The Rudolf Steiner Archive

As described in the previous lecture, cognition through imagination can be attained by lifting into consciousness what is active subconsciously and involuntarily in dreaming. To be more precise, it is the activity behind our dreaming and not the dreaming itself with its content that is lifted into consciousness, since if this were to happen, we should remain in the realm of unreality. (For the moment I will leave this activity behind our dreaming undefined.) It is this activity—lifted into consciousness by controlled will power—that becomes the basis for cognition through imagination, and this conscious activity is very different from that of dreaming. In dream activity, because we are not active participants, we have the feeling that our experiences are real. But when we lift the activity that produces dreams into consciousness, we realize very well that we are seeing images we ourselves made. It is this awareness that saves us from falling into hallucinations instead of doing research through spiritual science.

This first meditative activity of creating images must now be superseded by a second step that involves obliterating those images, thus leading to empty consciousness. If you have been able, in full consciousness and under full control, to enhance your soul powers in this way, you will have in fact entered the spiritual world. You will then be able to engage in an activity that, being solely soul and spirit, is independent of the physical body; you no longer perceive with your physical organs. While thinking becomes freed from the body, your conscious experience becomes purely spiritual.

Yesterday I showed that, for spiritual scientific investigators, dreamlike experience is not to be seen as a model for spiritual perception. Only fully controlled experiences, similar to those of our sensory perceptions, are valid. Obviously there is no possibility of sensory perception in suprasensory cognition. Nevertheless, we can see definite capacities in our ability to move freely when surrounded by sensory perceptions and in our independence from our personal makeup while perceiving. An example will clarify my meaning.

Let us look at one of our most characteristic and representative sensory organs, the human eye. We recognize the relative independence of this organ by the way it rests in its cavity, attached to the remaining organism by insubstantial links. Forgetting for the moment what happens in the act of seeing, we find another, more external process. Near the eye are the lachrymal glands, which, while we are awake, continually secrete a liquid composed mainly of salt water. This liquid flushes the whole eyeball, especially the part exposed to the outer air when the eye is open. Through this glandular activity, the eye is constantly bathed so that dust entering the eye from the outside is washed away through tear ducts entering the nose. This process, which forms part of the normal function of our organ of sight, is hidden from ordinary consciousness.

Now this wisely ordained (though completely unconscious) activity of the lachrymal glands can be accelerated by the various stimuli of pressure or cold, for example, or through exhaustion, either in the eye or in the organism in general. The lachrymal glands thus become more active, and the cause of secretion and the secretion of tears itself begins to enter our consciousness. However, a further increase of this activity may occur in a very different way; when sadness makes us weep, tears flow as a result of a purely emotional stress or because our feelings have been deeply moved. Here we see how, under normal circumstances, the lachrymal liquid is constantly secreted in complete unconsciousness, and how outer irritants will lead to an increase in our consciousness of this activity. But when a person cries because of soul distress, this lachrymal activity is lifted into the sphere of consciousness only through soul or moral issues, not through physical causes.

This simple fact can help to illustrate what happens when, through meditation, we are able to lift ourselves into a bodyfree state of consciousness, in which we can live entirely in soul and spiritual experiences. If you shed tears because you receive a letter that makes you unhappy, you must admit that the cause of your tears has nothing to do with your physical eyes. Nevertheless, it affects your physical eyes. The fact that tears are not connected with the physical act of reading the letter is easily proved if someone else reads the letter to you and you experience the same tearful consequences. Something non-physical has set an organic process in motion.

Now imagine you have gained such mastery over yourself that you can suffer great sorrow without shedding any tears. Of course, this does not imply that your anguish would be any less intense than when you weep. In this situation, soul experiences do not directly affect the bodily functions. This example may illustrate how, through self-development, we can achieve a state of soul and spirit, emancipated from the physical organism. It may help you to form some idea of how imagination, inspiration, and intuition as methods of spiritual science can open the gates into the suprasensory world. If you take the proper steps, you will be able to describe experiences from beyond the tapestry of the senses, experiences that may be seen as an enhanced continuation of what a person experiences in normal life. This, however, is possible only through the practice of specific soul and spiritual exercises.

If now, through continued spiritual training, you have reached the stage where you can suppress previous imaginations of your own creation, and if in the ensuing stage of emptied consciousness you are able to experience real soul and spiritual content, the first thing that comes to meet you is a tableau sort of image of your earthly life, approximately from birth until the present. You will be unable to see your physical body in that picture, because it vanishes when you reach bodyfree perception. And there before you, ready to meet your soul, is everything you have experienced, everything that belongs to your stream of memory, which normally remains unconscious, with only individual images occasionally arising. It confronts you as an entity, as a kind of time organism full of its own inner movement.

If you look at the physical body as it appears spatially, you find that its members are interdependent, all together making up the whole. What happens in the head has a certain relationship with the stomach and vice versa. All the processes in an organism are interrelated. The same is true of an organism existing in time; later events depend on earlier ones, and the past lives in the present. At such a moment, you are all at once confronted by a tableau of your whole life.

Now, if you are able to consciously suppress the tableau of these memory pictures—not just the body but the entire life tableau—you reach the stage where you are able to perceive experiences prior to birth, or rather, prior to conception. The realm of soul and spirit that you inhabited before entering this earthly existence remains part of your inner being, even during life on earth. It works and lives in us in a way similar to the way hydrogen lives with oxygen after they form water. One cannot examine hydrogen separately from the oxygen while they form water; similarly, one cannot examine the human soul and spirit separately while we live on earth. Just as the oxygen must first be isolated from water before we can examine the remaining hydrogen, the soul and spiritual parts of the human being must first be isolated. When this happens, we are led not into the present time but into our pre-earthly existence. Thus, you really can perceive what has descended from the spirit world to assume earthly form. The realm where we lived before entering earthly life is revealed to us.

It is understandable if some are unprepared to go to such lengths to investigate the eternal human being. Certainly, everyone is free not to follow these paths. But to think it is possible to examine the human soul and spirit using ordinary methods of cognition is like believing naively that we could examine hydrogen while it forms a part of water, without first isolating it. One must recognize that ordinary consciousness is unable to enter the realm of soul and spirit. If you are unprepared to accept the results of spiritual investigation, you will have to remain silent about suprasensory realities. And in this case, you will have to be content with involvement only within material existence. The truth may be irksome to some, but there are certain facts in life that one must simply accept.

Continuing along this path of spiritual training, we gradually reach knowledge through inspiration. We become inspired by something that does not normally enter consciousness but permeates our being as does the oxygen we breathe in from the outer air. In full consciousness, we are filled with inspirational cognition and the experience of our pre-earthly life, just as in respiration we are filled with physical oxygen. We breathe with our soul and spiritual being, rising to the stage of inspiration. This word was not chosen arbitrarily, but with the nature of this type of cognition in mind.

Inspirational cognition has yet another characteristic. You will find more about it in How to Know Higher Worlds. In order to develop this higher cognition, another faculty is necessary: presence of mind. It is this faculty that enables us to act spontaneously during any given life situation. In order not to miss the right moment, we may have to act without waiting until we have time to assess an issue properly. We should really use these moments in life to practice swift and decisive action, learning to quickly grasp the moment, because whatever comes through inspiration passes in a flash. As soon as it appears, it has already vanished. One must be able to catch such fleeting moments with the utmost attentiveness.

The ordinary world of the senses appears to us be spread out in space. But when we are confronted by our life tableau, we see it existing in time. However, during inspirational cognition, we are outside the realm of time. We depend on being able to perceive in the flash of a moment; time loses its meaning as soon as we experience inspiration.

If we penetrate this life tableau, we find something far more real than the ordinary memory pictures can give us. The images of memory are neutral and lack inner strength; they are there, and we are free to take them up, but in themselves they have no strength. When viewing our life tableau, on the other hand, we see that it is full of its own life and strength and contains the very forces that form the human being. These are the suprasensory, formative forces that are active, for example, in forming the brain of a young child before the final structure has been finished. It is these formative forces that we begin to recognize, for they are contained within this life tableau. We do not apprehend something abstract, but a full reality, encompassing the course of time and full of power. It is the refined nonmaterial body of forces that we also call the ether body, or body of formative forces. This body presents only momentarily a well-defined appearance in space, for it is in constant motion. If we were to try to paint a picture of it, we would paint something unreal, because the ether body is in a constant flow. Its subsequent stage would be very different again, just as a former stage was different. This ether body is a time organism through and through, and is the basis for the growing processes and the forces active in the human metabolism.

Once we have advanced far enough in imaginative cognition, consciously living in the realm of soul and spirit beyond the physical, and once we have progressed far enough to see our life tableau—or ether body—at will, then we have truly experienced a complete transformation of our cognition. We find that experiences in the etheric world are similar to, and yet very different from, what happens in the world of artistic activity. To experience this, one has to develop a more creative way of thinking, one very different from abstract naturalistic thinking. Although in certain respects this kind of thinking resembles that of a creative artist, in other ways it is quite different. An artist’s creations have to reach a certain finality within the realm of fantasy. The artist’s creativity remains bound to the physical; it is not freed from corporeality. But the activity practiced in imaginative cognition is freed entirely from the physical and, therefore, is capable of grasping spiritual reality. For example, when we look at the Venus de Milo, we hardly have the feeling that this statue will move and walk toward us; an artistic creation does not embody outer realities. If you saw the devil painted on canvas, you would not be afraid that he was coming after you. The important thing is the way an artist, bound to physical reality, deals with material reality. But artists do not plunge into the reality of soul and spirit. What has been achieved in imaginative cognition, on the other hand, is immersed in ultimate reality, the reality of spiritual processes.

Now someone might argue that pure cognition should be kept separate from artistic activities. It is easy to prove by logic that cognizing means moving from one concept to the next in logical sequence and that, if we enter the sphere of art, we are in fact transgressing the realm of cognition. One can argue for a long time about the laws of cognition. But if nature herself is an artistic creator, she will never reveal herself to mere logical thinking. Logic alone will never reach her true being. Therefore, however much logic might prove that cognizing should not be confused with artistic activities, we cannot enter the reality of the etheric world without an artistic mode of cognition. What matters is the way things are and not what the laws of cognition should be. Even when certain suppositions are logically tenable, they may only prevent us from reaching our goal. Therefore it is proper to maintain that an artistic element must become part of our efforts if we wish to raise our ordinary cognition to the level of imagination.

When we reach the stage of inspiration, we may again compare our experiences with something they resemble, yet differ from greatly: moral experiences and the comprehension of moral ideas. Viewed qualitatively, inspirations are like moral ideas. Yet they are totally different, since any moral ideal we may have does not, in itself, have the power to realize itself on its own; in themselves, moral ideals are powerless. We must make them effective through our own physical personality, placing them in the world by means of our physical existence. Otherwise, they remain only thoughts. But this cannot be said of an inspiration. Though qualitatively similar to moral ideas, or moral impulses, inspiration manifests as a reality, existing in its own right. It is a powerful force that works like the elemental forces in nature. Thus we enter a world that, whereas we have to imagine it as similar to the world of moral ideas, has reality because of its primal power.

If one can take a stand in the world of soul and spirit, having advanced far enough in the state of inspiration, then something else is still needed to experience its content. We have to carry something into this realm that does not exist at all in our abstract world of thoughts: complete devotion to our chosen objective. It is impossible to come to know a being or power in the spiritual world unless we surrender lovingly and completely to what we encounter during the state of inspiration. At first, inspiration remains only a manifestation of the spiritual world. Its full inner nature reveals itself only when, with loving devotion, we pour ourselves out into its substance. And only after experiencing the reality of soul and spirit in this way—full of life and with heightened consciousness—do we enter the realm of inspiration.

And this is intuitive cognition. Shadow forms of intuition can be found in ordinary life, where they exist in religious feelings and moods. However, a religious feeling remains a purely inner experience that does not lift us into outer spirituality. Intuition, on the other hand, is an experience of objective spiritual reality. In this way, intuition is similar and yet again very different from a purely religious experience.

If you want to arrange these levels of higher knowledge in a more or less systematic order, we can say, first of all, that in ordinary life we have knowledge of the material world, which we could call naturalistic knowledge. Then we come to knowledge gained through imagination, which has a kind of artistic nature. The next step is knowledge attained through inspiration, which is, in essence, a moral one. Finally we reach knowledge through intuition, which is like religious experiences, but only in the sense just described.

These suprasensory experiences of an artistic, moral, and religious sort work on and transform the whole human being. Although ordinary consciousness knows nothing of them, they nevertheless form part of the human being. Therefore suprasensory knowledge gained through imagination, inspiration, and intuition enables us to know the whole human being. And because these powers streaming from the spiritual world into earthly existence work in an especially strong way in children, higher cognition, in particular, allows us to understand the nature of a child. It is important, however, to recognize how suprasensory forces are related to physical forces.

This can be illustrated particularly well if we take memory as an example, because active memory definitely depends on the functioning of physical organs. Even commonplace experiences can demonstrate how our body must play its part when we use our powers of memory. For instance, we may wish to memorize part of a play or a poem, only to find that the lines simply refuse to become imprinted on the mind. Yet, after sleeping on them overnight, we may suddenly remember them without difficulty. This happens because, during the sleep, our body has regenerated so that we are able to use its renewed vitality the following morning for the task of remembering the lines.

One can also prove anatomically and physiologically that, through paralysis or the separation of certain areas within the nervous system, specific areas of memory may be wiped out. In other words, we can see that memory depends on the functioning of the physical organization and that physical organs are active during the process of remembering. However, this kind of memory activity is completely different from what we experience in heightened consciousness through imagination, inspiration, and intuition. For these suprasensory experiences simply must not be involved in any way in the functions of physical organs. This tells us why such experiences cannot be remembered in the ordinary way; they do not impress themselves into ordinary memory.

