The Rudolf Steiner Archive

A Christmas memory

Almost forty years ago, about two or three days before Christmas, my dear teacher and fatherly friend Karl Julius Schröer told me in his small library room on Vienna's Salesianergasse about the Christmas plays that he had attended in Oberufer in western Hungary in the 1850s and published in Vienna in 1862.

The German colonists of this area brought these plays with them from more western regions and continued to perform them every year around Christmas in the old manner. They preserve true gems of German folk theater from a time that predates the very first emergence of the modern stage.

There was something in Schröer's narrative that gave an immediate sense of how, in the sight of the plays, a piece of sixteenth-century folklore stood before his soul. And he described it from the full. He had grown fond of German folklore in the various Austro-Hungarian regions. Two areas were the subject of his particular study. This folklore and Goethe. And when he spoke about anything from these two areas, it was not a scholar who spoke, but a whole person who only used his erudition to express what connected him personally to it with all his heart and intense sense of purpose.

And so he spoke at the time about the rural Christmas games. The poor people of Oberufer, who trained as actors every year around Christmas time for their fellow villagers, came to life from his words. Schröer knew the nature of these people. He did everything he could to get to know them. He traveled around the Hungarian highlands to study the language of the Germans in this area of northern Hungary. He is the author of a “Dictionary of the German Dialects of the Hungarian Highlands” (1858) and a “Description of the German Dialects of the Hungarian Highlands” (1864). You don't have to particularly enjoy reading dictionaries to be captivated by these books. The outer garment of the presentation has nothing attractive at first. Schröer seeks to do justice to the scientific approach of German studies of his time. And this approach also appears quite dry at first in his work. But if you overcome this dryness and engage with the spirit that prevails when Schröer shares words, expressions, puns, and so on from the vernacular dialects, you will perceive revelations of the purest humanity in truly charming miniature images. But you don't even have to rely on that. Because Schröer precedes his dictionaries and grammatical lists with prefaces that provide the broadest cultural-historical outlooks. A rare and sensible personality falls in love with popular customs, interspersed with other popular customs and on the verge of extinction within the same, and describes them as one would describe a dusk.

And out of this love, Schröer also wrote a dictionary of the Heanzen dialect of western Hungary and one of the very small German language island of Gottschee in Krain.

There was always something of a tragic undertone when Schröer expressed what he felt when he looked at this declining folk life, which he wanted to preserve in the form of science.

But this feeling intensified to an intimate warmth when he spoke of the Oberufer Christmas plays. A respected family kept them and passed them on from generation to generation as a sacred treasure. The oldest member of the family was the teacher, who inherited the art of playing from his ancestors. Every year, after the grape harvest, he selected the boys from the village whom he considered suitable as players. He taught them the game. During their apprenticeship, they had to endeavor to live up to the seriousness of the matter. And they had to faithfully submit to everything the teacher prescribed. For in this teacher lived a time-honored tradition.

The performances that Schröer saw were in an inn. But both the players and the audience brought the warmest Christmas spirit into the house – and this mood is rooted in a genuine, pious devotion to the Christmas truth. Scenes that inspire the noblest edification alternate with bawdy, humorous ones. These do not detract from the seriousness of the whole. They only prove that the plays date from a time when the piety of the people was so deeply rooted in the mind that it could perfectly well coexist with naive, folksy merriment. For example, the pious love with which the heart was given to the baby Jesus did not suffer when a somewhat clumsy Joseph was placed next to the wonderfully delicately drawn Virgin; or when the intimately characterized sacrifice of the shepherds was preceded by their rough conversation and droll jokes. Those who originated the plays knew that the contrast with coarseness does not diminish, but rather increases, the heartfelt edification of the people. One can admire the art that draws the most beautiful mood of pious emotion from laughter, and precisely by doing so keeps away dishonest sentimentality.

In writing this, I am describing the impression I received after Schröer, to illustrate his story, took out the little book from his library in which he had shared the Christmas plays and from which he now read me samples. He was able to point out how one or the other player behaved in facial expression and gesture when saying this or that. Schröer now gave me the little book (“Deutsche Weihnachtspiele aus Ungern”, described and shared by Karl Julius Schröer. Vienna 1862); and after I had read it, I was often able to ask him about many things related to the folk's way of playing and their whole conception of this particular way of celebrating Christmas and the Feast of the Epiphany.

In his introduction to the plays, Schröer writes: “Near Pressburg, half an hour's drive away, on an island off the island of Schütt, lies the village of Oberufer, whose lords are the Palfy family. Both the Catholic and Protestant communities there belong to the Pressburg parishes and have their services in the city. A village schoolmaster for both communities is also a notary, and so all the honorifics of the village are united in one person. He is hostile to the games and despises them, so that to this day they have been ignored and completely isolated from all “intellectuals” by farmers and performed for farmers. Religion makes no difference, Catholics and Protestants take equal parts, in the presentation as well as in the spectator seats. The players, however, belong to the same tribe, known as the Haidbauern, who, in the 16th or early 17th century, immigrated from the area around Lake Constance” – in a footnote, Schröer points out that this is not entirely certain – ”and were said to have been still entirely Protestant in 1659.” — “In Oberufer, the owner of the games has been a farmer since 1827. He had already played the angel Gabriel as a boy, then inherited the art from his father, who was then the ‘master teacher’ of the games. He had inherited the writings, the clothing and other equipment purchased and maintained at the expense of the players, and so the teaching position was also passed on to him.” When the time for practicing comes, “they copy, learn, sing day and night. In the village, no music is tolerated. When the players go across the country to play in a neighboring village and there is music there, they move on. When the village musicians were once played in one village in their honor, they indignantly asked if they were considered comedians?” “The plays now last from the first Sunday in Advent to Twelfth Night. There is a performance every Sunday and holiday; every Wednesday there is a performance for practice. On the other weekdays, the players travel to neighboring villages to perform.” — ‘I consider it important to mention these circumstances because they show how a certain consecration is still associated with the event today.’

And when Schröer spoke about the plays, his words still had an echo of this consecration.

I had to keep what I learned from Schröer in my heart. And now members of the Anthroposophical Society have been performing these plays at Christmas time for a number of years. During the war they were also allowed to perform them for the sick in the military hospitals. We have also been playing them every Christmas season at the Goetheanum in Dornach for many years. This year will be no exception. As far as possible under the changed circumstances, strict attention is paid to the fact that the way the plays are performed and presented gives the audience a picture of what it was like for those who kept these plays in the folk mind and regarded them as a worthy way to celebrate Christmas.

Dear attendees!

In the first part of our presentation today, we will take the liberty of introducing you to eurythmy. And since I may well assume that not all of you have been to previous performances in which I have discussed the essence of our eurythmic art, I would like to take the liberty of at least saying a few words about the essence of our eurythmic art today.

It is not, in fact, something that could be compared with some other dance or the like that appears similar on the surface. Rather, with eurythmy, we are inaugurating a truly new art form. It is born out of what we here call the Goethean view of art, the feeling for art, which is, however, intimately connected with the whole of the Goethean world view. I do not want to be detailed today, but just hint at what it is about with a few sentences.

You will see movements performed by individuals; you will see groups of people in positions in relation to each other, performing group movements in relation to each other. What are these movements meant to achieve, whether they are performed purely by the human organism and its limbs or by groups of people? What are these movements meant to achieve? What do these movements mean?

They are not arbitrary gestures. Everything that is mere pantomime, that is facial expression, that is momentary gesture, is strictly forbidden in this eurythmic art. It is absolutely a matter of something that is internally lawful. Just as one has an inner lawfulness in music, in harmony and melody, and as it is actually unmusical to form something out of mere tone painting, so too in our eury thmy is not about creating random connections between a movement and soul content, but rather it is also about a kind of lawfulness in the sequence of these movements, about a musical element, about a linguistic element. It is about having a mute language in front of you in this eurythmic art. And this is how this mute language came about: by directing our attention, with the help of sensory-supersensory observation, to aspects of human, especially artistic, speech that we would otherwise not take into account when we simply listen to the spoken language. We focus our attention on the sound.

Now you only need to consider that, by speaking to you here, I am setting the air in motion. This movement is, of course, only a continuation of the movement that already exists in the larynx and its neighboring organs. This wonderful organization, which is the basis for speech, can be studied. And then what otherwise takes place as a hidden movement or half or fully executed movements in the larynx and its neighboring organs can be transferred to the whole person, so that the whole person becomes a moving larynx, that is, a means of expression for a mute language.

