terms what is supposed to be particularly characteristic of the German character, it is stated that she also understood how to spread flour on the table and put certain objects in it, which one then had to search for with one's mouth.

Now it will be shown why the German character becomes so unpleasant for Christof; and again, one can only say that the author is itching to express how he himself feels about the Germans. He wants to describe the dishonesty and hypocrisy in German idealism, the idealism that Romain Rolland believes was invented because people find the truth uncomfortable and therefore look to the ideal. They lie about the truth and call it idealism. Thus the Germans have the characteristic of not looking at people calmly, but of “idealizing” them, of lying to themselves about their true characteristics. Christof had also appropriated this characteristic, but it had become increasingly distasteful to him:

“Once he had convinced himself that they” — certain people — “were excellent and that he should like them, he, as a true German, tried hard to believe that he really liked them. But he didn't succeed at all: he lacked that compliant Germanic idealism that doesn't want to see and doesn't see what it would be embarrassing to discover for fear of disturbing the comfortable calm of their judgment and the comfort of their lives.” ‘German idealism’ invented for the sole reason of not disturbing the comfort of life! Now, once again, a young girl is described, with whom Jean Christophe naturally falls in love, an archetype of ugliness, “little Rosa.” One can literally feel from the novel how her nose is hardly in the right place on her face, and much more; but from a loving cultural description of her, it is said:

"The Germans are very indulgent when it comes to physical imperfections: they manage not to see them; they can even come to embellish them with a benevolent imagination, finding unexpected relationships between the face they want to see and the most magnificent examples of human beauty. It would not have taken much persuasion to get old Euler – Rosa's grandfather – to declare that his granddaughter had the nose of Juno Ludovisi.

But after he had tested the mendacity of German idealism on his own person – we have experienced this again and again with well-known “geniuses”; but we did not believe that it should be characteristic of the German character, that it should be a special characteristic of the Germans, that they 'idealize' people, was not believed earlier – he now also comes to the conclusion that basically all German musicians have a catch, something is wrong somewhere; this is also connected with German idealism! And now he comes to the conclusion that he must be more significant than all the rest. As a characteristic example, a few words about Schumann:

Now that he is only a: returned Beethoven – who of course lives according to Wagner – and is supposed to become a genius the like of which has never been seen, he must also vent his anger on Wagner. And so all kinds of affectionate things are then put into his mouth – you really can't say, “Johann Christof,” which would be forgivable; instead, they are always expressed in such a way that they are separate from the person of Johann Christof and become something that the author himself gives the absolute coloration to. So, with reference to Lohengrin and Siegfried, it is said about Richard Wagner:

“Germany revelled in this art of childish maturity, this art of wild beasts and mystically quacking maidens.”

Well, I would like to say that the German character is characterized even more profoundly in such a loving way. Here is another example:

"Especially since the German victories, they did everything to make compromises, to bring about a disgusting mishmash of new power and old principles. They did not want to renounce the old idealism: that would have been an act of courage that they were not capable of; in order to make it subservient to German interests, they contented themselves with falsifying it. They followed the example of Hegel, the cheerfully duplicitous Swabian, who had waited for Leipzig and Waterloo to adapt the basic idea of his philosophy to the Prussian state,” – it may perhaps be said that Hegel's fundamental work, ‘The Phenomenology of Spirit’ – but Romain Rolland probably knows very little about this when he says that Hegel's philosophy was created after Leipzig and Waterloo – was written during the cannonade of the Battle of Jena, that is, in 1806, and already contains Hegel's entire philosophy –

"And now, after the interests had changed, the principles were also changed. When they were defeated, they said that Germany's ideal was humanity. Now that they were beating the others, they said that Germany was the ideal of humanity. As long as the other countries were the more powerful, they said with Lessing that patriotism was a heroic weakness that could very well be dispensed with, and they called themselves citizens of the world. Now that victory had been achieved, there was no lack of contempt for “French” utopian dreams: world peace, brotherhood, peaceful progress, human rights, natural equality; it was said that the strongest nation had an absolute right over the others, while the others, as the weaker ones, had no rights over it. It seemed to be the living God and the incarnate spirit, whose progress was achieved by war, violence and oppression. Now that it was on their side, might was canonized. Might was now the epitome of all idealism and all reason. To give honor to the truth, it must be said that Germany for centuries...

perhaps the only thing people seek in Germany, to do honor to the truth! — “had suffered so much from having idealism without power that after so much trial it was well justified in now making the sad confession that it needed power above all, however it might be constituted. But how much hidden bitterness lay in such a confession of the people of a Herder and a Goethe! And what renunciation, what humiliation of the German ideal lay in this German victory! — And, alas, this renunciation found only too much compliance in the lamentable tendency of all the best Germans to subordinate themselves.

“What characterizes the German,” said Möser more than a century ago, “is obedience.”