Anyone engaged in spiritual scientific research must allow ordinary memory to run its course alongside what one experiences in the suprasensory realm. Ordinary memory must remain intact. In a way, a student of anthroposophy has to maintain a second personality that represents ordinary life and is always present. But the researcher knows full well that there is this other, first personality engaged in suprasensory knowledge that will not allow itself to become imprinted on the memory. In ordinary life we can retain only a memory image of a fish we have seen, not the fish itself. In suprasensory cognition, we have direct perceptions—not mental images—and thus we cannot carry them in our memory. Consequently one has to return to them again and again. However, it is possible to remember the process we used to gain suprasensory cognition, and if we repeat those efforts, suprasensory sight will reemerge, albeit only passively, since it cannot live in the memory. It can be attained only through renewed inner activity. The fact that these higher faculties are beyond the reach of memory is a characteristic of suprasensory cognition. One can regain it, but only by following a route similar to the one traveled earlier. One can remember the path taken previously, but not the suprasensory experience itself.

It is this fact that distinguishes suprasensory experiences from those of ordinary life. It must be emphasized again and again, however, that a healthy memory goes hand in hand with true suprasensory experiences. If you lose the stream of common memory while engaged in suprasensory experiences, you will pour your subjective personality into them. Then you would not be a student of spiritual scientific research but live in hallucinations and personal visions. It is important to understand that all forms of hallucinations should be strictly excluded from suprasensory cognition and that such cognition must be developed along with a normal, healthy soul life. Anyone who argues that imagination and inspiration attained through anthroposophy might simply be hallucinations does not understand the nature of the spiritual scientific path and talks only out of ignorance.

It is essential to recognize this difference between suprasensory cognition and memory, since both are real in life. Suprasensory substance gained through imagination and inspiration has its own separate existence, and we can become aware of it through our own effort. Memory, on the other hand, is not just the result of our own effort, because the subconscious also plays a role. What we experience through imagination remains in the spirit world, as though it comes to unite with us. But memory flows right through us, entering the physical body and causing it to participate; it penetrates the physical human being. Comparing memory with imagination helps us appreciate the difference between everything related to the physical body and the suprasensory forces that live in us eternally, even between birth and death. But, because this eludes ordinary consciousness, it must be shown through spiritual scientific investigation.

We come to know the whole human being only by immersing ourselves in this relationship between the suprasensory aspect of the human being and physical existence. If we penetrate the knowledge gained through suprasensory cognition, we come to know the child and the growing human being in such a way that we can develop a true art of education. This example of the relationship between the suprasensory human being and the activity of memory helps shed light on this problem.

Let us imagine that a teacher is introducing a subject to a class. First he approaches it in a somewhat general way and may have the impression that all was going well. But after a time, he notices that a child in the class is becoming pale. Pallor is not always obvious and might easily go unnoticed by those not trained in exact observation. Ideally, however, teachers should remain fully aware of each student’s condition. The symptoms I will describe could have many causes. But when teachers deepen their knowledge of the human being through anthroposophic training, they awaken and enhance their ordinary pedagogical instincts so they are able to diagnose and address other causes as well. If a science of education establishes fixed and abstract rules, it affects teachers as though they were constantly stepping on their own feet while trying to walk; it robs them of all creative spontaneity. When teachers always have to wonder how to apply the rules prescribed by educational science, they lose all ingenuity and their proper pedagogical instincts. On the other hand, the educational principles based on spiritual science have the opposite effect. They do not allow inborn pedagogical sense to wither away but enliven and strengthen the teacher’s whole personality. At least, this is the intention of the practical educational principles that spring from anthroposophy.

However varied external symptoms may be (life, after all, is full of surprises), our imaginary teacher, whose pedagogical sense has been stimulated and sharpened by anthroposophy, might suddenly realize that this child is growing pale because he was overfed with memory content. Of course, there might be many other reasons for such a symptom, which a gifted teacher would also be able to discover. I am giving you this example, however, to illustrate one of the fundamental tasks of spiritual science: to make people aware of how the human soul and spirit interacts with the physical, material nature of the human being. Anthroposophy does not want to simply reveal spiritual knowledge; most of all, it endeavors to open people’s eyes to the way living spirit works and reveals itself in matter. Such knowledge enables us to deal correctly with the practical problems of life, and it places us firmly in the world where we have to fulfill our tasks.

If this pallor, caused by the overburdening of the student’s memory, is not recognized in time, a perceptive teacher will notice a further change in the child—this time psychological—as an anxiety complex develops. Again, this symptom may not be conspicuous and might be detected only by teachers for whom intense observation has become second nature. And, finally, overtaxing a student’s memory can eventually have the effect of retarding the child’s growth forces; even physical growth can be affected.

Here you have an example of how soul and spirit interact with what is physical. It shows us how important it is for teachers to know how to deal with children’s tendencies toward health and sickness. Of course, illnesses have to be treated by medical doctors, but educators are always confronted by inherent trends toward health or sickness in children, and they should learn to recognize these tendencies. They should also be aware of how illnesses can come out later in life and how, often, they can be traced back to what happened in school. Such knowledge makes teachers far more circumspect in choosing their teaching methods. In the example given, the teacher would certainly avoid placing too much stress on the student’s memory, and he might see a healthier complexion return to the child’s face. He could bring about such a change by showing his student something beautiful that would give pleasure. The next day he might again show the child something beautiful or a variation of the previous object, thus bypassing mere memory.

A teacher may also discover the opposite symptoms in a child. For example, a teacher notices a girl whose face appears permanently flushed, even if only slightly. She may discover that this change is not at all the result of embarrassment, but represents a shift in the girl’s health. Again, this symptom may be so slight that it would go unnoticed by a less perceptive teacher. And this condition could have many other causes, and these would not escape our teacher’s notice either. It could be that this student has a tendency to blush because the teacher did not appeal sufficiently to the child’s memory. Realizing this, she would try to rectify this condition by giving the student more memorizing to do. If not addressed, this irregularity could intensify and spread to the girl’s psyche, where it would manifest in mild but significant outbursts of temper.

This connection between slackness in memorizing and slight but unhealthy fits of temper is certainly a possibility. The general repercussions of such a condition would be injurious to a student’s health. In such cases, the mutual effects between soul and spirit on the one hand, and the body on the other, could lead to breathing and circulatory problems. Thus, teachers who are unaware of such links may unwittingly plant illnesses in their students, and these can remain dormant for many years and then, triggered by other causes, lead to serious illnesses. For this reason, any teacher worthy of the title should be aware of these connections and characteristics in human nature.

As mentioned previously, acute illnesses must be dealt with by medical doctors, but during their developmental stages, children are always moving either toward health or illness. The art of education demands that teachers be conversant with these indications and have the ability to perceive them, even in their more subtle manifestations.

To illustrate this point even more drastically, I will give you one more example that, I realize, may be open to argument, but life presents us with a great number of situations. Consequently, the case I will describe may also be the result of completely different causes. If you live with what anthroposophy offers to teaching, you become used to looking around for the most varied causes when confronted with a particular problem. But the following connections between symptom and cause are certainly possible.

Let us imagine that a boy in a class has followed the lessons attentively and to the satisfaction of the teacher. However, one day he suddenly appears somewhat blasé; he is no longer inclined to pay attention, and much of the subject matter seems to pass unnoticed. Depending on the experience and outlook of the boy’s teacher, he might even resort to corporal punishment or some other form of correction to bring about greater participation. However, if this teacher is aware of the interplay between spirit and matter that manifests in health and illness, he would approach this in a very different way. He might say to the boy, “You shouldn’t allow your finger- and toenails grow too long. You ought to cut them more often.” Outer signs of growth, such as fingernails and toenails, are also permeated by soul and spirit. And if fingernails and toenails grow too long, these growth forces become blocked. Being held back in this way, those forces are no longer able to flow into the nails. This obstruction to the flow of growth forces, which is removed when the nails are cut, similarly affects the soul and spiritual counterpart and manifests as difficulties in concentration. The ability to pay attention can be developed only with a free and unlimited flow of the life forces that permeate the whole organism. In most cases, this kind of change in powers of concentration may pass unnoticed. I give this example to show that anthroposophic principles and methods of education in no way neglect the physical aspects of life. Nor do they lead to a vague kind of spirituality; spirit is taken fully into account, so that life can be understood and treated appropriately.

Educators who gradually learn to understand human nature can learn how to deal correctly with matters related to their students’ health and illness.

The day before yesterday I tried to show that the anthroposophical knowledge which accompanies an inner life of the soul does not estrange one from artistic awareness and creation. On the contrary, whoever takes hold of Anthroposophy with full vitality opens up within himself the very source of such activity. And I indicated how the meaning of any art is best read through its own particular medium.

After discussing architecture, the art of costuming, and sculpture, I went on to explain the experience of color in painting, and took pains to show that color is not merely something which covers the surface of things and beings, but radiates out from them, revealing their inner nature.

For instance, I pointed out that green is the image of life, revealing the life of the plant world. Though it has its origin in the plant's dead mineral components, it is yet the means whereby the living shows forth in a dead image. It is fascinating that life can thus reveal itself. In that connection, consider how the living human figure appears in the dead image of sculpture; how life can be expressed through dead, rigid forms. In green we have a similar case in that it appears as the dead image of life without laying claim to life itself.

I shall repeat still other details from the last lecture in order to show how the course of the world moves on, then returns into itself; and shall do this by presenting the colors which make up its various elements: life, soul, spirit. I said I would draw this complete circle of the cosmic in the world of color. As I told you before, green appears as the dead image of life; in green life lies, as it were, concealed.

If we take the flesh color of Caucasian man, which resembles spring's fresh peach-blossom color, we have the living image of the soul. If we contemplate white in an artistic way, we have the soul image of the spirit. (The spirit as such conceals itself.) And if, as artists, we take hold of black, we have the spiritual image of death. And the circle is closed.

I have apprehended green, flesh color, white and black in their aesthetic manifestation; they represent the self-contained life of the cosmos within the world of color. If, artistically, we focus attention upon this closed circle of colors, our feeling will tell us of the need to use each of them as a self-contained image.

Naturally, in dealing with the arts I must concern myself not with abstract intellect, but aesthetic feeling. The arts must be recognized artistically. For that reason I cannot furnish conceptual proof that green, peach-blossom, white and black should be treated as self-contained images. But it is as if each wants to have a contour within which to express itself. Thus they have, in a sense, shadow natures. White, as dimmed light, is the gentlest shadow; black the heaviest. Green and peach-blossom are images in the sense of saturated surfaces; which makes them, also, shadowlike. Thus these four colors are image or shadow colors, and we must try to experience them as such.

The matter is quite different with red, yellow and blue. Considering these colors with unbiased artistic feeling, we feel no urge to see them with well-defined contours on the plane, only to let them radiate. Red shines toward us, the dimness of blue has a tranquil effect, the brilliance of yellow sparkles outward. Thus we may call flesh color, green, black and white the image or shadow colors, whereas blue, yellow and red are radiance or lustre colors. To put it another way: In the radiance, lustre and activity of red we behold the element of the vital, the living; we may call it the lustre of life. If the spirit does not wish merely to reveal itself in abstract uniformity as white, but to speak to us with such inward intensity that our soul can receive it, then it sparkles in yellow; yellow is the radiance or lustre of the spirit. If the soul wishes to experience itself inwardly and deeply, withdrawing from external phenomena and resting within itself, this may be expressed artistically in the mild shining of blue, the lustre of the soul. To repeat: red is the lustre of life, blue the lustre of the soul, yellow the lustre of the spirit.

Colors form a world in themselves and we understand them with our feelings if we experience the lustre colors red, yellow, blue, as bestowing a gleam of revelation upon the image colors, peach-blossom, green, black and white. Indeed, we become painters through a soul experience of the world of color, through learning to live with the colors, feeling what each individual color tries to convey. When we paint with blue we feel satisfied only if we paint it darker at the edge and lighter toward the center. If we let yellow speak its own language, we make it strong in the center and gradually fading and lightening toward the periphery. By demanding this treatment, each reveals its character. Thus forms arise out of the colors themselves; and it is out of their world that we learn to paint sensitively.

If we wish to represent a spiritually radiant figure, we cannot do otherwise than paint it a yellow which decreases in strength toward its edge. If we wish to depict the feeling soul, we can express this reality with a blue garment—a blue which becomes gradually lighter toward its center. From this point of view one can appreciate the painters of the Renaissance, Raphael, Michelangelo even Leonardo, for they still had this color experience.

In the paintings of earlier periods one finds the inner or color-perspective of which the Renaissance still had an echo. Whoever feels the radiance of red sees how it leaps forward, how it brings its reality close, whereas blue retreats into the distance. When we employ red and blue we paint in color-perspective; red brings subjects near, blue makes them retreat. Such color-perspective lives in the realm of soul and spirit.

During the age of materialism there arose spatial perspective, which takes into account sizes in space. Now distant things were painted not blue but small; close things not red but large. This perspective belongs to the materialistic age which, living in space and matter, prefers to paint in those elements.

Today we live in an age when we must find our way back to the true nature of painting. The plane surface is a vital part of the painter's media. Above everything else, an artist, any artist, must develop a feeling for his media. It must he so strong that—for instance—a sculptor working in wood knows that human eyes must be dug out of it; he focuses on what is concave; hollows out the wood. On the other hand, a sculptor working in marble or some other hard substance does not hollow out; he focuses his attention on, say, the brow jutting forward above the eye; takes into consideration what is convex. Already in his preparatory work in plasticine or clay he immerses himself in his material. The sculptor in marble lays on; the woodcarver takes away, hollows out. They must live with their material; must listen and understand its vital language.