It is generally inadvisable to first explain what art is. I do not want to do that either. I want to point out that this eurythmic art must reveal itself through the direct impression that aesthetic enjoyment makes on aesthetic perception. But it can also do so because something is taken out of the linguistic element that has long since grown beyond the artistic and into the conventional in ordinary heard language, especially in our civilized language contexts.

In our sounding language, I would say, the thought from the head and the will from the whole person work together. Now, in art, it is precisely the essence that through this art, to the exclusion of imagination, we come to understand the thought, to move the will. In eurythmy, we switch off the ideas. We set in motion, through the human limbs, what is otherwise performed by the larynx and its neighboring organs, the human will. In a mute language, the whole person expresses himself as a being of will.

So you see this mute language on the stage as eurythmy, accompanied either by music – which then expresses the same thing through the musical tone, through the musical art – or accompanied by recitation, which in turn expresses in language (in audible language) what is revealed in mute language through eurythmy. In this case, the recitation must follow the eurythmy. And that is why it must go back to the older, better art forms of recitation, which took more account of the artistic aspect, of what is underlying in terms of meter, rhythm and, in general, the formal aspects of poetry. Today, recitation is more often based purely on the prosaic content. For some people, it is still somewhat strange that what is otherwise made visible in moving limbs through eurythmy can be heard in the recitation itself in the way that poetry is treated by the reciter when he accompanies eurythmy.

We will show you individual poems through the art of eurythmy, and then we will present a longer poem, a Norwegian dream song - “Olaf Åsteson”. This Norwegian dream play is in itself something extraordinarily interesting. It was rediscovered when special interest in Norway turned to the vernacular, which is called the “Landsmäl” in contrast to the language in Norwegian areas called “Statsmäl” [Riksmäl], which is now more cultivated. This Landsmäl is like an old folk book, and it contains something like this dream song of “Olaf Åsteson”. It evidently goes back to very early times, when the Norwegian spirit created that which moved its soul life, in which, on the one hand, old Nordic, clairvoyant paganism still existed, which was interspersed with Christianity, and how these old Nordic ideas merged with the deeply felt inner understanding of Christianity. This is what we encounter in this poem 'Olaf Åsteson', a truly wonderful folk poem. With the help of Norwegian friends who speak the Landsmäl, I then tried to render this dream song in our language, in the way in which it is to appear before you today as the basic text of a eurythmy performance.

And thirdly, we will present a Christmas play about shepherds, one of those Christmas plays that really take us back, I would say, to the Christian education of earlier centuries. The Christmas play presented here was discovered by my esteemed teacher, Karl Julius Schröer, with whom I discussed these matters a great deal at the time – it was almost 40 years ago – and so my love for these matters arose even then. Out of this love, we have been trying to renew these things again, especially within the anthroposophical movement, for several years and to present them to the public today.

This Christmas play was last performed among the German colonists of western Hungary, in the Pressburg area, in the Oberufer area, near Schütt Island. And the interesting thing is that this and similar Christmas plays – Schröer collected them for Hungary, Weinhold for Silesia, they were collected at the very time when they were already dying out – the interesting thing is that they were brought by the German colonists into the 16th century, who had advanced from more western regions into Slavic and Hungarian regions, that they were brought by them and that they survived among them in their original form.

Every time the corresponding times of the year came around, these plays were prepared and performed with great solemnity. There is something extremely touching about remembering how the people in the village, these devious poor Germans – that is how they could be described – in the 40s, 50s, 60s years, when Karl Julius Schröer collected the Christmas plays there, there was something touching about the way these people introduced the Christmas plays, these performances that took place every year around Christmas time. When the grape harvest was over, the person in charge of the matter in the village gathered the most well-behaved boys around him. These Christmas plays were only entrusted to the one - they were not printed at that time, but in manuscript from father to son and grandson they propagated -, so the one who was entitled to it in agreement with the priest of the respective place chose the worthy boys.

It is precisely in this respect that an old custom for theatrical performances has been preserved. These contained strict rules. This in particular shows the attitude from which something like this was presented. These boys were not allowed to stay in the inn all the time. These boys were obliged to lead a moral life throughout the whole time, they were not allowed to transgress the promise during the whole time in which the plays were rehearsed and performed, not to offend the authority of their teacher who rehearsed these plays for them, and so on and so on.

They started with a great solemnity. And then, by first making a procession in the village, in the place, and gathering in a tavern hall, these Christmas games were presented to the people. It shows us - as you will have the opportunity to hear shortly afterwards - how these Christmas games came from further west. You will hear about the sea and the Rhine in the introduction, in the so-called “Star Song”. Of course, these were not present in the Oberufer region, where these plays were last found. When the “sea” is mentioned, Lake Constance is meant; when the Rhine is mentioned, it is because these plays originally existed in a region along the Rhine. The people migrated eastward and took it with them, while education in western countries suppressed it, so that at most it was still maintained in secret by these German colonists until the mid-19th century, faithfully preserved, to perform these things in old piety. In this way we can see deeply into the way in which Christianity educated the people of Central Europe. We see it as our task not only to study external history in order to understand the development of humanity, but also to present history to contemporary humanity in such a way that it comes to life.

Furthermore, I ask you to bear in mind that we know full well that our eurythmic art is only in its infancy. It will be perfected and will then be able to stand alongside the other art forms. But today I ask you to take eurythmy with indulgence, it is a beginning. Likewise, I ask you to understand our performance of the Christmas play in such a way that we do not have fully trained actors, but that it is about capturing a cultural-historical phenomenon.

Please be content with what we are able to offer! We appeal to your forbearance. However, we believe that the goodwill shown towards eurythmy from many sides and the cultural-historical interest in this Christmas play justify the performance.

By receiving the Spirit the human soul develops to ever further stages in the course of cosmic existence. The Spirit is eternal, but the way in which it takes effect, how it manifests in what man can feel, love and create on Earth—that is new in every epoch.

When we think in this way of the Spirit and its progressive manifestation in the course of man's existence, the Eternal and the Transitory are revealed to our eyes of soul. And in particular manifestations of life here and there, we can constantly perceive how the Eternal reveals itself, comes to expression in the Transitory and then vanishes again, thereafter to assert its reality in perpetually new forms.

And today too we can feel that the emblems of Christmas around us are reminiscent of past forms in which the Eternal, manifesting in the outer world, was wont to be symbolised. Certain it is that in the second half of December at the present time, when we go out into the streets of a great city and look at the lights that are intended to be invitations into the houses to celebrate the Christmas Festival, our aesthetic sense must be pained by displays of so-called Christmas goods, while inventions out of keeping with Christmas trees and Christmas symbols whiz past—motor cars, electric tramcars and the like. These phenomena, as experienced today, are utterly at variance with each other. We feel this still more deeply when we realise what the Christmas Festival has become for many of those who want to be regarded in the great cities as the representatives of modern culture. It has become a festival of presents, a festival in which little remains of the warmth and profound depth of feeling which in a past by no means far distant surrounded this most significant season.

Among the experiences restored to us by our anthroposophical conception of the world and way of thinking, will certainly be the warmth of feeling that pervaded the human soul at the times of high festival in the ancient Church's year. We must learn to understand once again how necessary it is for our souls to become aware at certain times of the connection with the great Universe out of which man is born, in order that our intellectual, perceptive and also moral forces may be revitalised. There was an epoch when Christmas was a festival when all morality, all love, all philanthropy could be revivified; in its symbols it radiated a warmth undreamed of by the dreariness and prosaicness of modern life. Nevertheless deep contemplation of these symbols could be a means of developing the perceptions, experiences and convictions of which we ourselves can be aware concerning the resurrection of mankind, the birth of the Spirit of Anthroposophy in our souls.

There is indeed a connection between the earlier conceptions of the Festival of Christ's birth and the modern anthroposophical conceptions of the birth of truly spiritual ideas and ways of thinking, of the birth of the whole anthroposophical spirit in the cradle of our hearts; there is indeed a connection. And maybe it is the anthroposophist of today who will most readily enter into what for long ages was felt at the time of the Christmas Festival and could be felt again if there were any hope of something similar emerging from the atmosphere of materialism surrounding us today.