And Frau von Stael:

"They obey well. They use philosophical reason to explain the most unphilosophical thing in the world: respect for power and the habituation to fear that transforms respect into admiration.” Christof found this feeling in Germany at all levels, from the greatest to the smallest – from Wilhelm Tell, the deliberate, small-minded bourgeois with the muscles of a porter, who, as the free Jew Börne says, in order to reconcile honor and fear, walks past the post of “dear Mr. Geßler” with his eyes downcast, so that he could appeal to the fact that he who did not see the hat was not disobeying – “up to the honorable seventy-year-old Professor Weiße, one of the most respected scholars in the city, who, when a lieutenant passed by, quickly left the footpath to him and went down to the road.”

And further it says:

“Moreover, Germany did indeed bear the heaviest burden of sins in Europe. When one has won the victory, one is responsible for it; one has become the debtor of the vanquished. One tacitly assumes the obligation to lead the way for them, to show them the way. The victorious Louis XIV brought the splendor of French reason to Europe. What light did the Germany of Sedan bring to the world?”

This is the loving description. But I must not forget anything, and in order not to be unjust, I must not conceal the fact that at one point something of the loving description of the German character from this novel shines through clearly and distinctly. It is where a German professor in a small town – his name is, of course, Schulz – is enthusiastic about the early works of Johann Christof, which are misunderstood by everyone else. Johann Christof is once able to visit the old professor. Two other acquaintances turn up, and then there is – in addition to Johann Christof demonstrating his works to the delight of the three people – a feast, a huge midday feast. Salome (!), the old professor's cook, who has been a widow for a long time, takes particular pleasure in how everyone can eat. And now a piece of German character is described in a truly “historically accurate and loving” way.

Salome, to see how they were enjoying a piece of German culture inside, looked through the crack in the door; and what she saw is described as:

It is not surprising that Johann Christof, after having gone through all that, wants to get out of this environment, because his genius cannot flourish in this environment. But he doesn't really know anything about France, this Johann Christof. He is completely uneducated, just a great musician. But since he knows nothing, his going to France is characterized in the following way:

“Instinctively (since he didn't know France!) his eyes looked towards the Latin south. And first of all towards France. Towards France, the eternal refuge from German confusion.”

In France, he meets his friend Olivier, who enlightens him about the young French. And perhaps it is what these young French say about the Germans that is so appealing on this side of the Rhine. Olivier tells Johann Christof about the young French's particular view of the nature of official Paris and about what he used to polemicize against like the others:

"The best among us are shut out, imprisoned on our own soil... Never will they know what we have suffered, we who cling to the genius of our race, who, like a sacred trust, guard the light we have received from it and desperately defend it against the hostile breath that would extinguish it; and yet we stand alone, feeling the polluted air of those metics all around us, who, like a swarm of mosquitoes, have attacked our thinking and whose disgusting larvae gnaw at our reason and defile our hearts; we are betrayed by those whose mission it would be to defend us, our superiors, our stupid or cowardly critics; they flatter the enemy to obtain forgiveness for being of our generation; we are abandoned by our people, who do not care about us, who do not even know us... What means do we have to make ourselves understood? We cannot reach them... And that is the hardest part. We know that there are thousands of us in France who think the same; we know that we speak on their behalf, and there is nothing we can do to be heard! The enemy occupies everything: newspapers, magazines, theaters... The press shuns every thought or only allows it if it is an instrument of pleasure or a party weapon. Intrigues and literary cliques only leave room for those who throw themselves away. Misery and overwork crush us to the ground. The politicians, who are only concerned with enriching themselves, are only interested in the corruptible proletariat. The indifferent and self-interested citizens watch our dying. Our people do not know us; even those who fight with us, who are shrouded in silence like us, know nothing of our existence, and we know nothing of theirs... Unhappy Paris! It is true that it has also done good by organizing all the forces of French thought into groups. But the evil it has created is at least equal to the good; and in an epoch like ours, good itself turns into evil. It is enough for a pseudo-elite to usurp Paris and ring the immense bell of the public to stifle the voice of the rest of France. Far more than that: France confuses itself; it remains silent in dismay and fearfully pushes its thoughts back into itself... I used to suffer greatly from all this. But now, Christof, I am calm. I have understood my strength, the strength of my people. We just have to wait until the flood has passed. It will not gnaw away at France's fine granite. I will let you feel it under the mud it carries with it. And already, here and there, tall peaks are emerging...

You don't really need more than that to characterize the French character that is now waging war against Germany. But now, I would like to say, there is something even more beautiful. So this novel was published. It has also been translated into German. I would now like to read you a few words from a German critic of this novel, addressed to Romain Rolland in the form of a letter printed in a Berlin newspaper.