The same is true of color. The painter feels the plane surface only if the third spatial dimension has been extinguished; and it is extinguished if he feels the qualitative character of color as contributing another kind of third dimension, blue retreating, red approaching. Then matter is abolished instead of—as in spatial perspective—imitated. Certainly I do not speak against the latter. In the age which started with the fifteenth century it was natural and self-evident, and added an important element to the ancient art of painting. But today it is essential to realize that, having passed through materialism, it is time for painting to return to a more spiritual conception, to return to color-perspective.

In discussing any art we must not theorize but (I repeat) abide, feelingly, within its own particular medium. In speaking about mathematics, mechanics, physics, we must kill our feeling and use only intellect. In art, however, real perception does not come by way of intellect, art historians of the nineteenth century notwithstanding. Once a Munich artist told me how he and his friends, in their youth, went to a lecture of a famous art historian to find out whether or not they could learn something from him. They did not go a second time, but coined an ironical derogatory phrase for all his theorizing. What can be expressed through the vital weaving of colors can also be expressed through the living weaving of tones. But the world of tones has to do with man's inner life (whereas the sculptor in three-dimensional space and the painter on a two-dimensional plane express what manifests etherically in space). With the musical element we enter man's inner world, and it is extremely important to focus attention upon its meaning within the evolution of mankind.

Those of my listeners who have frequently attended my lectures or are acquainted with anthroposophical literature know that we can go back in the evolution of mankind to what we call the Atlantean epoch when the human race, here on earth, was very different from today, being endowed with an instinctive clairvoyance which made it possible to behold, in waking dreams, the spiritual behind the physical. Parallel to this clairvoyance man had a special experience of music. In those ancient days music gave him a feeling of being lifted out of the body. Though it may seem paradoxical, the people of those primeval ages particularly enjoyed the chords of the seventh. They played music and sang in the interval of the seventh which is not today considered highly musical. It transported them from the human into the divine world.

During the transition from the experience of the seventh to that of the pentatonic scales, this sense of the divine gradually diminished. Even so, in perceiving and emphasizing the fifth, a feeling of liberating the divine from the physical lingered on. But whereas with the seventh man felt himself completely removed into the spiritual world, with the fifth he reached up to the very limits of his physical body; felt his spiritual nature at the boundary of his skin, so to speak, a sensation foreign to modern ordinary consciousness.

The age which followed the one just described—you know this from the history of music—was that of the third, the major and minor third. Whereas formerly music had been experienced outside man in a kind of ecstasy, now it was brought completely within him. The major and minor third, and with them the major and minor scales, took music right into man. As the age of the fifth passed over into that of the third man began to experience music inwardly, within his bounding skin.

We see a parallel transition: on the one hand, in painting the spatial perspective which penetrates into space; on the other, in music, the scales of the third which penetrate into man's etheric-physical body; which is to say, in both directions a tendency toward naturalistic conception. In spatial perspective we have external naturalism, in the musical experience of the third “internal” naturalism.

To grasp the essential nature of things is to understand man's position in the cosmos. The future development of music will be toward spiritualization, and involve a recognition of the special character of the individual tone. Today we relate the individual tone to harmony or melody in order that, together with other tones, it may reveal the mystery of music. In the future we will no longer recognize the individual tone solely in relation to other tones, which is to say according to its planal dimension, but apprehend it in depth; penetrate into it and discover therein its affinity for hidden neighboring tones. And we will learn to feel the following: If we immerse ourselves in the tone it reveals three, five or more tones; the single tone expands into a melody and harmony leading straight into the world of spirit. Some modern musicians have made beginnings in this experience of the individual tone in its dimension of depth; in modern musicianship there is a longing for comprehension of the tone in its spiritual profundity, and a wish—in this as in the other arts—to pass from the naturalistic to the spiritual element.

Man's special relationship to the world as expressed through the arts becomes clear if we advance from those of the outer world, that is architecture, art of costuming, sculpture and painting, to those of the inner world, that is to music and poetry. I deeply regret the impossibility of carrying out my original intention of having Frau Dr. Steiner illustrate, with declamation and recitation, my discussion of the poetic art. Unfortunately she has not yet recovered from a severe cold. During this Norwegian lecture course my own cold forces me to a rather inartistic croaking, and we did not want to add Frau Dr. Steiner's.

Rising to poetry, we feel ourselves confronted by a great enigma. Poetry originates in phantasy, a thing usually taken as synonymous with the unreal, the non-existent, with which men fool themselves. But what power expresses itself through phantasy?

To understand that power, let us look at childhood. The age of childhood does not yet show the characteristics of phantasy. At best it has dreams. Free creative phantasy does not yet live and manifest in the child. It is not, however, something which, at a certain age in manhood, suddenly appears out of nothingness. Phantasy lies hidden in the child; he is actually full of it. What does it do in him? Whoever can observe the development of man with the unbiased eye of the spirit sees how at a tender age the brain, and indeed the whole of his organism, is still, as compared with man's later shape, quite unformed. In the shaping of his own organism the child is inwardly the most significant sculptor. No mature sculptor is able to create such marvelous cosmic forms as does the child when, between birth and the change of teeth, it plastically elaborates his organism. The child is a superb sculptor whose plastic power works as an inner formative force of growth. The child is also a musical artist, for he tunes his nerve strands in a distinctly musical fashion. To repeat: power of phantasy is power to grow and harmonize the organism.

When the child has reached the time of the change of teeth, around his seventh year, then advances to puberty, he no longer needs such a great amount of plastic-musical power of growth and formation as, once, for the care of the body. Something remains over. The soul is able to withdraw a certain energy for other purposes, and this is the power of phantasy: the natural power of growth metamorphosed into a soul force. If you wish to understand phantasy, study the living force in plant forms, and in the marvelous inner configuratons of the organism as created by the ego; study everything creative in the wide universe, everything molding and fashioning and growing in the subsconscious regions of the cosmos; then you will have a conception of what remains over when man has advanced to a point in the elaborating of his own organism when he no longer needs the full quota of his power of growth and formative force. Part of it now rises up into the soul to become the power of phantasy. The final left-over (I cannot call it sediment, because sediment lies below while this rises upward)—the ultimate left-over is power of intellect. Intellect is the finely sifted-out power of phantasy, the last upward-rising remainder.

People ignore this fact. They see intellect as of greater reality. But phantasy is the first child of the natural formative and growth forces; and because it cannot emerge as long as there is active growing, does not express direct reality. Only when reality has been taken care of does phantasy make its appearance in the soul. In quality and essential nature it is the same as the power of growth. In other words, what promotes growth of an arm in childhood is the same force which works in us later, in soul transformation, as poetic, artistic phantasy. This fact cannot be grasped theoretically; we must grasp it with feeling and will. Only then will we be able to experience the appropriate reverence for phantasy, and under certain circumstances the appropriate humor; in brief, to feel phantasy as a divine, active power in the world.

Coming to expression through man, it was a primary experience for those human beings of ancient times of whom I spoke in the last lecture, when art and knowledge were a unity, when knowledge was acquired through artistic rites rather than the abstractions of laboratory and clinic; when physicians gained their knowledge of man not from the dissecting room but from the Mysteries where the secrets of health and disease, the secrets of the nature of man, were divulged in high ceremonies.

It was sensed that the god who lives and weaves in the plastic and musical formative forces of the growing child continues to live in phantasy. At that time, when people felt the deep inner relationship between religion, art and science, they realized that they had to find their way to the divine, and take it into themselves for poetic creation; otherwise phantasy would be desecrated.

Thus ancient poetic drama never presented common man, for the reason that mankind's ancient dramatic phantasy would have considered it absurd to let ordinary human beings converse and carry out all kinds of gestures on the stage. Such a fact may sound paradoxical today, but the anthroposophical researcher—knowing all the objections of his opponents—must nevertheless state the truth. The Greeks prior to Sophocles and Aeschylus would have asked: Why present something on the stage which exists, anyhow, in life? We need only to walk on the street or enter a room to see human beings conversing and gesturing. This we see everywhere. Why present it on a stage? To do so would have seemed foolish.

Actors were to represent the god in man, and above all the god who, rising out of terrestrial depths, gave man his will power. With a certain justification our predecessors, the ancient Greeks, experienced this will-endowment as rising up out of the earth. The gods of the depths who, entering man, endow him with will, these Dionysiac gods were to be given stage presentation. Man was, so to speak, the vessel of the Dionysiac godhead. Actors in the Mysteries were human beings who received into themselves a god. It was he who filled them with enthusiasm.

On the other hand, man who rose to the goddess of the heights (male gods were recognized as below, female gods in the heights), man who rose in order that the divine could sink into him became an epic poet who wished not to speak himself but to let the godhead speak through him. He offered himself as bearer to the goddess of the heights that she, through him, might look upon earth events, upon the deeds of Achilles, Agamemnon, Odysseus and Ajax. Ancient epic poets did not care to express the opinions of such heroes; opinions to be heard every day in the market place. It was what the goddess had to say about the earthly-human element when people surrendered to her influence that was worth expression in epic poetry. “Sing, oh goddess, the wrath of Achilles, son of Peleus”: thus did Homer begin the Iliad. “Sing, oh goddess, of that ingenious hero,” begins the Odyssey. This is no phrase; it is a deeply inward confusion of a true epic poet who lets the goddess speak through him instead of speaking himself, who receives the divine into his phantasy, that child of the cosmic forces of growth, so that the divine may speak about world events.

After the times had become more and more materialistic, Klopstock, who still had real artistic feeling, wrote his Messiade. Inasmuch as man no longer looked up to the gods, he did not dare to say: Sing, oh goddess, the redemption of sinful man as fulfilled here on earth by the Messiah. He no longer dared to do this in the eighteenth century, but cried instead: “Sing, oh immortal soul, of sinful man's redemption.” In other words, he still possessed something which was lifted above the human level. His words reveal a certain bashfulness about what was fully valid in ancient times: “Sing, oh goddess, the wrath of Achilles, son of Peleus.”

Thus the dramatist felt as if the god of the depths had risen, and that he himself was to be that god's vessel; the epic poet as if the Muse, the goddess, had descended into him in order to judge earthly conditions. The ancient Greek actor avoided presentation of the individual human element. That is why he wore high thick-soled shoes, cothurni, and used a simple musical instrument through which his voice resounded. He desired to lift the dramatic action above the individual-personal.

I do not speak against naturalism. For a certain age it was right and inevitable. For when Shakespeare conceived his dramatic characters in their supreme perfection, man had arrived at presenting, humanly, the human element. Quite a different urge and artistic feeling held sway at that period. But the time has come when, in poetic art also, we must find our way back to the spiritual, to presenting dramatic figures in whom man himself, as a spiritual as well as bodily being, can move within the all-permeating spiritual events of the world.

I have made a first weak attempt in my Mystery dramas. There human beings converse not as people do in the market place or on the street, but as they do when higher spiritual impulses play between them, and their instincts, desires and passion are crossed by paths of destiny, of karma, active through millennia in repeated lives.

It is imperative to turn to the spiritual in all spheres. We must make good use of what naturalism has brought us; must not lose what we have acquired by having for centuries now held up, as an ideal of art, the imitation of nature. Those who deride materialism are bad artists, bad scientists. Materialism had to happen. We must not look down mockingly on earthly man and the material world. We must have the will to penetrate into this material world spiritually; nor despise the gifts of scientific materialism and naturalistic art; must—though not by developing dry symbolism or allegory—find our way back to the spiritual. Symbolism and allegory are inartistic. The starting point for a new life of art can come only by direct stimulation from the source whence spring all anthroposophical ideas. We must become artists, not symbolists or allegorists, by rising, through spiritual knowledge, more and more into the spiritual world.

It can be attained quite specially if, in the art of recitation and declamation, we transcend naturalism. In this connection we should remember how genuine artists like Schiller and Goethe formed their poems. In Schiller's soul there lived an indefinite melody, and in Goethe's an indefinite picture, a form, before ever they put down the words of their poems. Often, today, the chief emphasis in recitation and declamation is placed on prose content. But that is only a makeshift. The prose content of a poem, what lies in the words as such, is of little importance; what is important is the way the poet shapes and forms it. Ninety-nine percent of those who write verse are not artists. In a poem everything depends on the way the poet uses the musical element, rhythm, melody, the theme, the imaginative element, the evocation of sounds. Single words give the prose content. The crux is how we treat that prose content; whether, for instance, we choose a fast or slow rhythm. We express joyful anticipation by a fast rhythm. If we say: The hero was full of joyful anticipation, we have prose even if it occurs in a poem. It is essential, in such an instance, to choose a rapidly moving rhythm. When I say: The woman was deeply sad, I have prose, even in a poem. But when I choose a rhythm which flows in soft slow waves, I express sorrow. To repeat, everything depends on form, on rhythm. When I say, The hero struck a heavy blow, it is prose. But if the poet speaks in fuller, not ordinary tones, if he offers a fuller u-tone, a fuller o-tone, instead of a's and e's, he expresses his intention in the very formation of speech.

In declamation and recitation one has to learn to shape language, to foster the elements of melody, rhythm, beat, not prose content. One has also to gauge the effect of a dull sound upon a preceding light sound, and a light sound upon the following dark one, thus expressing a soul experience in the treatment of the speech sounds. Words are the medium of recitation and declamation: a little-understood art which we have striven to develop. Frau Dr. Steiner has given years to it. When we return to artistic feeling on a higher level we return to speech formation as contrasted with the modern emphasis on prose content. Nothing derogatory shall be said against prose content. Having achieved it through the naturalism which made us human, we must keep it. At the same time we must again become imbued with soul and spirit. Word-content can never express soul and spirit. The poet is justified in saying: “If the soul speaks, alas, it is no longer the soul that speaks.” For prose is not the soul's language. It expresses itself in beat, rhythm, melodious theme, image, and the formation of speech sounds. The soul is present as long as the poem expresses rising and falling inner movements.