But if we want to experience the Christmas Festival in the truly anthroposophical way, we cannot limit ourselves to what the Christmas Festival was once upon a time or is now. Wherever we look in the world, and into a past however distant, something that can be compared to the thoughts and feelings connected with the Christmas Festival has existed everywhere. Today we will not go back to the very far past but only to the feelings and experiences which men living in the regions of Middle Europe might have had before the introduction of Christianity at the time of the year when our own Christmas Festival is drawing near. We will think briefly of epochs prior to the introduction of Christianity into Europe, when in regions subject to relatively harsh climatic conditions our forefathers in Europe were obliged to make their living by spending the summer as pastoral or agricultural workers, while their feelings and inclinations were intimately connected with the manifestations of the great world of Nature. They were full of thanksgiving for the sun's rays, full of reverence for the great Universe—a reverence that was not superficial but deeply felt. And when the herdsman or cattle breeder of ancient Europe was out on his rough fields, often in scorching heat, he was inwardly aware not only of the outer, physical aspect of Nature, but in his whole being he felt intimately connected with whatever was radiated to him from Nature; with his whole heart he lived in communion with Nature. It was not only that in his eyes the physical rays of the sun were reflecting the light, but in his heart the sunlight kindled spiritual jubilation, summer-like exultation which culminated in the St. John's fires when the spirit of Nature shouted for joy and was echoed from the hearts of men. Intimate community was also felt with the animal world as being under man's guardianship.

Then came autumn, followed by the season of rigorous winter—and I am thinking now of times when winter swept through the land with a bleakness of which modern humanity has little idea. This was a time when, with the exception of what it was absolutely essential to preserve, the last head of cattle had to be slaughtered. All outer life was stilled; it was actually as though a kind of death made its way into the hearts of men, a kind of darkness, in contrast with the mood that pervaded these same hearts throughout the summer. Those were times when the unique manifestations of climate and of Nature, enabled echoes of ancient clairvoyance still to persist in Middle Europe. People who during the summer were full of joy and merriment, as though Nature herself were rejoicing in their hearts—these same people could become inwardly quiescent during the time of approaching winter; their own souls could respond to an echo of the mood that pervades a man when, unmindful of the outer world, he withdraws into his own inner world in order to become aware of the indwelling Divinity.

So it can be said that Nature herself made it possible for these ancient European peoples to descend from life in the external world deep down into their own inmost being. When November came near this descent into death and darkness was felt for weeks to be a solemn season, to be a harbinger of the approaching dawn of what was called the Yuletide Festival. This mood was a clear indication of how long the remembrance of ancient clairvoyant faculties had persisted among all the peoples of Northern and Middle Europe. During the season following the period roughly corresponding to our months of January and February, men felt inwardly aware of the portents of renewed rejoicing, renewed resurrection in Nature. They were aware of a foretaste of what they would subsequently experience in the external world; but when the fields were still covered with snow, when icicles were still hanging from the trees, when outside in Nature nothing indicated a future state of exultation, there was a persistent condition of withdrawal into themselves, of inner repose which was ultimately transformed in the soul in such a way that a man was, as it were, liberated from his own selfhood.

This intermediate state experienced by our forefathers at the approach of the season we now call spring was felt by them somewhat as the clairvoyant feels his astral body, before that astral body is completely cleansed and purified. It was as if the spiritual horizon were filled with all kinds of animal forms. And those men tried to give expression to this. For them it represented a transition from the profound, festival mood of approaching winter to the mood which would again pervade the soul during summer. And they imitated in symbols what the astral body reveals, imitated it in the form of uninhibited games and dances; by donning animal masks they imitated this transition from a state of complete inner repose to a state of exultant abandonment to great Nature.

When we ponder over this, when we reflect that the hearts and minds of peoples over wide areas were completely given up to such a mood, then we understand that there was present on this soil the feeling of sinking down into the outer physical darkness, into the outer physical death of Nature; we also understand the deep, persistent feeling that in sinking down into the physical death of Nature, into physical darkness, the supreme light of the Spirit can be revealed; and how the experience of being submerged in physical death is directly transformed into that mood of unbridled abandonment to which expression can be given by animal masks, unrestrained dancing and music. Admittedly there was not yet any fully developed feeling that if a human being is to find the highest light he must seek for it in the deepest depths of being; but through an inner, loving union with the weaving forces of Nature a soil was prepared into which there could be planted a knowledge to be imparted to men concerning their further evolution through the power of the Christ Impulse. To these peoples living all over Europe it was only necessary to say—not in dry, abstract words but speaking to the heart by means of symbols: ‘Where you plunge into darkness, into the death of outer Nature, there—if you have prepared your souls to perceive and feel rightly, you can find an eternal, imperishable Light. And this Light has been brought into the evolution of mankind through the quickening power of the Mystery of Golgotha, through the events in Palestine’.

It is characteristic of the centuries immediately following, that in Europe the warmest, most intimate feelings for the Christ Impulse were to be kindled by the thought of the Christ Child, by the birth of the Christ Child. And if we believe that mankind has a mission, what conception must we have of that mission? We must conceive that man has a divine-spiritual origin, that he can look back to that origin, but that he has descended farther and farther away from it, has become more and more closely interwoven with physical matter, with the outer physical plane. But we must also be aware that through the mighty Impulse which we call the Christ Impulse, man can overcome the forces that led him down into the physical world and tread the path upwards into the heights of spiritual life.

Having grasped this we must say to ourselves: as the human Ego is today, incarnated in a physical body, it has descended from divine-spiritual heights of existence and feels entangled with the world of the outer physical plane. But this Ego that has become sinful is rooted in another Ego, a guiltless Ego. Where then, does the Ego that is not yet interwoven with the physical world contact us? At the point when, looking back in memory over our life as it takes its course between birth and death, we come to the moment in our early years when consciousness of our Ego dawned for the first time. The Ego is there, although we are not aware that it is living and active within us, even when there is no realisation of Egohood at all. The Ego looks into the surrounding world, is interwoven with the physical plane even before there is any consciousness of Egohood. In its childlike, innocent state the Ego is nevertheless present and may hover before us as an ideal to be regained, but permeated then with everything that can be experienced in this school of physical life on the Earth. And so, although it will inevitably be difficult for the prosaic intellect to find words in which to clothe it, this ideal can be felt by warm human hearts: ‘Become what your Ego is before there is any concept of it! Become what you could be if you were to find your way to the Ego of your childhood! Then that Ego will shine into everything acquired by the Ego of your later years!’—And inasmuch as we feel this to be an ideal, it shines before us in Jesus of Nazareth, in whom the Christ subsequently became incarnate.

Experiences such as these enable us to understand that an impulse promoting growth and development could move the hearts of the simplest people all over Europe when they contemplated the incarnation of the Being who was afterwards able to receive the Christ into himself. So we realise that it was truly a step forward when feelings connected with the Festival of the birth of Jesus were inculcated into experiences connected with the old Yuletide Festival. It was indeed a mighty step forward and may perhaps best be characterised by saying that in those dark days, when souls gathered together in order to prepare for the rejoicings of the new summer—in that darkness the light of Christ Jesus was kindled!

An echo of what took place among European peoples in those early times still persists in the Christmas Plays which during the nineteenth century, or at any rate during its latter half, had become little more than objects of study for learned investigators and for collectors. During the Middle Ages, however, these Plays were already being performed in a characteristic style during the Christmas period. All the emotions, all the vitality kindled in souls living in the regions where, when Yuletide was approaching, people of an even earlier period had experienced what I have been describing—all these feelings were awakened by the Plays. And as we turn from the description of the old Yuletide Festival to the medieval Christmas Plays, we ourselves can realise what warmth swept through the European peoples with the advent of Christianity. An impulse of a unique kind penetrated then into the hearts and souls of men.

Conditions now are, of course, different from those of earlier times, and in the nineteenth century these Plays were regarded simply as perquisites of erudition. Nevertheless it was a moving experience to make the acquaintance of older philologists and authorities on Germanic mythology and sagas, men who with intense enthusiasm devoted profound study to whatever fragments remained of the Christmas Plays that were performed in different regions. I myself had an elderly friend who during the fifties and sixties of last century had been a Professor at a College in Pressburg and while there had devoted a great deal of time to research among the Germanic peoples who had been driven from Western to Eastern Hungary. He also admired the charming customs and the language of the now Magyarised German gypsies and of other folk living at that time in Northern Hungary. It came to his knowledge that early Christmas Plays were still performed in a village near Pressburg. And he—I am speaking of my old friend Karl Julius Schröer—went to the village in an attempt to discover what vestiges of these old Plays still survived among the country people. Later on he told me a great deal about the wonderful impressions he had also received of what was left of Christmas Plays belonging to far, far earlier times.