"For me, the completion of your 'Jean Christo is even more of an ethical event than a literary one... Gobineau, Maeterlinck, Verhaeren and even Verlaine have had their greatest impact and achieved their greatest fame in Germany rather than in France, and it would be only fair if you too were appreciated earlier in our country than in your homeland, because your book belongs in Germany, in the land of music, more than any other book. In many ways it is a German book, a coming-of-age novel like Green Henry or Wilhelm Meisten. German music, which Germany has given the world, has also made you its advocate. It was music that led you to the German language and made you love Goethe, whom you have memorialized many times in your work with love and admiration.

I find myself at a loss as to how many times I should actually thank you. The human being, the connoisseur, the artist, the German, the world-joyful in me, each of them wants to come forward and say a word to you. But another time the artist will say a word about this novel, another time the connoisseur, and the human being will wait until he can shake your hand again. Today only the German should thank; because I have the feeling that French youth has become closer to us through this book, which has done more than all the diplomats, banquets and associations."

This is a prime example of how the sustaining power of the German spirit can be misunderstood, and how the painfully great events we are having to live through must have an eye-opening effect in many respects, truly: must have an eye-opening effect. And please forgive me if I bring up something at the very end that seems personal, but which only ties in with personal matters because I have only just learned about it today.

The spiritual science movement to which we belong was for many years connected with a theosophical movement based in England and India. This movement gradually became so absurd that anyone with a sense of truth could no longer have any connection with much of this Anglo-Indian theosophical movement. Therefore, many years before this war, we completely separated from it. At that time we were reviled enough, even by German followers of that movement; perhaps stronger words could be used. But one would have thought that the matter was now over and that there would be no reason to return to it now. But the president of this Anglo-Indian movement has found it necessary to refer to this matter again and to characterize us Germans. And she does so with the following words, which are not mentioned here out of personal considerations, but to show how, from a certain point of view, one is capable of characterizing in such a way what we as Germans had to do out of our sense of truth:

”... Now, looking back, in the light of German methods as revealed by the war, I realize that the long-standing efforts to capture the Theosophical Society and place a German at its head, the anger against me when I frustrated those efforts, the complaint that I had spoken about the late King Edward VII as the protector of European peace, instead of giving the honor to the Kaiser – that all this was part of the widespread campaign against England, and that the missionaries were tools, skillfully used by German agents here – in India – to push through their plans. If they could have turned the Theosophical Society in India, with its large number of officials, into a weapon against the British government and trained it to look to Germany as its spiritual leader – instead of standing, as it has always done, for the equal alliance of two free nations – then it could gradually have become a channel for poison in India.

So that is what we are, seen through English-Theosophical eyes, in our spiritual scientific movement. But I may say – forgive this remark; you know that I do not like to make personal remarks – I can give the assurance that I had no intention of doing all this, and especially had no intention of leaving the German spiritual scientific movement. For such a thing did not live in me and, I believe, did not live in many others either, who know that they are connected with the German spirit and its sustaining power – something that lived in Johann Christoph Arnold, who was driven out of Germany by his instinct. For even if it is difficult to find the immediate manifestations of the sustaining power of the German spirit in the immediate phenomena that Rolland, the traveler, with his uncomprehending eye, has focused on, it must be said that the truthfulness of the German spirit will make it more and more possible, especially through the experiences of our fateful time, to build a bridge between what we experience in everyday life and what is the fundamental force of the German spirit. And when we are presented with all the figures in Johann Christian's environment, from which his “genius” drives him out, then perhaps, in conclusion, and without arrogance, something may be said.

I don't want to quote a foreigner now. But I may quote someone who has been dead for a long time, who died in 1230 and who, for his part, also expressed an opinion on whether a German genius must necessarily be driven out of all that lives in it by its environment, out of all the Minnas and Rosas with crooked noses, which German idealism knows as the nose of Juno Ludovisi. Perhaps not with a genius like Johann Christoph, but with one of whom we know from the context with the supporting power of the German spirit that he was a German genius. With such a German genius we may perhaps, without arrogance, think for a moment: with Walther von der Vogelweide. And we may admit to ourselves: it is not with Johann Christof, the hero that Romain Rolland has drawn, that we judge how German men and German women affect a genius, but rather with a spirit like Walther von der Vogelweide. With his words, then, let these reflections be closed, to be followed tomorrow by a special lecture on the humanities.

Walther von der Vogelweide is not driven out of Germany by his instinct; he must think differently about those among whom he lives. I don't know how they would be described if they were to fall under Romain Rolland's fingers; but Walther von der Vogelweide says of them – and this seems to me to indicate a better understanding than Romain Rolland reveals –:

German men are well-bred,
their women are as pure as angels.
He who scolds them is deceived,
I could never understand it otherwise.
Virtue and pure love,
Whoever seeks them
Shall come to our land, where there is much bliss.
Long may I live in it!