I make a distinction between declamation and recitation: two separate arts. Declamation has its home in the north; and is effective primarily through the weight of its syllables: chief stress, secondary stress. In contrast, the reciting artist has always lived in the south. In recitation man takes into account not the weight but the measure of the syllables: long syllable, short syllable. Greek reciters, presenting their texts concisely, experienced the hexameter and pentameter as mirrors of the relationship between breathing and blood circulation. There are approximately eighteen breaths and seventy-two pulse-beats per minute. Breath and pulse-beat chime together. The hexameter has three long syllables, the fourth is the caesura. One breath measures four pulse beats. This one-to-four relation appearing in the measure and scanning of the hexameter brings to expression the innermost nature of man, the secret of the relation of breath and blood circulation.

This reality cannot be perceived with our intellect; it is an instinctive, intuitive-artistic experience. And beautifully illustrated by the two versions of Goethe's Iphigenie when spoken one after the other. We have done that often and would have done so today if Frau Dr. Steiner were not indisposed. Before he went to Italy, Goethe wrote his Iphigenie as Nordic artist (to use Schiller's later word for him), in a form which can be presented only through the art of declamation, chief stress, secondary stress, when the life of the blood preponderates. In Italy he rewrote this work. It is not always noticed, but a fine artistic feeling can clearly distinguish the German from the Roman Iphigenie. Because Goethe introduced the recitative element into his Northern declamatory Iphigenie, this Italian, this Roman Iphigenie asks for an altered reading. If one reads both versions, one after the other, the marvelous difference between declamation and recitation becomes strikingly clear. Recitation was at home in Greece where breath measured the faster blood circulation. Declamation was at home in the North where man lived in his inmost nature. Blood is a quite special fluid because it contains the inmost human element. In it lives the human character. That is why the Northern poetic artist became a declamatory artist.

As long as Goethe knew only the North he was a declamatory artist and wrote the declamatory German Iphigenie; but transformed it when he had been softened to meter and measure through seeing the Italian Renaissance art which he felt to be Greek. I do not wish to spin theories, I wish to describe feelings which anthroposophists can kindle for the world of art. Only so shall we develop a true artistic feeling for everything.

One more point. How do we behave on a stage today? Standing in the background we ponder how we would walk down a street or through a drawing-room, then behave that way on the stage. It is all right if we introduce this personal element, but it does lead us away from real style in stage direction, which always means taking hold of the spirit. On the stage, with the audience sitting in front, we cannot behave naturalistically. Art appreciation is largely immersed in the unconsciousness of the instincts. It is one thing if with my left eye I see somebody walk by, passing, from his point of view, from right to left, while, from mine, from left to right. It is quite another thing if this happens in the opposite direction. Each time I have a different sensation; something different is imparted. We must relearn the spiritual significance of directions, what it means when an actor walks from left to right, or from right to left, from back to front, or vice versa; must feel the impossibility of standing in the foreground when about to start a long speech. The actor should say the first words far back, then gradually advance, making a gesture toward the audience in front and addressing both the left and right. Every movement can be spiritually apprehended out of the general picture, and not merely as a naturalistic imitation of actions on the street or in the drawing-room. Unfortunately people no longer wish to make an artistic study of all this; they have become lazy. Materialism permits indolence. I have wondered why people who demand full naturalism—there are such—do not adopt a stage with four walls. No room has three. But with a four-wall set how many tickets would be sold?

Through such paradoxes we can call attention to the great desideratum: true art in contrast to mere imitation. Now that naturalism has followed the grand road from naturalistic stage productions to the films (neither philistine nor pedant in this regard, I know how to value something for which I do not care too much) we must find the way back to presentation of the spiritual, the genuine, the real; must refind the divine-human element in art by refinding the divine-spiritual.

Anthroposophy would take the path to the spirit in the plastic arts also. That was our intention in building the Goetheanum at Dornach, this work of art wrested from us. And we must do it in the new art of eurythmy. And in recitation and declamation. Today people do breathing exercises and manipulate their speech organism. But the right method is to bring order into the speech organism by listening to one's own rhythmically spoken sentence, which is to say, through exercises in breathing-while-speaking. These things need reorientation. This cannot originate in theory, proclamations and propaganda; only in spiritual-practical insight into the facts of life, both material and spiritual.

Art, always a daughter of the divine, has become estranged from her parent. If it finds its way back to its origins and is again accepted by the divine, then it will become what it should within civilization, within world-wide culture: a boon for mankind.

I have given only sketchy indications of what Anthroposophy wishes to do for art, but they should make clear an immense desire to unfold the right element in every sphere. The need is not for theory—art is not theory. The need is for living, fully living, in the artistic quality while striving for understanding. Such an orientation leads beyond discussion to genuine appreciation and creation.

If art is to be fructified by a world-conception, this is the crux of the matter. Art has always taken its rise from a world-conception, from inner world-experience. If people say: Well, we couldn't understand the art forms of Dornach, we must reply: Can those who have never heard of Christianity understand Raphael's Sistine Madonna?

Anthroposophy would like to lead human culture over into honest spiritual world-experience.

With Rudolf Steiner the educationalist, the scientist, the philosopher, even the sculptor and the architect of the Goetheanum, we already enjoy the degree of familiarity that translations of his books and lectures afford. We enjoy it too where, as a result of his observations and discoveries, new beginnings have been made in a host of other fields. But Rudolf Steiner’s literary work remains for the most part unfamiliar. Of course, there are grave and ominous difficulties: here more than anywhere else the barriers of language and tradition are tightly defended, hard to traverse. Yet we should not too readily turn away and admit defeat in the face of these literary problems. We might remember, after all, that the scientist-philosopher to whom the young scholar in Vienna and Weimar devoted so much sympathy and scrupulous attention, the Johann Wolfgang von Goethe who wrote the Farbenlehre and The Metamorphosis of Plants, was better known to the world as one of the darlings of literature, the Poet of Faust and a great novelist and dramatist into the bargain. It is true that for Steiner the many-sidedness of the poet and artist was to be the new ideal for the philosopher too, but art, or man’s faculty of “aesthetic judgment”, was never to lose its central position or its claim to be – as the Romantics of England and Germany had argued with alternate reason and intuition – the highest and most perfect form of knowledge, because the most human. The apprehension of beauty, as Steiner once put it, “comprises truth, that is, selflessness; but it is at the same time an assertion of self-supremacy in the soul-life, giving us back to ourselves as a spontaneous gift.” [See The Wisdom of Man, of the Soul, and of the Spirit (New York 1971), p.114.] In our own day Owen Barfield has taken up the Romantic argument anew, with renewed passion and a new sense of precision, in Poetic Diction and certain of his essays elsewhere. In all Rudolf Steiner’s later, anthroposophical work, moreover, we seem to see everything tending to assume an artistic, poetic form.

He had, of course, his period of quite straightforwardly literary activity, dating back to the last decades of the nineteenth century. He was for some years the editor of the Magazin für Literatur, a well-established literary review founded in the year of Goethe’s death, and contributed to it pieces of his own criticism on literature and drama. [These are collected as Gesammelte Aufsätze zur Literatur (Dornach 1971).] He mingled in Vienna with many literary and some rather Bohemian figures, both prominent and obscure, and later recalled how deeply this cultural atmosphere had influenced The Philosophy of Freedom. [In From Symptom to Reality in Modern History (London 1976), pp. 132ff.]

He also edited and furnished with introductions several of the German “classics”. The occasion for his own venture into drama, however, was to come somewhat later and far from the conventional stage. This was in 1910, when his The Portal of Initiation was produced in Munich for the Annual Congress of the Theosophical Society, which Steiner was even then on the point of leaving. His work in this sphere was to be continued in the more congenial framework of the newly founded Anthroposophical Society. The Portal of Initiation was followed by a further three poetic Mystery Dramas.

It was around that time, too, that he first began to include in his lectures more detailed discussions of the working of language and “speech-formation”—the concrete substance (vowels, consonants, diphthongs, etc.) by means of which language evokes its astonishing range of sensual, emotive and poetic effects. It was in a lecture of 1911, in fact, that he first expounded one of his fundamental conclusions about the basic constituents of language. By that time his researches had reached a stage which enabled him to look back to a period of pre-history, near the very beginnings of language, when, as he says, there existed a kind of primitive human language, a manner of speech which was the same all over the earth, because “speech” in those days came much more out of the depths of the soul than it does now.

At that remote period, he continues, people felt all outward impressions in such a way that if the soul wished to express anything outward by a sound, it was constrained to use a consonant. What existed in space pressed for imitation in a consonant. The blowing of the wind, the murmur of the waves, the shelter given by a house were felt and imitated by man in consonants. On the other hand, the sorrow or joy which was felt inwardly, or was observed as feeling in another being, was imitated in a vowel. From this we can see that the soul became one, in speech, with outer events or beings. [The Spiritual Guidance of Man, Lecture II]

He adds the following example of this kind of intimate relationship between experience and the particular sounds of speech:

A man drew near a hut, which was arched in the ancient fashion and gave shelter and protection to a family. He noticed this, and expressed the protective arch by a consonant; and by a vowel he expressed the fact, which he was able to feel, that within the hut embodied souls were comfortable. Thence arose the thought shelter; “there is a shelter for me – shelter for human bodies.” The thought was then poured forth in consonants and vowels, which could not be otherwise than they were, because they were a direct impression of experience and had but one meaning. This was the same all over the earth. It is no dream that there was once an original human root-language. And, in a certain sense, the initiates of all nations are still able to feel that language. Indeed there are in all languages certain similar sounds which are the remains of that universal language. [The Spiritual Guidance of Man (New York 1970), pp.35-36. Compare the earlier (1904) discussion of this stage of language in Cosmic Memory (New York 1971), p.50. Cf. Swedenborg, Heaven and Hell Nos. 236, 241.]

This was a discovery from which a great deal could be made, in opening up the way to a wide-ranging investigation both into the nature of language in general and, especially as regards that immediate and necessary link “in the depths of the soul” between certain specific sounds and types of experience, into the foundations of poetry and poetic speech-formation.

As so often in Rudolf Steiner’s career, however, he put himself at the disposal of those around him, and developed his ideas as circumstances seemed to demand, rather than as he himself might have found it easiest to elaborate them. In any event, the lecture-courses embodying his contributions to the subject in depth do not come until virtually the last years of his life – commencing around 1919. Some of these lectures, together with a sprinkling of aphorisms and notes, have been usefully gathered together and published in English as Creative Speech: The Nature of Speech-Formation, translated by Winifred Budgett, Nancy Hummel and Maisie Jones (London 1978). Others, notably concerned with broader and less technical issues in poetry and artistic speech, are presented in this volume. In our notes we have made some effort to indicate the points at which the two books may shed light upon each other or provide the inquisitive reader with further details on a particular topic.

Both earlier and later, one of Rudolf Steiner’s main inducements to develop his work in this direction was undoubtedly the interest, the practical help, the enthusiasm and the talents of Marie von Sivers (later Marie Steiner). Whilst still in Russia, as a promising young actress in St. Petersburg, Marie von Sivers had studied under Maria Strauch-Spettini, one of the prominent figures on the stage of the German Imperial Theatre. There were later hopes that she might have returned there to help make a stand for the traditions of French classicism against the all-engulfing trend towards naturalism. For in the meantime she had spent two years in Paris studying under the direction of Madame Favart, the first lady of the Comédie Francaise, then at the end of her theatrical career, and had been attending at the Conservatoire the classes of several other notable actors of the time. But she decided against returning permanently to St. Petersburg, and her connection with the Theosophical Society soon opened out quite different avenues for her future work. In his autobiography, The Course of My Life, Rudolf Steiner describes their collaboration in those early days, and the importance it assumed for the germinating Anthroposophical Movement:

In the Theosophical Society artistic interests were hardly cultivated at all. This was understandable in a certain sense – but had to change if a proper attitude toward the spirit was to flourish. The members of such a society tend to focus all their interests in the reality of the spiritual life; man in the sense-world seems to them merely a transitory being, severed from the spirit. And art appears to concern only that severed existence, as if it were divorced from the looked-for reality of the spirit.

In view of this, artists did not feel at home in the Theosophical Society. To Marie von Sivers and me it seemed important for an artistic life to be engendered in the Society. Knowledge of the spirit, when it becomes an inner experience, takes hold of the whole man. All the powers of the soul are roused. And the light of this inner spiritual experience will shine into man’s creative imagination.

But there may be difficulties. The artist, when his imagination is illumined by the spiritual world, may feel a certain uneasiness. He finds it preferable to remain unconscious of the spiritual that rules within the soul. And so long as it is a question of his imagination being prompted by that intellectualizing which has dominated spiritual life since the opening of the consciousness-soul era, this feeling is quite justified. Such a stimulation by human intellect does have a deadening effect on art.

When a spiritual content is perceived directly, however, and lights up in the imagination, the opposite result is brought about. This leads to a resurrection of all those creative powers which have ever brought art into being in the life of humanity. Marie von Sivers was genuinely accomplished in the art of speech-formation, and had a real feeling for drama. Thus there was represented within the Movement an art-form on which the fruitfulness of spiritual perception for the arts could be tested.

The evolution of the consciousness-soul exposes the “Word” to danger from two directions. On the one hand it is made the vehicle of social understanding, and on the other it serves to communicate logical, intellectual knowledge. In both spheres the “Word” loses all value of its own. It has to be adapted to the “sense” of what it expresses. That the tone, the sound and the formation of the sound possess a reality of their own has to be forgotten. The beauty and luminous quality of the vowels, the unique character of the various consonants, are lost in speech. The vowel is drained of soul, the consonant of spirit. Speech deserts utterly the sphere of its origin – the spiritual sphere. It becomes the slave of intellectual knowledge and of a social life that shuns the spirit. It is divorced entirely from the domain of art.