In a certain village—Oberrufer was its name—there lived an old man in whose family it was an inherited custom when Christmas came near, to gather together those in the village who were suitable to be alloted parts in a Play in which the Gospels' story of Herod and the Three Kings would be presented in a simple way.

To understand the unique character of these Christmas Plays, however, we must have some idea of the kind of life led by simple folk in olden times. It now belongs to the past and must not be repeated. To make the gist of the matter clear, let me just put this question: Is there not a particular time of the year when the snowdrop flowers? Are there not for the lily-ofthe-valley and for the violet particular seasons when they take their own places in the macrocosm? Certainly, under glass they can be made to flower at other periods but it really gives one pain to see a violet flowering at a time other than that which properly belongs to it. There is little feeling for such things in our day but something of the kind can be said about the people of earlier times. What men felt during certain periods of the Middle Ages at the approach of autumn and of Christmas, when the dark nights were drawing on apace, what they felt in such a way that their intimate experiences were akin to the manifestations of Nature outside, akin to the snow and the snowflakes and the icicles forming on the trees—such feelings were possible only at the time of Christmas. It was a mood that imparted strength and healing power to the soul for the whole of the year. It renewed the soul, was a real and effective power. And how deeply one was moved a decade or so ago when the last indications of such feelings were still to be encountered here or there. From my own personal experience on the physical plane itself I can confirm that there were utterly good-for-nothing fellows who would not dare to be dissolute as the days shortened. At Christmastime those who were invariably the most quarrelsome, quarrelled less and those who quarrelled only now and then stopped quarrelling altogether. A real power was active in souls at that time of the year and these feelings abounded everywhere during the weeks immediately before the Holy Night.

What was it that people actually experienced during those weeks? Their experiences, translated into actual feelings, were that human beings had descended from a divine-spiritual existence to the deepest depth on the physical plane, that the Christ Impulse had been received and the direction of man's path reversed into one of reascent to divine-spiritual existence. That is what was felt in connection with everything to do with the Christ Event. Hence it was not only Christian happenings that people liked to present, but just as the Church calendar couples Adam and Eve's day on 24 December with the birthday of Jesus on the 25th, a performance of the Paradise Play was followed directly by the Play presenting Christ's birthday, denoting the impulse given for man's reascent to divine-spiritual existence. And this was deeply felt when the name EVA resounded in the Paradise Play – EVA, the mother of humanity, from whom men had descended into the vale of physical life. This theme was presented on one day and on the next there was a Play depicting the impulse which brought about the reversal of man's path. This reversal was indicated in the actual sounds: AVE MARIA. AVE was felt to be the reversal of EVA: AVE-EVA. People were deeply stirred by words which rang out countless times to their ears and hearts from the fifth, sixth, seventh and eighth centuries onwards, and which were understood.

Ave maris stella (Hail, star of the sea,)
Dei mater alma (Nursing mother of God,)
Atque semper virgo (Virgin for ever and ever,)
Felix coeli porta (Blissful door to the heavens above.
Sumens illud Ave (Adopting that ‘Ave’
Gabrielis ore (Out of the mouth of Gabriel,
Funda nos in pace (Establish us in peace
Mutans nomen Evae! (Altering the name of ‘Eva’.

(Tr. by Owen Barfield)

It was felt that the Paradise Play must be performed in the mood of piety befitting the Holy Night of Christmas. This was a deep conviction, and as anthroposophists, when we hear how the performers in the Christmas Plays rehearsed, how they prepared themselves, how they behaved before and during the performances of the Plays, we may well say: Is this not reminiscent of the attitude to truth adopted in the Mysteries?—although that, admittedly, was a matter of even greater significance. We know that in the Mysteries truth could not be received in any superficial mood of soul. Those who are aware to some extent of the holiness of truth know how absurd it is to imagine that it could be found in the arid, prosaic lectures of modern times, lectures in which there is no longer any indication that truth must be sought by a pure, unsullied, well-prepared soul and that it will not be found by a soul inwardly unsanctified, whose feelings are not duly prepared for its reception. There is no longer any conception of this in our age of materialism when truth itself, in the way it is presented, has become utterly prosaic.

In the Mysteries, truth might be approached only after the soul had passed through probationary tests of purity, inner freedom and fearlessness. Are we not reminded of this when we hear of the old man whom Karl Julius Schröer had known, who while he was assembling his players demanded that they should observe the ancient rules. Anyone who has lived among village people knows what the first rule signifies. The first rule was that during the whole period of preparation none of the actors might visit a brothel. In the village this was a matter of tremendous importance, signifying that the task lying before the actors must be steeped in piety. Nobody, while he was rehearsing, might sing an unworthy song; that was another rule. Further, nobody should desire anything more than a good, honest livelihood. That was the third rule. And the fourth was that he who was the authentic guardian of the traditional Christmas Plays should in all things be obeyed. It was an office not willingly transferred to anyone else.

In the second half of the nineteenth century people collected these Plays, although by then the old feelings associated with them had vanished. Later on I myself came across indications of the piety and fervour of scholars who still had some contact with country folk living in the scattered provinces of Hungary, for example, and were collecting the old Plays and Songs. When I was once in Hermannstadt about Christmastime I found that the teachers at the Gymnasium (Grammar School) there had been busily collecting these Plays and I came across the Herod Play. And so in the second half of the nineteenth century it was still possible to find people who were gathering evidence of old customs in regions which I have mentioned in connection with the Yuletide Festival. Do not let us think of anything theoretical but let us picture this warm, magical breath of the Christmas mood presented in these Plays. We then have a conception of mankind's belief in divine-spiritual reality—a belief acquired through the Christ Impulse.

This deep study of the Christmas Plays was something that could be highly instructive for the present age when the realisation that Art is the offspring of piety, of religion and of wisdom has long since been lost! In these days, when people are apt to regard Art as being detached from everything else, when Art has degenerated, for example, into formalism, much could be learnt from considering how Art in all its aspects was once regarded as a flower of human life. Simple as was the presentation of these Christmas Plays, it nevertheless indicated a flowering of man's whole nature. In the first place, the boys taking part in the Plays must be God-fearing, must absorb into their whole character something that was like an essence of the Christmas mood. They were also obliged to learn how to speak in strict rhythm. At the present time, when the Art of speaking in the ancient sense has been lost, there is no inkling of the vitally important role played by rhythm and rhyme, or of how every movement and gesture of men otherwise accustomed only to handling flails were rehearsed in minutest detail. The actors devoted themselves for weeks on end to practising rhythm and intonation, and were wholly dedicated to what they were to present. For a true understanding of Art, much could be learnt from those customs today when we have forgotten to such an extent how to speak artistically that hardly more than the intellectual meaning of what we have to say is expressed. The essential charm of these old Christmas Plays, however, lay in the fact that in rhythm, intonation and gesture the whole man became articulate. It was indeed a significant experience to have witnessed even the last remnants of these customs.

When the Christmas days were over, the actors taking. the parts of the Three Holy Kings walked through the villages, but at no other time than immediately after Christmas. I still remember seeing the Three Kings going through the villages from house to house. They carried long strips of lattice work attached to shears, a star being fixed to the end of the lattice work. The star shot out when the shears were opened and the lattice work swung back in harmony with the rhythmic movements made by the Three Kings. The Kings wore the most primitive costumes imaginable but their way of bringing the appropriate facts to the notice of the people at the right time of the year and their complete forgetfulness of self, induced a mood of soul that will be utterly incomprehensible to our age unless there can be a spiritual awakening. What should awaken in us as the life of the spirit, transformed through Anthroposophy into Art, can be presented in Plays which transcend the normal standards of the present age. Such Plays will not necessarily be connected with festivals but will be concerned with what is eternal in the human soul, unrelated to any particular season.

The Christ Impulse that was a reality for the souls of a certain epoch could become for us a living experience. True, in a certain sense we are already deeply rooted in an age when materialism in the outer world has taken such a hold in every sphere that if this Christ Impulse is to be renewed, stimuli quite different from the simple methods employed in the Middle Ages are called for. A revitalisation of man's inner life is necessary. The goal of Anthroposophy should be to draw forth the deepest forces of the human soul, forces quite different from those indicated to us by the present Christmas symbols and customs. True as it is that through our Anthroposophy we can become aware of the breath of enchantment which filled men's hearts during performances of the Paradise and Christ-Plays and during all the experiences connected with the festival seasons, it behoves us also to face the other fact—that the eternal Spirit must live in ever new forms through the evolution of humanity. Hence the spectacle of the Christmas symbols should be an incitement to infuse into the Christmas mood the spirit of anthroposophical thinking. Those who have a right feeling of the mysteries of the Christmas night will be filled with hope as they look forward to what will follow the Christmas Festival as a second Festival: they will look forward to Easter, the Festival of Resurrection, when He who was born in the Christmas night will be victorious.

Thus we are convinced that all cultural life, all spiritual life must be pervaded and inwardly charged with anthroposophical conceptions, anthroposophical feeling, thinking and willing. In the future, my dear friends, there will either be an anthroposophical spiritual science or no science at all, only a kind of applied technology; in the future there will either be a religion permeated with Anthroposophy, or no religion at all, merely external ecclesiasticism. In the future, Art will be permeated with Anthroposophy or the various arts will cease to exist, because cut off from the life of the human soul they can have only a brief, ephemeral existence. So we look towards something that shines with the same certainty as Theodora's prophecy of the renewal of the vision of Christ in the first Mystery Play, The Portal of Initiation. With as great a certainty there stands before our souls the resurrection of the anthroposophical spirit in Science, Religion, Art and in the whole life of humanity. The great Easter Festival of mankind is arrayed before our foreshadowing souls.

We can understand that still there are ‘mangers’, still lonely places in which there will be born, as yet in the form typical of childhood, that which is to be resurrected among men. In the Middle Ages people were led into the houses and shown the manger—an imitation of the stable with the ox and the ass—where the Child Jesus lay near his parents and the shepherds, and the people looking on were told: There lies the hope for the future of mankind!

May all that we cultivate in our anthroposophical centres become in the modern age new mangers in which, under the guidance of the Being we call Christ Jesus, the new spirit may come to life. Today this new spirit is still at the stage of childhood, still being born as it were in the mangers which are the centres of anthroposophical activities, and bearing the pledge of victory—the pledge that we, as mankind, will celebrate the great Easter Festival, the Resurrection Festival of humanity in the new spirit which we already anticipate and for which we strive—the spirit of Anthrophosophy.

When we wander at this time of year through the streets of large cities, we find them full of all sorts of things which our contemporaries want to have for their celebration of the approaching Christmas festival. Indeed, it is one of the greatest festivals of the year which humanity can celebrate: the festival which commemorates the most powerful impulse in the evolution of mankind. And yet, if we contemplate what will take place in the coming days in large cities such as ours, we may well ask: Does all of this correspond rightly to what is meant to flow through the souls and hearts of man?

If we don't give ourselves up to illusions but simply face the truth, then perhaps we cannot help but admit to ourselves: All these preparations and celebrations of the Christmas festival which we see in our time fit in very poorly on the one hand with all other happenings of modern civilization around us; and on the other hand they fit in equally poorly with what should live in the depth of the human heart as a commemorative thought of the greatest impulse which humanity received in the course of its evolution.

So it is perhaps no overstatement if we express the following view: There is a lack of harmony in what our eyes perceive, when we wish to permeate ourselves with the Christmas mood, and wish to receive this Christmas mood from what we can see in today's environment. There is a discord in seeing the streets bedecked with Christmas trees and other decorations in preparation for the festival, and then seeing modern traffic rushing through the midst of it all. And if modern man does not feel the full extent of this discord, the reason may well be that he has disaccustomed himself to be sensitive to all the depth and intimacy which can be connected with this approaching festival. Of all that the Christmas festival can do to deepen man's inner nature, basically no more is left today, especially for the city dweller, than a last faint echo. He is hardly in a position to feel even vaguely its former greatness. His habits prevent him from perceiving this greatness any longer, a greatness to which humanity had become accustomed in the course of centuries.

It would be totally wrong if we would look with pessimism at the fact that times have changed, and that in our modern cities it has become impossible to develop that mood of profound intimacy which prevailed in earlier times with regard to this festival. It would not be right to allow such a pessimistic mood to arise, for at the same time we can feel an intimation—in our circles this feeling should certainly be present—that humanity can once again come to experience the full depth and greatness of the impulse which belongs to this festival. Seeking souls have every reason to ask themselves: “What can this ‘Christ festival’ mean to us?”. And in their hearts they can admit: Precisely through Spiritual Science something will be given to humanity, which will bring again, in the fullest sense of the word, that depth and greatness which cannot be any more today. If we don't succumb to illusion and phantasy we must admit that these can no longer exist at present. What has become often a mere festival of gifts cannot be said to have the same meaning as what the Christmas festival meant to people for many centuries in the past. Through the celebration of this festival the souls used to blossom forth with hope-filled joy, with hope-borne certainty, and with the awareness of belonging to a spiritual Being, Who descended from Spiritual heights, and united Himself with the earth, so that every human soul of good will may share in His powers. Indeed, for many centuries the celebration of this festival awakened in the souls of men the consciousness that the individual human soul can feel firmly supported by the spiritual power just described, and that all men of good will can find themselves gathered together in the service of this spiritual power. Thereby they can also find together the right ways of life on earth, so that they can mean humanly as much as possible to one another, so that they can love each other as human beings on earth as much as possible.

Suppose we find it appropriate to let the following comparison work on our souls: What has the Christmas festival been for many centuries, and what should it become in the future? To this end, let us compare, on the one hand, the mood which social custom creates nowadays in certain parts of the world around us, with the mood that once permeated the Christmas festival. On the other hand, let us compare this mood of the present time with what can come about in the soul as a renewal of this festival, made as it were timeless, through Spiritual Science.

For a modern urban dweller it is hardly possible to appreciate truly the full depth of what is connected with our great seasonal festivals. It is hardly possible to experience that magic which like a gentle breeze permeated the mood of soul of those who believed that they bore the Christ in their hearts during the great festivities surrounding Christmas or Easter. Today it has become very difficult indeed, especially for the city dweller, to sense anything of this magic, which permeated humanity like a gentle spiritual breeze during those seasons. For those who have had the opportunity of experiencing even a little of this magic wind which permeated the soul mood in those times this will most certainly be a wonderful, glorious memory. As a young child I was able to behold the last remnants of such a magic wind as it permeated the souls, the mood, of country folk in certain remote German villages. When the Christmas season approached I could behold how something arose in the deepest, innermost soul life of young and old, which differed essentially from the feelings and sentiments that prevailed during the rest of the year. When Christmas approached this could still be sensed quite distinctly in certain farming villages as recently as a few decades ago. The souls had then a natural way of making themselves inwardly beautiful. And they really felt something like this: “Into deepest night-enveloped darkness has the physical sunlight descended during autumn. More outer physical darkness has come about. Long have the nights become, shortened are the days. We must stay home much of the time. During the other seasons we used to go outside, to the fields, where we would feel the golden rays of the morning sun coming to meet us, where we could feel the warmth of the sun, where we could work with our hands during the long days of summer. But now, we must sit inside much of the time, we must feel much, much darkness around us, and we must often see, as we look outside through windows, how the earth is being covered with its winter garment.”