True spiritual perception is also instinctively an “experience of the Word”. Through it one learns to enter into the soul-quality that resonates in the vowel, and the spiritual power of depiction that resides in the consonant. One gradually begins to comprehend the mystery of speech and its evolution: how divine-spiritual beings could once speak to man’s soul through the Word, whereas now it is merely a means of communicating in the physical world.

To lead the word back to its own sphere requires the enthusiasm kindled by such a spiritual insight. Marie von Sivers had this enthusiasm. Through her personality there entered the Anthroposophical Movement the possibility of cultivating the art of speech and speech-formation. Thus to the activity of imparting spiritual knowledge was added cultivation of the art of recitation and declamation, and this played an ever-increasing part in the events that were organized within the Anthroposophical Movement.

Marie von Sivers’ recitations on these occasions formed the point of departure for the impact of art on the Anthroposophical Movement. From them, beginning as supplements to lectures, the drama productions later staged in Munichside by side with anthroposophical lecture-cycles were directly descended.

Since, along with spiritual knowledge, we could also unfold artistic work, we entered more and more upon an experience of the spirit appropriate for our time. For art did indeed grow out of man’s primaeval, dream-image experience of the spirit. And when this experience receded in the course of man’s development, it was left alone to find its way; therefore art must find its way back to the experience of the spirit, when this is once more becoming, in a new form, a part of man’s cultural evolution. [The Course of My Life, Chapter XXXIV]

The present volume is a fragment of the work that resulted from their collaboration. It consists for the greater part of lectures held in several places by Rudolf Steiner, and these are punctuated by regular recitals of poetry, illustrating the points that the speaker has just made. The poems were recited or declaimed by Marie Steiner – generally introduced with impeccable courtesy as “Frau Dr. Steiner” – and constitute an integral part of the lecture’s meaning. Indeed the lecturer often relies entirely on the effect of her reciting to make some literary characteristic or contrast immediately obvious. And this, of course, makes for certain difficulties in point. A case in point is the basic distinction, adumbrated in the opening lectures and running all through the book, between recitation and declamation. Rudolf Steiner naturally makes no attempt to define for us what the differences between them are. A definition, after all, is not what is finally wanted. And it becomes totally superfluous when we can hear the difference through a concrete demonstration of things being recited and declaimed. Even the most precise definition would pale in comparison.

The situation with the printed poem (at least for those who cannot call upon the resources of some trained speech-formationist) is a little more difficult. Yet for all its force and vividness, even the oral demonstration would have resolved itself only gradually in our minds into a clear grasp of the distinctions involved, enabling us to discern the essentials of both modes of speech. All the more must the serious reader be content to work his way slowly and patiently forward before he can attain to a clear experience, and, excellent introduction though these lectures may be, he will certainly find himself in need, if he is to progress beyond a certain point, of contact with the living tradition of anthroposophical speech-formation. In England this is represented above all by the London School of Speech Formation, headed by Maisie Jones. Those who wish to learn for themselves the detailed methods of the art of speech which has developed on the basis of Rudolf Steiner’s investigations will there find qualified instructors, with practical experience of its complexities.

For those who simply want to approach literature and poetry with a more awakened sense of its spiritual depth, however, these lectures remain a valuable and relatively accessible source of illumination. But either way, practical or appreciative, the student must be wary of the intellectual short-cut and the neat definition as a substitute for experience. He must gradually progress along a path of knowledge, and so ultimately develop a sensitivity for the multifarious and elusive ways in which poetry, all-mysteriously, contrives to operate. It is one of the central arguments of this book that such a process is also one of increasingly definite self-knowledge – not only in the vague, Johnsonian sense of general human psychology, but even as regards one’s own deeper spiritual resources, at a level where these are continuous with the forces of organic life itself.

Perhaps we may be permitted to say a little on the subject of one of the difficulties that is likely to arise from a first perusal of the lectures that follow – a difficulty connected with the polarity between recitation and declamation. Rudolf Steiner characterises them in the opening lecture-cycle in terms of the contrast between the plastic arts and music. Recitation and metrical, regular poetry are brought into connection with music; energetic declamation is connected with a kind of powerful visual experience. In the later lecture on “Speech-Formation and Poetic Form”, however, he apparently contradicts himself by presenting recitation as a visual, plastic art, as opposed to declamation which is musical and melodic. We would suggest that, as always with Steiner’s observations, the key to understanding is to descend from the level of abstractions, and take a concrete look at which aspects of the arts are involved in these contrasts. We do not, of course, propose to discuss the question in detail. But it may prove helpful to the reader to be reminded that both music and the plastic arts are themselves very varied things, and that each at their extremes may invite comparison with the other. Within music, for example, the classical style stands at the opposite pole to the baroque. Mozart’s music is eminently metrical and regular: yet, precisely because it reaches us in a series of perfectly defined and clearly differentiated structures of sound, it can easily be compared to an exactly delineated picture, where the artist has sharply rendered every detail. With Bach, on the other hand, we are engaged by the driving-force of the music, its tremendous energy and unflagging will: and yet there is even here a certain kind of painting with which it can very appropriately be compared – as in baroque art, where we have a visual experience that, rather than lingering over every detail of form, catches us up in a single powerful movement or effect of light. When Steiner contrasts recitation and declamation as opposite poles in the art of speech, therefore, we must remember to ask which features of music and the plastic arts he is appealing to in order to explain the contrast, and realize that he might elsewhere appeal to very different ones.

Edwin Froböse, in his “Nachwort” to the German original of this work, has adduced an extract from the papers left by Marie Steiner, possibly drafted in the ’30s, where she describes the high seriousness of their undertaking, as it was carried on by her continuing work at the Goetheanum:

The endeavour of the Section for Speech and Music at the Goetheanum is to approach more nearly the riddle of language and the foundation of a spiritual knowledge of man and the universe, as uniquely expressed in the anthroposophical Spiritual Science of Dr. Rudolf Steiner, and to grasp the nature of sound-formation in connection with man and the cosmos. Through abstract understanding we have lost the secret of the creating word. This creating power of the word can be reawakened and experienced, however, through a conscious activity of thought – a thinking that is not simply a mirror of the external, but wells up vitally from deeper strata of the soul. In association with music, colour, and the new art of eurythmy (a speech made visible through the medium of the body), it is possible to instil new life into the works of our great poets, and also into works for the stage. This, at a time when interest in and understanding for the idealistic struggles of our ‘classic’ authors is on the wane, is one of the tasks that the Goetheanum has set for itself. [Die Kunst der Rezitation und Deklamation, p.246.]

This passage may also remind us, among other things, of the remarkably wide implications of what the Germans so conveniently and all-embracingly term a Geisteswissenschaft, which comes rather sadly truncated into English either as cultural or spiritual science. In these lectures poetry and the other arts are all viewed from the perspective of such a science, as the several manifestations of the human Spirit. And conversely, the rediscovery of the spiritual is seen as something with consequences across the whole range of human culture.

But how are we to coax this book into English? Poetry is traditionally defined as what gets lost in translation between two languages, and a work such as this might in the end look like nothing so much as a sort of stranded whale when once removed from the native element of German poetry to which it makes minute and constant reference. Certainly we could see little point in offering the reader the dubious assistance of the German poems in translation. But we were convinced that the principles of Steiner’s poetics could be applied, with the appropriate adjustments, to English – or any other – poetry. The only valid way of translating the book, we therefore decided, was to furnish it with a repertoire of suitable examples from the vast wealth of English verse or, in one case, poetic prose. In this way we hoped to present Steiner’s work on poetry to English readers with some semblance of its having been genuinely domiciled in English literature. How far we have succeeded it is for our readers, and particularly those pioneers who have already taken up anthroposophical speech-formation in English, to judge.

As for the examples themselves, they are no more than suggestions on our part. They lay no great claim to finality, nor indeed any authority save that we took some pains in the choosing of them, and tried conscientiously to find extracts which exemplified as precisely as possible the points made in the lecture to which they belong. Predictably, we were not always as successful as we might have wished. In some areas, German and English literature simply do move in incompatible directions: poets here in England, for instance, do not feel the apparently perennial attraction that alliterative verse has for the German poet. But at the same time the poem we eventually included (by W. R. Rodgers), besides confessing to the gulf which lies between the two languages, is indirectly valuable in pointing to something essential in the differences that divide them. It shows that alliteration in English is essentially distinctive and in important ways unlike its German counterpart, whilst sharing certain fundamental qualities with it.

We have enclosed all our editorial intrusions within square brackets, adding the briefest of explanations as to our intention in each case. It was obviously necessary, too, to preserve the original German poems employed as examples and recited when the lectures were given. Furthermore, we have on some occasions availed ourselves of a poetic licence to be frankly inconsistent, and supplied an English translation where the interest of the poem’s content seemed to merit it, or, as in the brilliant example of the two versions of Iphigeneia used in the first lecture, where nothing exactly comparable could be adduced from English. Conversely, where the German poem was a translation, and as such no nearer to the original than an English version, we have of course simply substituted the latter for the German piece. (However, the observant reader will in one case here find us guilty of double inconsistency.) In general we have tried to make the selection as interesting as we could. We have had the advantage, in cases where Steiner used the same example on more than one occasion, of being able to offer more than a single analogy from our own literature. This, too, has broadened the range of our anthology.

We have followed the lead of the German choice of examples in selecting works from the mainstream of literature. Some of our instances are in fact old favourites; some of them not so old; and some of them, perhaps, not such favourites. But they are all drawn from the central, deep channel along which the history of English literature has been directed more or less from the days of Chaucer and Langland to the present day. Only one large omission may provoke the raising of an eyebrow or two: we therefore take this opportunity of pledging our boundless admiration for William Shakespeare, even though we have chosen to represent him by a mere fourteen lines. Here, with the poet who more than any other is in himself an entire world, a microcosm within the literary macrocosm of our language, we suffered from a sheer embarras de richesse. Any choice seemed like a concession to the arbitrary or a personal whim. It seemed best, therefore, to exclude him (with entire good will) from our little republic of poetry, only erecting within it the monument of a lone sonnet to commemorate his kingly greatness.

A further disparity which may strike the reader stems from another of the differences between German and English literary history. Steiner drew a good many of his examples from the so-called “classic” period, the age of Goethe and Schiller, one of the high points in the development of German literature and poetry. But England’s equivalent of the classic period falls earlier, with the blossoming of poetry and drama in the Renaissance. Our Goethe is, so to speak, Shakespeare. In order to do justice to the splendours of our literature we have accordingly delved back a little further into the past for the bulk of our examples, and by way of compensation broadened their range to show some of the almost infinite variety of forms which have sprung up since. We soon ran into certain difficulties, however, over the language of our poems. The German “classics” are written in what is virtually modern speech; many of the highlights of English literature, contrastingly, are in a slightly archaic language. Even though the pronunciation of Shakespeare’s day was not too far removed from what it is now, there are nuances – and these are reflected in the spelling. This confronted us with the problem of whether or not to modernize our texts. Easy intelligibility argues for modern spelling and punctuation. But in poetry, as Steiner continually emphasizes, the sound and articulation of the words is all-important. Indeed, in the last of the lectures in this volume he says explicitly that “the spiritual does not speak in human words. The spiritual world goes only as far as the syllable, not as far as the word.” The preservation of the syllables of each word as nearly as possible in the way the poet envisaged them therefore seemed the only justifiable policy. Now the relation between spelling and the spoken sound, particularly in an eccentrically written language like English, and particularly in times when spelling was much less hidebound by orthodoxy than it is nowadays, is a subtle and complex one. But in those flexible circumstances a poet’s spelling obviously will form a valuable guide to the particular sound he wanted. In the superbly musical case of Miltonit is now known that the poet developed a highly refined notation for the pronunciation of his works. And we may take a more simple and blatant case: if a poet transcribed the sound he envisaged as thorough, this is plainly unlikely to be exactly what we get if we insist upon writing through. Often the difference is no more than a shade or nuance – but these are the special province of the speech-formationist, who must be thankful for any of the poet’s hints on the formation of sound that underlies his poem.

In the case of pre-Elizabethan texts we have supplied a few (hopefully judicious) critical signs, notably where a final -ed is to be sounded in defiance of later usage. It is assumed that the later conventions of pronouncing this syllable, extending to the Romantic period but abandoned in the modern, are generally understood. In our couple of mediaeval texts we have marked the final -e where it is to be pronounced for the benefit of the rhythm. It should be said very short, just suggested rather than as a full vowel. Otherwise, alterations have been confined to editing out the old orthography and adding a few helpful capitals.

The English language is at a later stage of development than is German, and has lost many of those qualities which make for a ready, spontaneous poetic effect in speech. The English poet has very much to mould a language of his own to achieve what he needs to express. And in the same way there are difficulties for the reciter who must wrestle with what Blake called the “stubborn structure” of this language. But we are far from wishing to conclude from these gloomy observations that there are limits to the future potentialities of an English speech-formation. We may therefore be forgiven for taking this opportunity to quote the vision of our “English Blake” of what speech may ultimately become. It is taken from the last, apocalyptic pages of Jerusalem:

And they conversed together in Visionary forms dramatic which bright
Redounded from their Tongues in thunderous majesty, in Visions
In new Expanses, creating exemplars of Memory and of Intellect,
Creating Space, Creating Time, according to the wonders Divine
Of Human Imagination throughout all the Three Regions immense
Of Childhood, Manhood & Old Age; & the all tremendous unfathomable Non Ens
Of Death was seen in regenerations terrific or complacent, varying
According to the subject of discourse; & every Word & Every Character
Was Human according to the Expansion or Contraction, the Translucence or
Opakeness of Nervous fibres: such was the variation of Time & Space
Which vary according as the Organs of Perception vary; & they walked
To & fro in Eternity as One Man, reflecting each in each & clearly seen
And seeing, according to fitness & order.

We turn finally to the more immediate difficulties of rendering this book into English. That certain of these are notorious does not make them easier to resolve. Particularly with regard to philosophical or semi-philosophical terms, where the original distinguishes between inner processes with a Germanic nicety, we have retained its precision at slight expense to natural English usage. “Representation” appears uniformly for Vorstellung – occasionally “mental representation”; vorstellen as “form a representation” or “represent”. For Steiner’s argument it is important to realize that what is being contrasted in one context with “concept-formation”, for instance, is the same activity of “representation” referred to less technically elsewhere in the book; consistency was thus essential. In addition we have resorted to “psychic” to fill the lack of an English adjective from “soul” for man’s subjective and emotional nature; and we have sometimes been slightly devious in getting round the problem of ordinary “imagination” (Phantasie) and Steiner’s technical use of Imagination for the more highly developed spiritual faculty.

Our translation is based on the second, enlarged and improved edition of Die Kunst der Rezitation und Deklamation (Dornach 1967), edited by Edwin Froböse. This omits the introductory lecture included in the first edition, but adds the lecture here called “Poetry and the Art of Speech”. The German book also contains a seminar by Marie Steiner and a series of short discussions of individual poets: several of them are not known at all in England, and it seemed best to leave them out of an English version altogether.

Every translation is in some sense a collaborative effort. But we have more than the common number of acknowledgements for help and suggestions to record. Work on this volume began some years ago, having been originally undertaken by Maud Surrey for the benefit of her pupils, but she was regrettably unable to complete it before her death. We inherited from her a draft of the earlier lectures, whose renderings we have not infrequently adopted, even though we have subjected it to a thorough revision, mainly in the interests of a uniform style. We were aided in the first stages of this process and for all too brief a time by Olga Holbek, who made some fine contributions and has continued to take a beneficent interest in the work's progress. We were also encouraged from the very beginning by the warm support of Maisie Jones, of the London School, herself a leading figure in the struggle to develop a speech-formation for the English language. We also have good reason to thank Valerie Jacobs and Winifred Budgett for their help at various points, and their continued good will towards our project. In moments of difficulty or desperation in the face of the German text we have benefited incalculably from the knowledge and friendly exhortations of Edwin Froböse, who also made several excellent proposals for the preface and has been in general, as they say, a mine of information. For the manifold imperfections which remain we hold ourselves solely responsible.

Cambridge, E. J. W.

Yesterday I began to speak to you of the spiritual-scientific strivings of the ninth or tenth century after Christ. We learnt how such strivings were still seriously followed as late as the end of the eighteenth and beginning of the nineteenth centuries; and I endeavoured to tell you something of the content of these strivings. Today I should like to touch more on their historical aspect. We have to remember that the Mysteries of ancient times were of such a nature and character that in the places of the Mysteries an actual meeting with the Gods was able to take place. I described in the lectures recently given at the Christmas Foundation how the human being who was an Initiate or was about to receive Initiation could verily meet with the Gods. And it was also possible, in the Mysteries, to discover places which by their very locality were expressly fitted and prepared to induce such meeting with the Gods.

The preparation of these centres and the adoption of them as the official places—if I may use so crude an expression—is at the foundation of the impulses for all the older civilisations. Gradually, however, knowledge and understanding of these places disappeared; we may even say that from the time of the fourth century it is no longer to be found in its old form. Here and there we can still find survivals, but the knowledge is no longer so strict and exact. Notwithstanding this, however, Initiation never ceased; it was only the form in which the candidates found their way that changed. I have already indicated how things were in the Middle Ages. I have told you how here and there were individuals, living simple, humble unpretentious lives, who did not gather around them a circle of official pupils in one particular place, but whose pupils were scattered in various directions in accordance with the karma of mankind or the karma of some people or nation. I have described one such instance in what I said about Johannes Tauler in my book Mysticism and Modern Thought. There is no need for me to speak about that here. I should like however to tell you of another typical example, one that had very great influence, lasting from the twelfth and thirteenth on into the fifteenth century. The spiritual streams that were working during these centuries are in large measure to be traced to the events of which I would like now to speak. Let me give you first, as it were, a sketch of the situation.

The time when these events took place is round about the year 1200 A.D. There were at that time a great number of people, especially younger people, who felt within them the urge for higher knowledge, for a union with the spiritual world—one may truthfully say, for a meeting with the Gods. And the whole situation and condition of the times was such that very often it looked as though a man who was searching and striving in this way found his teacher almost by chance. In those days one could not find a teacher by means of books, it could only come about in an entirely personal way. And often it looked from without like a chance happening, although in reality deep connections of destiny were at work in the event. And it was so in the case of the pupil of whom I am now going to tell you.

This pupil found a teacher in a place in Middle Europe through just such an apparently chance event. He met an older man of whom he at once had the feeling: He will be able to lead me farther in that search which is the deepest impulse of my soul. And now let me give you the gist of a conversation between them. I do not of course mean that only one such conversation took place between teacher and pupil, but I am compressing several into one.

The pupil speaks to the teacher and tells him of his earnest desire to be able to see into the spiritual world; but it seems to him as though the nature of man as it is in that time—it is about the twelfth century—does not allow him to penetrate to the spiritual worlds. Nevertheless, he feels that in Nature one has something that is the work, the creation of divine-spiritual Beings. When one looks at what the objects of Nature are in their deeper meaning, when one observes how the processes of Nature take their course, one cannot but recognise that behind these creations stands the working of divine-spiritual Beings. But man cannot come through to these spiritual Beings. The pupil, who was a young man somewhere between 25 and 28 or so, felt strongly and definitely that the humanity of the time, because of the kind of connection of the physical body with the soul, cannot come through, it has hindrances in itself.

The teacher began by putting him to the test. He said to him: You have your eyes, you have your ears: look with your eyes on the things of Nature, hear with your ears what goes on in Nature; the Spiritual reveals itself through colour and through tone, and as you look and listen, you cannot help feeling how it reveals itself in these.

Then the pupil replied: Yes, but when I use my eyes, when I look out into the world, with all its colour, then it is as though my eye stops the colour, as though the colour suddenly turns numb and cold when it reaches the eye. When I listen with my ear to tones, it is as though the sounds turn to stone in my ear; the frozen colours and the dead, hard sounds will not let the spirit of Nature through. And the teacher said: But there is still the Revelation of the religious life. In Religion you are taught how Gods made and fashioned the world, and how the Christ entered into the evolution of time and became Man. What Nature cannot give you, does not Revelation give?

And the pupil said: Revelation does indeed speak powerfully to my heart, but I cannot really comprehend it, I cannot connect what is out there in Nature with what Revelation says to me. It is impossible to bring them into relation with one another. And so, since I do not understand Nature, since Nature reveals nothing to me, neither do I understand the Revelation of Religion.

And the teacher made answer: I understand you well; it is even so. If you must speak thus, if it is with your heart and soul as you say, then you, as you stand in the world today, will not be able to understand either Nature or Revelation: for you live in a body that has undergone the Fall—such was the manner of speaking in those days—and this “fallen” body is not suited to the earthly environment in which you are living. The earthly environment does not afford the conditions for using your senses and your feeling and your understanding in such a way that you may behold in Nature and in Revelation a light, an enlightenment that comes from the Gods. If you are willing, I will lead you away out of the Nature of your earthly environment, which is simply unsuited to your being, I will lead you away from it and give you the opportunity to understand Revelation and Nature better. And the teacher and the pupil discussed together when this should take place.

One day, the teacher led the pupil up a high mountain, whence the surface of the Earth with its trees and flowers could no longer be seen at all—you know how this is so on high mountains—but as the pupil stood there with his teacher he could see below him as it were a sea of cloud, which completely covered the Earth with which he was familiar; up there one was far removed from the affairs of Earth—at all events, the situation suggested this. One looked out into space with its great masses of cloud, and one saw below as it were a sea, a moving, surging sea composed entirely of cloud. Morning mist, and the breath of morning in the air! Then the teacher began to speak to the pupil. He spoke of the wide spaces of the worlds, he spoke of the cosmic distances, of how, when one gazes out into these vastnesses in the night time, one sees the stars shining forth from thence. He told him many things, so that gradually the heart of the pupil, removed as it were far away from the Earth, became wholly given up to Nature and the manner of Nature's existence.

The preparation continued until the pupil came into a mood of soul which may be indicated by the following comparison. It was as though, not for a moment only, but for quite a long time, all that he had ever experienced during his earthly life in this incarnation were something he had dreamed. The scene now spread out before him, the rolling waves of cloud, the wide sea of cloud, with here and there a drift rising up like the crest of a wave; the far spaces of the worlds, broken here and there by rising shapes of cloud—and scarcely even that, for there was no more than a glimpse here and there of cloud forms at the farthest end of space—this whole scene showing so little variation, having so little content in comparison with the manifold variety of all his experiences down below on the surface of the Earth, was now for the pupil like the content of his day-waking consciousness. And everything he had ever experienced on Earth was for him no more than the memory of a dream he had dreamed. Now, now, so it seemed to him, he had woken up. And whilst he continued to grow more and more awake, behold, from a cleft in the rock which he had not hitherto noticed, came forth a boy of 10 or 11 years old. This boy made a strange impression upon him, for he at once recognised in him his own self in the 10th or 11th year of his age. What stood before him was the Spirit of his Youth.

You will easily guess, my dear friends, that to this scene is due one of the impulses that made me introduce into the Mystery Plays the figure of the Spirit of Johannes' Youth. [Footnote: The Soul's Awakening. Scene 6. Four Mystery Plays.] It is the “motif” alone you must think of, certainly not of anything like photography. The Mystery Plays are no occult romances where you have but to find the key, and all is plain!

The pupil stood before the Spirit of his boyhood, his very self. He, with his 15 or 28 years, stood face to face with the Spirit of his youth. And a conversation could take place, guided by the teacher, but in reality taking place between the pupil and his own younger self. Such a conversation has a unique character; you may see that for yourselves in the Mystery Plays, from the style that is there followed. For when a man is face to face with the Spirit of his own youth—and such a thing is always possible—then he gives something of his ripe understanding to the childlike ideas of the Spirit of his youth, and at the same time the Spirit of his youth gives something of his freshness, his childlikeness, to what the man of older years possesses. The meeting becomes fruitful in a spiritual way through the very fact of this mutual interchange. And this conversation had the result that the pupil came to understand Revelation, the Revelation that is given in religion.

The conversation turned especially on Genesis, the beginning of the Old Testament, and on the Christ becoming Man. Under the guidance of the teacher and because of the special kind of fruitfulness that worked in the conversation it ended with the pupil saying these words: “Now I understand what Spirit it is that works in the Revelation. Only when one is transplanted, as it were, far away from the earthly into the heights of the Ether, there to comprehend the Ether-heights with the help of the power of childhood—this power of childhood being projected into the later years of life—only then does one understand Revelation aright. And now I understand wherefore the Gods have given to man Revelation—for the reason that men are not able, in the state in which they are on Earth, to see through the works of Nature and discover behind them the works of the Gods. Therefore did the Gods give them the Revelation which is ordinarily quite incomprehensible in the mature years of life, but which can be understood when childhood becomes real and living in the years of maturity. Thus it is really something abnormal, to understand the Revelation.”

All this made a powerful impression on the pupil. And the impression remained; he could not forget it. The Spirit of his youth vanished. The first phase of the instruction was over. A second had now to come. And the second took its course in the following way.

Once more the teacher led the pupil forth, but this time on a different path. He did not now lead him to a mountain top, but he took him to a mountain where there was a cave, through which they passed to deep, inner clefts, going down as far as the strata of the mines. There the pupil was with the teacher in the deep places of the Earth, not now in the Ether-heights raised high above the Earth, but in the depths, far down below the surface of the Earth.

Once again it was for the consciousness of the pupil as though all that he had ever experienced on Earth went past him like dreams. For he was living down there in an environment in which his consciousness was particularly awakened to perceive his relation with the depths of the Earth. What took place for him was really none other than what lies behind such legends as are told, for example, of the Emperor Barbarossa and his life in Kyffhauser, or of Charles the Great and his life beneath a mountain near Salzburg. It was something of this nature that took place now, if only for a short time: it was a life in the depths of the Earth, far removed from the earthly life of man.

And again the teacher was able, by speaking with the pupil in a special way, to bring to his consciousness the fact—this time—of his union with the Earth-depths. And now there came forth out of a wall an old man, who was less recognisable to the pupil than the Spirit of his Youth, but of whom he nevertheless felt that after many years he would himself become that old man. He knew that there stood before him his own self in future old age. And now followed a similar conversation, this time between the pupil and his own older self—himself as an old man—once more a conversation under the guidance of the teacher.

What resulted from this second conversation was different from what came from the first; for now there began to arise within the pupil a consciousness of his own physical organisation. He felt how his blood flowed, he felt every single vein in his body; he went with it, went with the nerve fibres; he was made aware of all the single organs of his human organisation and the meaning and significance of each for the whole. And he felt too how all that is related to man out in the Cosmos works into him. He felt the inworking of the plant-world, in its blossoming, in its rooting; he felt how the mineral element in the Earth works in the human organism. Down there in the depths he felt the forces of the Earth—how they are organised and how they circulate within his being; he felt them creating there within him, undergoing change, destroying and building substances; he felt the Earth creating, and weaving and being, in man. The result of this conversation was that when the old man, who was himself, had disappeared, the pupil could say: “Now has the Earth, in which I have been incarnated, at last really spoken to me through her beings; now a moment has been mine when I have seen through the things and processes of Nature, seen through them to the work of the Gods that is behind these things and processes of Nature.”