It is not possible to depict in detail all the beautiful, the wonderful soul moods which awoke in the simplest farm homes on Sunday afternoons and evenings as the Christmas season approached. One would have to depict very intimate soul moods. One would have to tell how many, who had been involved in a good share of fights and mischief during the rest of the year, would feel a natural restraint in their souls, as a result of being filled with the thought: “The time of Christ draws near.” They would feel: Time itself is becoming too holy to allow mischief to occur during this season.—That is only a minor aspect of what was extensively present in past centuries, and what could still be seen in its last remnants in those remote villages in recent decades. When the celebration of Christmas retreated into the homes as a family festival you would see there no more than a little display representing the stable in Bethlehem. The children would enjoy everything connected with it, as they saw Joseph and Mary, with the shepherds in front, and the angels above, sometimes done in a very primitive way. In some villages you would find such a display of the “manger” in almost every home. What had thus retreated into the homes was more or less a last echo of something which we will touch upon later.—And when the main days of the Christmas festival, the 25th and 26th of December, had passed and Epiphany, the festival of the Three Kings, approached, you could still see a few decades ago small groups of actors wandering from village to village—the last actors to present plays of “the Holy Story.” The actual Christmas plays had already become quite rare, but a last echo of “The Play of the Three Kings” could often still be seen, as it might be even today (1910) in some remote villages. There were the “Three Holy Kings”, wearing strange costumes, different for each one, with paper crowns and a star on their heads. Thus would they move through the villages, seldom lacking humor, but with humor and reverence together. With their primitive voices they would awaken all those feelings which the soul should feel in connection with what the Bible tells of the great Christ Impulse of human evolution.

The essential thing is that a mood prevailed during the Christmas season, the days and weeks surrounding the Christmas festival, to which the heart was given over, a mood in which the whole village would participate, and which enabled people to take in with simple immediacy all the representations that were brought before their souls. Grotesque, comedy-like presentations of sacred scenes, such as have become customary in our time in imitation of the Passion Plays of Oberammergau, would have met with no understanding in those days. The memory and the thought of the great periods of humanity were then still alive. It would have been impossible to find anyone willing to experience the events of the Holy Night and of the Three Kings during any other days of the year. And it would have been just as impossible to accept the Passion story at any other time but Easter. People felt united with what spoke to them from the stars, the weeks, the seasons, what spoke out of snow and sunshine. And they listened to tales of what they wanted to feel and should feel, when the so-called “Star-Singers” went around, wearing paper crowns on their heads, and lately wearing simply a white jacket. One of them used to carry a star, attached to a scissor-like device, so that he could project the star some distance out. Thus they would wander through the villages, stopping at various homes, to present their simple tales. What mattered most was that just at this time people's hearts were rightly attuned, so that they were able to take in everything that was supposed to permeate their souls during this season. I myself have still heard quite a few times these “Star-Singers”, reciting their simple poems as they wandered through the villages, and this is for me still a beautiful memory. An example follows *:

In God's Name now our tale begins.
From Orient came the Holy Kings.
They ride with speed on distant ways,
Four hundred miles in thirteen days.
They ride by Herod's palace-walls
As Herod from his window calls:
Whither go ye, relax your speed!
To Bethlehem our journey does lead.
Ye Holy Three Kings be guests of mine,
I will draw plenty of beer and wine,
I will serve venison roast and fish;
To know of the newborn king is my wish.
In truth, we cannot tell just where;
We have to follow the star we bear:
Over the house the star will shine bright.
Over the mountains the holy men ride.
There found they Jesus Christ, our Lord,
Who is the Savior of all the world.¹

The whole village would take part in such things. As certain lines were recited the star would be projected far out. This star of Christmas, of the Three Kings, was an expression of the consonance of the season, the festivity, and the human hearts. That was a great thing, which had spread through centuries like a magic breath of air over large parts of the earth and into the simplest hearts and minds. We must try to place something like this before our souls. As seekers after spiritual knowledge we are able to do so, because through our years of contemplative work on this great event we were able to develop again a feeling for the real power which was thereby given for all of mankind and for the whole evolution of the earth. And it is to this event that our thoughts should be directed during this festival season.

So we may expect to gain some understanding of how in times past the whole Christmas season was immersed in a festive mood, especially among the people of Germany and Western Europe, and how this festive mood was achieved by the simplest means. But perhaps only the spiritual seeker can understand today what was essential in those ancient Christmas plays. What I have presented to you just now as the “Star-Song” is, in fact, only a last remnant, a last ruin. If we would go back several centuries we would find vast regions where Christmas plays were performed when this time approached, in the presentation of which entire villages took part. As regards our knowledge of these Christmas plays we may well say that we were merely in a position of collecting something that was rapidly vanishing.

I myself had the good fortune of having an old friend who was such a collector. From him I heard many stories of what he encountered as a scholarly collector of Christmas plays, especially in German-Hungarian regions. In certain “language islands” in Hungary the German language had been kept alive both as a mother tongue and for colloquial speech, up to the time of the so-called magyarization in the fifties and sixties of the nineteenth century, when the Hungarian language was imposed. There one could still find many of the Christmas plays and Christmas customs which had vanished long ago into the stream of oblivion in the German motherland. Individual colonists, who migrated into Slavic regions during the previous centuries, had preserved their ancient heritage of Christmas plays, and they renewed them, whenever they could find the right people to play the parts, always recruiting the players from among the villagers themselves. I can still well remember—and perhaps you will take my word for it—with how much enthusiasm the old professor Schröer spoke of these Christmas plays, when he told of having been present when these people performed these plays during the festival season.

We can say without exaggerating, that an understanding of the inner nature of the artistic element in these plays can only be reached by actually visiting these village people and witnessing how they have given birth to the simple artistry of such Christmas plays out of a truly most holy mood. There are people today, who believe that they can learn the art of speech and recitation from this or that teacher. They will go to all sorts of places in order to learn certain breathing exercises which are considered to be the right ones for this purpose. And there exist nowadays dozens of “right” breathing methods for singing and for declamation. These people believe that it is essential for them to make a real automaton of their body or their larynx. Thus they cultivate art in a materialistic way. I would only hope that this strange view will never really take root in our circles; for these people have no idea how a simple, yet true art was born out of a most reverent mood, a prayerful Christmas mood.

Such art was actually performed by village lads who engaged in good-for-nothing pranks and behaved in a very loose way during the rest of the year. These very same lads would act in the Christmas plays with a most profound Christmas mood in their souls and hearts. For, these simple people, who lived beneath their thatched roofs, knew infinitely more about the relation of the human soul, even the whole human being, and art, than is known today in our modern theaters or other art institutions, no matter how much ado surrounds these things. They knew that true art has to spring from the whole human being; and if it be sacred-art then it must spring from man's holy mood of devotion. That, indeed, these people knew! And this can be seen, for example, in the “four principle rules”, found in those regions which Schröer could still visit.

As the months of October or November approached, in the regions of Upper Hungary, one person who knew the Christmas plays would gather those people who he felt were suitable to perform them. These plays were passed on by oral tradition. They were never committed to writing. That would have been considered a profanation. And during the Christmas season some people were considered suited, of whom one would perhaps not have thought so at other times: really roguish good-for-nothing lads, who had been involved in all sorts of mischief during the rest of the year. But during this time of the year their souls immersed themselves in the required mood. The participants had to abide by some very strict rules during the many weeks of rehearsals. Anyone who wanted to take part had to adhere strictly to the following rules.—Try to imagine life in these villages, and what it would mean not to be allowed to participate in these Christmas plays. “Anyone wishing to act in the plays must:

1. stay away from the girls,
2. sing no bawdy songs during the entire Holy Season,
3. lead a decent life,
4. obey my orders.

A fine will be levied for all violations, and also for each error in memorizing your lines.”²

Do you recognize in this custom something like a last echo of the kind of consciousness that prevailed at the holy sites of the ancient mysteries? There too, one knew that wisdom cannot be achieved by mere schooling. Likewise, an awareness prevailed here that the whole human being, including his mind and morals, must be cleansed and purified, if he wished to partake in art in a worthy way. These plays had to be born out of the whole human being! And the attunement to the Christmas mood brought about something like this, brought about that devotion and piety would take hold even of the most roguish lads.

These Christmas plays, of which I have just told you, and which Schröer and others could still observe and collect, were the last remains of more ancient plays, indeed, merely the last ruins. But through these plays we can look back into earlier times, into the 16th, 15th, 14th century and even further, when the relations between villages and cities were quite different. Indeed, in the Christmas season the souls of village people would immerse themselves into an entirely different mood through what these plays would offer them, as they presented with the simplest, most primitive means the holy legend: the birth of Christ with all that belongs to it according to the Bible. And just as Christmas day, the 25th of December, was preceded in the church calendar by the “Day of Adam and Eve”, so what was considered the actual Christmas play was preceded by the so-called Paradise play, the play of Adam and Even in Paradise, where they fell victim to the devil, the snake. Thus in the most primitive regions where such plays were performed, people could gain an immediate insight into the connection between the descent of man from spiritual heights to the physical world—and that sudden reversal which was bestowed on man through the Christ Impulse, upward again towards the spiritual worlds.

Suppose when reading the Epistles of St. Paul you would sense the greatness of the Pauline conception of man, who descended as Adam from the spiritual world to the world of the senses, and then, of the “new Adam and Christ, in whom man ascends again from the world of the senses into the world of the spirit. This can be sensed and felt in Paul in a grandiose way. The simplest people, even down to the children, could sense this in an intimate, loving, fulfilling way in the depth of their hearts and souls when they beheld in this season in succession first the fall of man in the Paradise play of Adam and Eve, and then the revelation of Christ in the Christmas play. And they felt profoundly the mighty turning point that had occurred in the evolution of humanity through the Christ Event. A reversal of the path of evolution, that was the way the Christ Event was experienced! One path, that led so to say from heaven to earth, was the path from Adam to Christ; another path, that leads from earth to heaven, is the oath from Christ to the end of earth time. That is what many thousands of people felt in a most intimate way, when the two plays which I have just characterized were so primitively performed before their eyes. These people really could then experience the complete renewal of the human spirit in its very essence through the Christ-Impulse. Perhaps you can feel in all of this a kind of echo of something that was once felt in regard to this reversal of the entire progress of humanity through certain words which have come down to us from very ancient times, from the first Christian centuries. These words were often spoken, even in the eighth, ninth, and tenth centuries, in those regions of Europe where Christianity had spread. There people felt something tremendous when words such as these were spoken:

Ave maris Stella
Dei mater alma
Atque semper virgo
Felix coeli porta

Sumens illud Ave
Gabrielis ore
Funda nos in pace
Mutans nomen Evae!

Ave (I greet you) star of the sea
Divine youthful mother³
And virgin eternal
Thou happy portal of heaven.

Receiving this “Ave” (greeting)
From the mouth of Gabriel
Be thou our foundation for peace
By reversing the name Eva!

When these words were spoken people felt man's path from heaven to earth through the Fall—and the ascent of man through Christ from earth to heaven. They felt this even in the names of the two female characters, the name Eva (Eve) and the name they associated with the mother of Jesus, with which one greeted her so to say: Ave! Ave is the reverse of the name Eva. When you spell Ave backwards you have Eva. That was felt in its full significance. These word; express what people sensed in the most elementary phenomena of nature, and at the same time, what they saw in the human elements of the Holy Legend:

Ave, star of the sea,
Divine young mother
And virgin eternal
Thou happy portal of heaven.

Receiving this “Ave”
As a greeting from Gabriel
Be thou our foundation for peace
By reversing the name Eva!

In such simple words one felt the greatest mysteries, the greatest secrets of human evolution. And in the reversal of the name Eva to Ave people would feel in a subtle way that same truth which we can learn in a grandiose way from the Epistles of Paul when we read his words about Adam, the “old” Adam, and Christ, the “new” Adam. This was the mood in the days of the Christ-festival when these plays were performed one after the other in that primitive way: the “Paradise play” which shows us the Fall of man, and the “Christmas play” which awakens the hope for the future, in which each single human soul can share by taking up the force that lies in the Christ-Impulse. But it should be perfectly clear that to feel this requires a mood, an inner attunement, which simply cannot exist in this way anymore today. Times have changed. Back then it was not as impossible to look towards the spiritual worlds as it is today. For, that fundamentally materialistic trait, which permeates today the minds of the simplest as well as the most sophisticated people did not exist then. In those times the spiritual world was accepted as self-evident. And likewise a certain understanding was present of this spiritual world and how it differs from the world of the senses. Today people can hardly conceive how one could feel spiritually as late as the 15th or 16th century, and how an awareness of spirituality was present essentially everywhere.

We intend to present such a Christmas play in our art center. It is one from the region known as the Upper Palatinate (Oberpfalz). If we succeed, understanding can again be awakened, also in the outer world, for the spiritual mood that lives in such plays. For us, certain lines in such a Christmas play should become signposts, as it were, by which we recognize the spiritual sensitivity of the people who were to understand the Christmas play at the festival season. For example, if in one or another Christmas play Mary, expecting the Jesus-child, says, “The time has come, I see a little child”, this means she clairvoyantly beheld the child in a vision in the days preceding the birth. Thus it is in many Christmas plays. And I wonder where you could find a similar tale today for such an occasion. The time when a conscious connection with the spiritual world was present is no more. You should appreciate this fact neither with optimistic nor with pessimistic feelings. Nowadays you would have to go very far afield, to the most remote and primitive rural areas, to find instances of a vision of the child that is to be born in a few days. But it does still happen!

What people brought to the Christmas season by these primitive memories and thoughts of the greatest event of human evolution, this could only be carried by a mood such as we described. Therefore, we must find it quite understandable that in the place of this former poetry, this simple primitive art, we have today the prose of electric railways and automobiles, speeding forth so grotesquely between rows of Christmas trees. An aesthetically sensitive eye must find it impossible to view these two kinds of things together: Christmas trees, Christmas sales, and cars and electric trains running through their midst! Today this impossible situation is naturally accepted as a matter of course. But for an aesthetically sensitive eye it remains nevertheless something impossible. Even so, we want to be friends of our civilization, not enemies. We want to understand that it must be so as a matter of course.

But we want to understand too how much this is connected with the materialistic trait which has pervaded not only those who live in the city, but those who live in the country as well. Oh, by listening carefully, we can actually detect how this materialistic mood has taken hold of human minds. When we go back to the 14th or 13th century we find that people knew full well that something spiritual is meant when such a thing as the tree of knowledge in paradise is mentioned. They understood rightly what was presented in the Paradise play. When they were shown the tree of knowledge or the tree of life they knew to what to relate it spiritually. For in those days superstition about such matters had not yet spread to the extent it did later, in the 15th, 16th and 17th centuries. In fact it can be historically documented that already in the 15th century, in the vicinity of the city of Bamberg, people went out into the apple orchards on Christmas night because they expected to see physically, materially, that a specially chosen apple tree would bloom that night. Thus people's minds became materialistic, in the period beginning in the 13th or 14th century and extending into the 16th and 17th century. This happened not only in the cities, but also in the souls of simple country folk.

Even so, much of the ancient poetry found its way into the homes, with the Christmas tree. But what wafted through the ancient villages as a most sacred mood, like a mystery, has become merely external poetry, the poetry of the Christmas tree, still beautiful, yet merely an echo of something much greater.

Why is this so? Because in the course of time humanity must evolve, because what is most intimate, what is greatest and most significant at one time, cannot remain so in the same way for all times. Only an enemy of evolution would want to drag what was great in one time over into other times. Each period of time has its own special mission. In each period we must learn how to enliven in ever new ways what should enter the souls and hearts of man. Our time can only appreciate that real Christmas mood, which I have sketched here in brief outline, if this mood is seen as a historic memory, a thing of the past. Yet, if we do accept the symbol of the Christmas tree also into our own festival gatherings, we do so precisely because we connect with Spiritual Science the thought of a new Christmas mood of mankind, of progressively evolving mankind. For Spiritual Science means to introduce the secrets of Christ into the hearts and souls of man in a way that is appropriate for our time. Even though modern conveyances rush past us when we step outdoors, or perhaps will even fly away with us through the air—and soon these things will awaken humanity quite differently to the most sobering and terrifying prose—nevertheless men of today must have a chance to find again the divine-spiritual world, precisely by an even stronger and more meaningful deepening of the soul. This is the same divine-spiritual world which in bygone centuries appeared before the eyes of those primitive minds when they saw at Christmas time the Holy Child in the manger. Today we need other means to awaken this mood in the soul. Certainly we may like to immerse ourselves in what past times possessed as ways to find the Christ Event, but we must also transcend what depends on time. Ancient people approached the secrets of Nature by merging with her through feeling. That was only possible in a primitive time. Today we need other means.

I would still like to give you some idea how people felt their way into nature when the Christmas festival approached. They did this quite primitively, yet they could speak in a very real and living way out of their sensing and feeling of the elements of Nature. If I may share with you a little “Star Song”, you will perhaps feel only through one single line, how the elements of Nature spoke out of the soul—the rest of the song is rather primitive. But if you listen more carefully you will be able to observe this Nature mood in several other lines.