The teacher then led the pupil out again on to the Earth, and as he took leave of him, said: Behold now! The man of today and the Earth of today are so little suited to one another that you must receive the Revelation of Religion from the Spirit of your own Youth, receiving it on the mountain high up above the Earth, and you must receive the Revelation of Nature deep below the Earth, in clefts that are far down below the surface of the Earth. And if you can succeed in illuminating what your soul has felt in the hollow clefts of the Earth, with the light your soul has brought from the mountain, then you will attain unto wisdom.

Such was the path by which a deepening of the soul was brought about in those times—it was about the year 1200 A.D.—this is how the soul became filled with wisdom. The pupil of whom I have told you was thereby brought verily to Initiation, and he now knew what power he must put forth in his soul to arouse to activity the light of the heights and the feeling of the depths. Further instruction was then given him by the teacher, showing him how self-knowledge really always consists in this:—one perceives on the one hand that which lies high above Earth-man, and on the other hand that which lies deep below Earth-man: these two must meet in man's own inner being. Then does man find within his own being the power of God the Creator.

The Initiation that I have described to you is a characteristic example of the Initiations which led afterwards to what we may designate as “mediaeval Mysticism.” It was a mysticism that sought for self-knowledge, but always in order to find in the self the way to the divine. In later times this mysticism became abstract. The concrete union with the external world, as it was given for these pupils who were carried up into the Ether-heights and down into the Earth-depths, was no longer sought for. Consequently there was not the same deep stirring of the soul, nor did the whole experience attain to such a degree of intensity. And yet there was still the search, there was still the inner impulse to seek within for the God, for God the Creator. Fundamentally speaking, all the seeking and striving of Meister Eckhart, of Johannes Tauler and of the later mystics whom I have described in my book Mysticism and Modern Thought owes its impulse to these earlier mediaeval Initiates.

Those who worked faithfully in the sense of such mediaeval forms of Initiation were however very much misunderstood, and it is by no means easy for us to find out what these pupils of the mediaeval Initiates were really like.

It is, as you know, possible to come a considerable distance along the path into the spiritual world. Those who follow thoroughly and actively what is given in my book Knowledge of the Higher Worlds and its Attainment do find the way into the spiritual worlds. Everything that has been physically real in the past is of course only to be found now by way of the spiritual world—therefore also such scenes as I have now described, for there are no material documents that record such scenes. There are however regions of the spiritual world which are hard of access even for a very advanced stage of spiritual power. In order to research into these regions, we must have come to the point of actually having intercourse with the Beings of the spiritual world, in a quite simple, natural way, as we have with men on Earth. When we have attained so far, we shall come to perceive and understand the connection between these Initiates of whom I have told you, and their pupils, e.g., such a pupil as Raimon Lull, who lived from 1235 to 1315 and who, in what history can tell of him, seems to leave us full of doubts and questions.

What you can learn of Raimon Lull by studying historical documents is indeed very scanty. But if you are able to enter into a personal relationship with Raimon Lull—you will allow me to use the expression: perhaps, in the light of all I have been telling you lately, it will not sound so paradoxical to you after all—if you are able to do this, then he shows himself to you as someone quite different from what the historical documents make him out to be. For he shows himself to be pre-eminently a personality who, under the influence and inspiration of the very Initiate of whom I have spoken to you as the “pupil,” made the resolve to use all his power to bring about a renewal in his own time of the Mysteries of the World, of the Logos, as they had been in olden times. He set himself to renew the Mysteries of the Logos by means of that self-knowledge for which so powerful an impulse was working in the twelfth and thirteenth centuries. The so-called Ars Magna of Raimon Lull is to be adjudged from this point of view. He said to himself: When man speaks, then we really have in speech a microcosm. That which man utters in speech is in truth the whole man, concentrated in the organs of speech; the secret and mystery of each single word is to be sought in the whole human being, and therefore in the world, in the Cosmos.

And so the idea came to Raimon Lull that one must look for the secret of speech first in the human being, by diving down, as it were, from the speech organs into the whole organism of the human being; and then in the Cosmos, for the whole human organism is to be explained and understood out of the Cosmos. Let us suppose, for example, we want to understand the true significance of the sound A (as in “father”). The point is that the sound A, which comes about through the forming and shaping of the outgoing breath, depends on a certain inner attitude of the etheric body, which you can easily learn to know today. Eurhythmy will show it you; for this attitude of the etheric body is carried over in Eurhythmy to the physical body and becomes the Eurhythmic movement for the sound A.

All this was not by any means fully clear to Raimon Lull; with him it was more of a dim, intuitive feeling. He did however get so far as to follow the inner attitude or gesture of the human being out into the Cosmos and say, for example: If you look in the direction of the constellation of the Lion (Leo), and then look in the direction of the Balance (Libra), the connection between the two lines of vision will give you A. Or again, turn your eye in the direction of Saturn. Saturn stops your line of vision, comes in the way. And if Saturn, for example, stands in front of the Ram (Aries), you have, as it were, to go round the Ram with Saturn. And then you have from out of the Cosmos the feeling of O. [Footnote: Readers unfamiliar with the movements in Eurhythmy for the sounds of speech, are recommended to turn to the first three chapters of the book Eurhythmy as Visible Speech (15 lectures) by Rudolf Steiner]

From ideas like these, though dimly perceived, Raimon Lull went on to find certain geometrical figures, the corners and sides of which he named with the letters of the alphabet. And he was quite sure that when one experiences a feeling and impulse to draw lines in the figures—diagonals, for instance, across a pentagon, uniting the five points in different ways—then one has to see in these lines different combinations of sounds, which combinations of sounds express certain secrets of the World-All, of the Cosmos. Thus did Raimon Lull look for a kind of renaissance of the secrets of the Logos, as they were known and spoken of in the Ancient Mysteries. You will find it all quite misrepresented in the historical documents. When however one enters little by little into a personal relationship with Raimon Lull, then one comes to see how in all these efforts he was trying to solve once more the riddle of the Cosmic Word. And it is a fact that the pupils of the mediaeval Initiates continued for several centuries to spend their lives in endeavours of this kind. It was an intensive striving, first to immerse oneself in man, and then to come forth as it were, to rise out of the human being into the secrets of the Cosmos.

Thus did these wise men—for we may truly call them so—seek to unite Revelation with Nature. They believed—and much of their belief was well-founded—that in this way they could come behind the Revelation of Religion and behind the Revelation of Nature. For it was quite clear to them that man, as he is now living on the Earth, was destined and intended to become the Fourth Hierarchy, but that he has “fallen” from his true and proper nature, and become more deeply involved in physical existence than he should be, thereby at the same time losing the power adequately to develop his soul and spirit. It was from such strivings that there arose, later on, what we know as the Rosicrucian Movement.

It was at a place of instruction of the Rosicrucians, of the first, original Rosicrucians, that the scene I have depicted to you today, the scene between the teacher and the pupil, at first upon a high mountain and then down in a deep cleft of the Earth, emerged like a kind of Fata Morgana, came again as it were like a ghost, reflected within a Rosicrucian school as knowledge. And it taught the pupils to recognise how man has by inner effort and striving to attain to two things, if he would come to a true self-knowledge, if he would find again his adjustment to the Earth and be able at last to become in actual reality a member of the Fourth Hierarchy. For within the Rosicrucian School the possibility was given to recognise what it was that had taken place with the pupil when he had seen before him in bodily form the Spirit of his Youth. A loosening of the astral body had taken place; the astral body, that was stronger at that moment than it otherwise ever is in life, was loosened. And in this loosening of the astral body the pupil had come to know the meaning and significance of Revelation. And again, what took place with the pupil in the depths of the Earth was also made clear and comprehensible in the Rosicrucian School. This time the astral body was drawn right back within. It was contracted and drawn together, so that the pupil was able to perceive and apprehend the certainty of man's own inner being.

And now exercises were found within Rosicrucianism, comparatively simple exercises, consisting in symbolic figures, to which one gave oneself up in devotion and meditation. The force and power of which the soul became possessed through devotion to these figures, enabled the students on the one hand to loosen the astral body and become like the pupil on the mountain top in the Ether-heights, and on the other hand, through the compression and contraction of the astral body, to become like the pupil in the clefts of the Earth. And it was then possible, without the help, as before, of external environment, simply through performing a powerful inner exercise, to enter into the inner being of man.

I have given you here a picture of something to which I have made a slight allusion in my preface to the new edition of the book Mysticism and Modern Thought. I said there that what we find in Meister Eckhart, in Johannes Tauler, in Nicolas Cusa, in Valentine Wiegel and the rest, is a late product of a great and mighty striving of mankind, an earlier, original striving that preceded them all. And this earlier striving in the Spirit, this search for self-knowledge, in connection on the one hand with Revelation and on the other hand with the illumination of Nature—I wanted to show you today how this is one of the currents that take their course in the so-called “Dark Ages.”

The man of modern times conjures darkness into the Middle Ages out of his own imagination. In reality there were in those times many enlightened spirits, of such a kind however, that the “enlightened” spirits of today cannot understand their light and consequently remain in the dark.

It is indeed characteristic of modern times, that men take light for darkness and darkness for light. If however we can look into what lies behind the literature of those earlier times and are able to see that of which the literature gives only a dim reflection, then we may receive a powerful and lasting impression.

Something of this I wanted to show you today: tomorrow we will complete the picture.

The Michael period into which the world has been entering ever since the last third of the nineteenth century, and into which human beings will have to enter with increasing consciousness, is very different from former periods of Michael. For so it is in the earthly evolution of mankind. One after another the seven great Archangel Spirits enter from time to time into the life of man. Thus, after given periods of time a certain guidance of the world—such as the guidance of Gabriel or Uriel, Raphael or Michael—is repeated. Our own period is, however, essentially different from the preceding period of Michael. This is due to the fact that man stands in quite another relation to the spiritual world since the first third of the fifteenth century than he ever did before. This new relation to the spiritual world also determines a peculiar relation to the Spirit guiding the destinies of mankind, whom we may call by the ancient name of Michael.

Recently I have been speaking to you again of the Rosicrucian Movement. Rosicrucianism, I remarked, has indeed degenerated to charlatanry in many quarters. Most of that which has been transmitted to mankind under the name is charlatanry. Nevertheless, as I have explained on former occasions, there did exist an individuality whom we may describe by the name of Christian Rosenkreutz. This individuality is, in a sense, the type and standard: he reveals the way in which an enlightened spirit—a man of spiritual knowledge—could enter into relation with the spiritual world at the dawn of the new phase of humanity.

To Christian Rosenkreutz it was vouchsafed to ask many questions, deeply significant riddles of existence, and in quite a new way when compared with the earlier experiences of mankind. You see, while Rosicrucianism was arising, directing the mind of man—with “Faustian” endeavour, as it was sometimes called in later times—towards the spiritual world, an abstract naturalistic science was arising on the other hand. The bearers of this modern stream of spiritual life, men like Galileo, Giordano Bruno, Copernicus or Kepler—worthy as they are of fullest recognition—were differently situated from the Rosicrucians, who wanted to foster, not a merely formal or abstract, but a true knowledge of the world. The Rosicrucians perceived in their own human life and being how utterly the times had changed, and with it the whole relation of the Gods to mankind.

We may describe it as follows.—Quite distinctly until the fourth century A.D., and in a rudimentary way even until the twelfth and thirteenth century, man was able to draw forth from himself real knowledge about the spiritual world. In doing the exercises of the old Mysteries, he could draw forth from himself the secrets of existence. For the humanity of olden times it really was so: the Initiates drew forth, what they had to say to mankind, from the depths of their souls to the surface of their thought—their world of ideas. They had the consciousness that they were drawing forth their knowledge from the inner being of the human soul. The exercises they underwent were intended, as you know, to stir the human heart to its depths, to inform the human heart and mind with experiences which man does not undergo in the ordinary round of life. Thereby the secrets of the world of the Gods were, so to speak, drawn forth from the depths, from the inner being of man.

Man, however, cannot see the secrets he draws out of himself while in the very act of doing so. True, in the old instinctive clairvoyance man did behold the secrets of the world: he beheld them in Imagination; he beheld them hearingly in Inspiration; he united himself with them in Intuition.

These things, however, are impossible so long as man merely stands there alone—just as little as it is possible for me to draw a triangle without a board. The triangle I draw on the board portrays to me what I bear in a purely spiritual way within me. The triangle as a whole—all the laws of the triangle are in me; but I draw the triangle on the board, thereby bringing home to myself what is really there within me. So it is when we make external diagrams. And it is the same when it is a question of deriving real knowledge out of the being of man, after the manner of the ancient Mysteries. This knowledge too must, in a sense, be written somewhere. Every such knowledge, in effect, to be seen in the Spirit, must be inscribed in that which has been called from time immemorial “the astral light,”—i.e., in the fine substantiality of the Akasha. Everything must be written there, and man must be able to develop the faculty of writing in the astral light.

This faculty has depended on many and varied things in the course of human evolution. Not to speak, for the moment, of pristine ages, I will leave on one side the first Post-Atlantean epoch, the ancient Indian. At that time it was somewhat different. Let me begin with the ancient Persian epoch, as described in my Outline of Occult Science. There was in that time instinctive clairvoyance, there was knowledge of the divine-spiritual world. This knowledge could be written in the astral light so that man could behold it, inasmuch as the Earth, the solid Earth, afforded resistance. The writing itself is done, needless to say, with spiritual organs; but these organs also require a basis of resistance. The things that are thus seen in the Spirit are not inscribed, of course, on the Earth itself; they are written into the astral light. But the Earth acts as a ground of resistance. In the old Persian epoch the seers could feel the resistance of the Earth: thereby alone, the perceptions they drew forth from their inner being grew into actual visions.