Namely, when the one who gathered his actors for the Christmas play, or for the Three Kings play, would wander with them, and when they would then perform at some place, they would first extend a greeting to those who were assembled there. For, the sort of abstract attitude which prevails today between actors and audience did not exist in those earlier times. People belonged together, and the whole gathering was enveloped by an atmosphere of community. Therefore the actors would start by greeting in a primitive way those who were present, as well as those of the community who were not there. This really would bring out the Christmas mood.

The Star-Song

The star singer:

Beloved singers mine, let's gather as a clan
Like fritters in a frying pan,
Beloved singers mine, take up your place,
We want to pass our while with singing in this space.
Beloved singers mine, so strong and smart,
With greetings do we want to start.
Let us greet God-Father on His highest throne
And let us greet also His only Son.
Let us greet the Holy Spirit by name
And then greet all three together again.

Joseph and Mary enter the stage.

Let us greet Joseph and Mary mild,
And we also greet the little child.
Let us greet the ox and also the ass,
Which stand near the crib with straw and grass.
Let us greet them through sunlight and moonshine
That shine on the sea and the river Rhine.
Let us greet them through foliage and grassy blade,
Through the holy rain that has wet us all made.
Let us greet the emperor and his crown,
And him who made it, a master of great renown.
Let us greet the squire, Sir Palfi by name,
Also his officers we greet the same.
Let us greet our fathers of the church, so stern,
Because this play they allowed us to learn.
Let us greet the judge and the jury elect
With worthy honor and respect.
The whole honored community we greet
All who together here we meet.
Let us greet the honored council of this place
By God ordained to serve in this space.
Let us greet them through the roots, large and small,
Which are in the earth, many and all.
Beloved singers mine, turn now to another thing.
To greet the star we shall now sing.
Let us greet the slats, so carefully matched,
To which our star is then attached.
Let us greet the scissors that can stretch out far
By which can wander around the star.
We greet all the little slats of wood
As many as make our star look so good.
Beloved singers mine, harken well to my words
We sang to the star and to all of its parts.
Now we greet our master singer with glee
And also his hat which here you see.
Let us greet our teacher, who indeed,
With God's help taught us what we need.
Beloved singers mine, note well this thing,
To all of these we did now sing.

Now I ask you, please notice what this means: to call upon Nature in such a way that one greets everyone whom one wishes to greet with a certain mood in one's heart, a mood which arises from: “the roots, large and small, which are in the earth, many and all.” That is empathy for Nature's own mood.—Thus we must recognize that people in those days were connected with all that was holy, with all that was great and spiritual, right down to the roots of trees and grass. If you can enter into such a feeling, then, through a line such as the one I have just cited, you will feel something grandiose in the secrets of the evolution of mankind. The times are past when such feelings were naturally present, when they were a matter of course. Today we need to make use of other means. We need ways which will lead us to a well-spring in human nature that lies deeper, to a wellspring of human nature which, in a certain sense, is independent of external time. For the course of modern civilization makes it impossible for us to be bound by the seasons. Therefore, if you truly understand the mood which was felt in olden times as the Christ mood of the holy Christmas night, you will also be able to understand our intent, as we attempt to deepen artistically what we can gain from Spiritual Science. We strive to enliven that well-spring in the human mind which can take in the Christ Impulse. No longer can we awaken this great impulse directly within our souls during the Christmas season, even though we would be happy if we could. Yet we constantly search for it. If we can see a “Christ-festival of the progress of humanity” in what Spiritual Science is intended to be for mankind, and if we compare this with what simple people could feel when the Child in the crib was displayed during the Holy Christmas Night then we must say to ourselves: Such moods and feelings can awake in us too, if we consider what can be born in our own soul when our inner-most wellspring is so well attuned to what is sacred, so purified through spiritual knowledge, that this wellspring can take in the holy mystery of the Christ Impulse.

From this point of view we also try to discover true art which springs from the spirit. This art can only be a child of true devotion, a child of the most sacred feelings, when we feel in this context the eternal, imperishable “Christ festival of humanity”: How the Christ-Impulse can be born in the human soul, in the human heart and mind. When we learn to experience again through Spiritual Science that this Christ Impulse is a reality, something which can actually flow into our souls and hearts as a living strength, then the Christ Impulse will not remain something abstract or dogmatic. Rather this Christ Impulse, which comes forth from our spiritual movement, will become something able to give us solace and comfort in the darkest hours of our lives, able also to give us joy in the hope that when Christ will be born in our soul at the “Christmastide of our soul”, we may then look forward to the Eastertide, the resurrection of the spirit in our own inner life.

In this way we must progress, from a material attitude which has entered and taken hold of all minds and hearts, towards a spiritual attitude. For, that renewal, which is necessary to counterbalance today's prosaic ways of life, can only be born out of the spirit. Outside, the traffic of cars may move by, electric trains may speed on, perhaps even balloons may fly across the sky. Nevertheless, in halls such as these, it will be possible that something of a holy mood lives and grows. This can however only happen as a result of what has flowed to us from spirit knowledge throughout the entire year. When this fruit of the entire year brings Christ closer to us, as could happen in former times in a much more childlike mood, then we may rightly hope that in a certain sense these halls will be “cribs”. We may then look upon these halls in a similar way as the children and the grown-ups used to look on Christmas eve upon the cradle that was set up for them at home, or in still earlier times, in the church. They used to look at the little Child, at the shepherds before Him, and at “the ox and also the ass which stand near the crib with straw and grass”. They felt that from this symbol strength would stream into their hearts, for all hope, for all love of man, for all that is great in mankind, and for all goals of the earth. If on this day, which shall be consecrated and dedicated to remembering the Christ Impulse, we can feel that our earnest spiritual scientific striving throughout the entire year has kindled something in our hearts, then on this day our hearts will feel: “These our meeting halls are truly cradles! And these candles are symbols! And just as Christmas is a preparation for Easter, so these cradles, by virtue of the holy mood that fills them, and these candles, through the symbolism of their light, are meant to be a preparation for a great era for humanity, the era of the resurrection of the most Holy Spirit, of truly spiritual life!”

So let us try to feel that in this Christmas season our meeting halls are cradles, places in which, secluded from the outer world, something great is being prepared. Let us learn to feel that if we study diligently throughout the year, our insights, our wisdom, can be condensed on Christmas eve into very warm feelings, which glow like a fire, fueled by what we have gained throughout the whole year by immersing ourselves into great teachings. And let us feel that thereby we nurture our remembrance of the greatest impulse in human evolution. Let us also feel, therefore, that in these halls we may have faith that what now begins to burn within such a confined cradle as a holy fire, and as a light, filled with certainty of hope, will find its way to all mankind at some future time. Then this fire and this light will be strong enough to extend its power even to the hardest, most down to earth prose of life, to permeate it, to enkindle it, to warm it, to enlighten it! Thus can we feel here the Christmas mood as a mood of hope in anticipation of that World-Easter-mood which is to express the living spirit, needed for a renewal of humanity.

We best celebrate Christmas when we fill our souls in the coming days with this mood: In our Christmas we spiritually prepare the “Easter festival of all mankind”, the resurrection of spiritual life. Yes indeed, cradles shall our places of work become at Christmas time! The child of light is to be born, whom we have nurtured throughout the entire year by immersing ourselves into the wisdom-treasures of Spiritual Science. In our places of work Christ is to be born within the human soul, in order that spiritual life may be resurrected at the great Eastertide of humanity. In its very essence humanity must come to feel spirituality as a resurrection, by virtue of what streams forth as Christmas mood from our halls into all humanity, in the present time as well as in the future.

• 1. From “Deutsche Weihnachtspiele aus Ungarn”, described and communicated by Karl Julius Schröer, Vienna, 1862, “Oberschützener Sternsinger” (The Star-Singers of Oberschützen), p. 160.
• 2. See “Weihnachtspiele aus altem Volkstum; Die Oberufer Spiele” (G.A. 43, Dornach 1965), Christmas Plays from Oberufer, translated by A.C. Harwood, Rudolf Steiner Press, London.
• 3. A more conventional translation of alma is ‘bountiful’, but Rudolf Steiner translates it as ‘young’.

Translated by Steiner Online Library

Translated by Steiner Online Library

Translated by Steiner Online Library

Translated by Steiner Online Library

Translated by Steiner Online Library

Translated by Steiner Online Library