In the next, the Egypto-Chaldean epoch, all the knowledge that the Initiates drew forth from their souls was able to be written in the astral light by virtue of the fluid element. You must conceive it rightly. The Initiate of the old Persian epoch looked to the solid earth. Wherever there were plants or stones, the astral light reflected back to him his inner vision. The Initiate of the Egypto-Chaldean epoch looked into the sea, into the river, or into the falling rain, the rising mist. When he looked into the river or the sea, he saw the secrets that endure. Those secrets, on the other hand, which relate to the transient—to the creation of the Gods in transient things—he beheld in the downpouring rain or the ascending mist. You must familiarise yourself with the idea. The ancients had not the prosaic, matter-of-fact way of seeing the mist and rain which is ours today. Rain and mist said very much to them—revealed to them the secrets of the Gods.

Then in the Graeco-Latin period, the visions were like a Fata Morgana in the air. The Greek saw his Zeus, his Gods, in the astral light; but he had the feeling that the astral light only reflected the Gods to him under the Proper conditions. Hence he assigned his Gods to special places—places where the air could offer the proper resistance to the inscriptions in the astral light. And so it remained until the fourth century A.D. Even among the first Fathers of the Christian Church, and notably the old Greek Fathers, there were many (as you may even prove from their writings) who saw this Fata Morgana of their own spiritual visions through the resistance of the air in the astral light. Thus they had clear knowledge of the fact that out of Man, the Logos, the Divine Word revealed Himself through Nature. But in the course of time this knowledge faded and grew feeble. Echoes of it still continued in a few specially gifted persons, even until the twelfth or thirteenth century. But when the age of abstract knowledge came—when men became entirely dependent on the logical sequence of ideas and the results of sense-observation—then neither earth nor water nor air afforded resistance to the astral light, but only the element of the warmth-ether. It is unknown, of course, to those who are completely wrapped up in their abstract thoughts. They do not know that these abstract thoughts are also written in the astral light. They are written there indeed; but in this process the element of the warmth-ether is the sole resistance.

The following is now the case. Remember once more that in the ancient Persian epoch men had the solid earth as a resistance so as to behold their entries in the astral light. What is thus contained in the astral light—all that, for which the solid earth is the resistance—rays on and out, but only as far as the sphere of the Moon. Farther it cannot go. Thence it rays back again. Thus it remains, so to speak, with the Earth. Man beholds the secrets reflected by virtue of the Earth; they remain because of the pressure of the lunar sphere.

Now let us consider the Egypto-Chaldean epoch. The water on the Earth reflects. What is thus reflected goes as far as the Saturn-sphere. And now it is Saturn that presses for man on Earth to “hold” what he beholds in spirit. And if we go on into Graeco-Latin period—even into the twelfth or thirteenth century—we find the visions inscribed in the astral light by virtue of the air. This time it goes to the very end of the cosmic sphere and thence returns. It is the most fleeting of all; yet still it is such that man remains united with his visions. The Initiates of all these epochs could say to themselves every time: Such spiritual vision as we have had—through earth or water or air—it is there. But when the most modern time arrived, only the element of the warmth-ether was left to offer resistance. And the element of the warmth-ether carries all that is written in it out into the cosmic realms, right out of space into the spiritual worlds. It is no longer there.

It is so indeed, my dear friends. Take the most pedantic of modern professors with his ideas. He must of course have ideas—some of them have none at all—but if he has ideas, then they are entered through the warmth-ether in the astral light. Now the warmth-ether is transient and fleeting; all things become merged and fused in it at once, and go out into cosmic distances. Such a man as Christian Rosenkreutz knew that the Initiates of olden times had lived with their visions. They had fastened and confirmed what they beheld, knowing that it was there, reflected somewhere in the heavens—be it in the Moon sphere or in the planetary sphere, or at the end of the Universe—it was reflected. But now, nothing at all was reflected. For the immediate, wide-awake vision of man, nothing at all was reflected. Now men could find ideas about Nature, the Copernican cosmology could arise, all manner of ideas could be formed, but they were scattered in the warmth-ether, out into cosmic vast.

Then it came about that Christian Rosenkreutz, by inspiration of a higher Spirit, found a way to perceive the reflected radiation after all, in spite of the fact that it was only a reflection by the warmth-ether. It was brought about as follows. Other conditions of consciousness—dim, subconscious and sleep-like—were called into play; conditions in which man is even normally outside his body. Then it became perceptible that that which is discovered with modern abstract ideas is after all inscribed, albeit not in space, but in the spiritual world. This, then, is what we see in the Rosicrucian Movement: the Rosicrucians, as it were in a transition stage, made themselves acquainted with all that could be discovered about Nature in this epoch. They received it into themselves and assimilated it as only man can assimilate it. They enhanced into true Wisdom what for the others was only Science. Holding it in their souls, they tried to pass over into sleep in highest purity and after intimate meditations. Then the divine-spiritual worlds—no longer the spatial end of the Universe, but the divine-spiritual worlds—brought back to them in a spiritually real language what had first been apprehended in abstract ideas.

In Rosicrucian schools, not only was the Copernican cosmology taught, but in special states of consciousness its ideas came back in the form I explained here during the last few days. It was the Rosicrucians, above all, who realised that that which man receives in modern knowledge must first be carried forth, so to speak, and offered to the Gods, that the Gods may translate it into their language and give it back again to men.

The possibility has remained until this present. It is so indeed, my dear friends. If you are touched by the Rosicrucian principle as here intended, study the system of Haeckel, with all its materialism; study it, and at the same time permeate yourselves with the methods of cognition indicated in Knowledge of the Higher Worlds and its Attainment. Take what you learn in Haeckel's Anthropogenesis. In that form it may very likely repel you. Learn it nevertheless; learn all that can be learned about it by outer Natural Science, and carry it towards the Gods. You will get what is related about evolution in my Outline of Occult Science.

Such is the connection between the feeble, shadowy knowledge which man can acquire here until his physical body, and that which the Gods can give him, if with the proper spirit he duly prepares himself by the learning of this knowledge. But man must first bring towards Them what he can learn here on the Earth, for in truth the times have changed.

Moreover another thing has happened. Let a man strive as he will today; he can no longer draw anything forth from himself as did the old Initiates. The soul no longer gives anything forth in the way it did for the old Initiates. It all becomes impure, filled with instincts, as is evident in the case of spiritualist mediums, and in other morbid or pathological conditions. All that arises merely from within, becomes impure. The time of such creation from within is past; it was past already in the twelfth or thirteenth century. What happened can be expressed approximately as follows:

The Initiates of the old Persian epoch wrote very much in the astral light with the help of the resistance of the solid earth. When the first Initiate of the old Persian epoch appeared, the whole of the astral light, destined for man, was like an unwritten slate. I shall speak later of the old Indian epoch. Today I shall only go back to the ancient Persian epoch. All Nature: all the elements—solid, liquid, airy, and warmth-like—were an unwritten slate.

Now the Initiates of the old Persian epoch wrote on this slate as much as could be written by virtue of the resistance of the earth. There, to begin with, the secrets destined to come to man from the Gods were written in the astral light. To a certain degree the tablet was inscribed; yet in another respect it was empty. Thus the Initiates of the Egypto-Chaldean epoch were able to continue the writing in their way; for they gained their visions by the resistance of the water.

Then came the Greek Initiates; they inscribed the third portion of the tablet. Now the tablet of Nature is fully inscribed; it was quite fully inscribed by the thirteenth or fourteenth century. Then human beings began to write in the warmth-ether; that, however, scatters and dissolves away in the vast expanse. For a time—until the nineteenth century—men wrote in the warmth-ether; they had no inkling that these experiences of theirs stand written in the astral light. But now, my dear friends, the time has come when men must recognise: not out of themselves in the old sense, can they find the secrets of the world, but only by so preparing themselves in heart and mind that they can read what is written on the tablet which is now full of writing. This we must prepare to do today. We must make ourselves ripe for this—no longer to draw forth from ourselves like the old Initiates, but to be able to read in the astral light all that is written there. If we do so, precisely what we gain from the warmth-ether will work as an inspiration. The Gods come to meet us, and bring to us in its reality what we have acquired by our own efforts here on Earth. And what we thus receive from the warmth-ether reacts in turn on all that stands written on the tablet by virtue of air, water, and earth.

Thus is the Natural Science of today the true basis for spiritual seership. Learn first by Natural Science to know the properties of air, water, and earth. Attain the corresponding inner faculties. Then, as you gaze into the airy, into the watery, into the earthy element, the astral light will stream forth. It does not stream forth like a vague mist or cloud; but so that we can read in it the secrets of world-existence and of human life.

What, then, do we read? We—the humanity of today—read what we ourselves have written in it. For what does it mean to say that the ancient Greeks, Egyptians, Chaldeans, Persians wrote in the astral light? It was we ourselves who wrote it in our former lives on Earth.

You see, my dear friends: just as our inner memory of the common things that we experience in earthly life preserves them for us, so too the astral light preserves for us what we have written in it. The astral light is spread around us—a fully written tablet with respect to the secrets which we ourselves have inscribed. There we must read, if we would find the secrets once more. It is a kind of evolution-memory which must arise in mankind. A consciousness must gradually arise that there is such an evolution-memory, and that in relation to former epochs of culture the humanity of today must read in the astral light, just as we, at a later age, read in our own youth through ordinary memory. This must come into the consciousness of men. In this sense I have held the lectures this Christmas-time, so that you could see that the point is to draw forth from the astral light the secrets that we need today. The old Initiation was directed mainly to the subjective life; the new Initiation concentrates on the objective—that is the great difference. For all that was subjective is written in the outer world. All that the Gods have secreted into man ... what they secreted in his sentient body came out in the old Persian epoch; what they secreted in his intellectual or mind-soul came out during the Grecian epoch. The Spiritual soul which we are now to evolve is independent, brings forth nothing more out of itself; it stands over against what is already there. As human beings we must find our humanity again in the astral light.

So then it was with the Rosicrucian Movement: in a time of transition it had to content itself with entering into certain dream-like conditions, and, as it were, dreaming the higher truth of that which Science discovers here—in a dry, matter-of-fact way—out of the Nature around us.

And this is how it has been since the beginning of the Michael epoch, since the end of the 1870's: The same thing that was attained in the way above-described in the time of the old Rosicrucians, can now be attained in a conscious way. Today, therefore, we can say: We no longer need that other condition which was half-conscious. What we need is a state of enhanced consciousness. Then, with the knowledge of Nature which we acquire, we can dive into the higher world; and the Nature-knowledge we have acquired emerges and comes towards us from that higher world. We read again what has been written in the astral light; and as we do so, it emerges and comes to meet us in spiritual reality. We carry up into a spiritual world the knowledge of Nature here attained, or again, the creations of naturalistic art, or the religious sentiments working naturalistically in the soul. (Even religion has become naturalistic nowadays.) And as we carry all this upward—if we develop the necessary faculties—we do indeed encounter Michael.

So we may say: the old Rosicrucian Movement is characterised by the fact that its most illumined spirits had an intense longing to meet Michael; but they could only do so as in dream. Since the end of the last third of the nineteenth century, men can meet Michael in the Spirit, in a fully conscious way.

Michael, however, is a peculiar being: Michael is a being who reveals nothing if we ourselves do not bring Him something from our diligent spiritual work on Earth. Michael is a silent Spirit—silent and reserved. The other ruling Archangels are Spirits who talk much—in a spiritual sense, of course; but Michael is taciturn. He is a Spirit who speaks very little. At most He will give sparing indications, for what we learn from Michael is not really the word, but, if I may so express it—the look, the power, the direction of His gaze.

This is because Michael concerns Himself most of all with that which men create out of the Spirit. He lives with the consequences of all that men have created. The other Spirits live more with the causes; Michael lives with the consequences. The other Spirits kindle in man the impulses for that which he shall do. Michael will be the true spiritual hero of Freedom; He lets men do, and He then takes what becomes of human deeds, receives it and carries it on and out into the Cosmos, to continue in the Cosmos what men themselves cannot yet do with it.

For other beings of the Hierarchy of Archangeloi, we feel that impulses are coming from Them. In a greater or lesser degree, the impulses come from Them. Michael is the Spirit from whom no impulses come, to begin with; for His most characteristic epoch is the one now at hand, when things are to arise out of human freedom. But when man does things out of spiritual activity or inner freedom, consciously or unconsciously kindled by the reading of the astral light, then Michael carries the human earthly deed out into the Cosmos; so it becomes cosmic deed. Michael takes care for the results; the other Spirits care more for the causes.

However, Michael is not only a silent, taciturn Spirit. Michael meets man with a very clear gesture of repulsion, for many things in which the human being of today still lives on Earth. For example, all knowledge that arises as to the life of men or animals or plants, tending to lay stress on inherited characteristics—on all that is inherited in physical nature—is such that we feel Michael constantly repelling it, driving it away with deprecation. He means to show that such knowledge cannot help man at all for the spiritual world. Only what man discovers in the human and animal and plant kingdoms independently of the purely hereditary nature, can be carried up before Michael. Then we receive, not the eloquent gesture of deprecation, but the look of approval which tells us that it is a thought righteously conceived in harmony with cosmic guidance. For this is what we learn increasingly to strive for: as it were to meditate, so as to strike through to the astral light, to see the secrets of existence, and then to come before Michael and receive His approving look which tells us: That is right, in harmony with the cosmic guidance.

So it is with Michael. He also sternly rejects all separating elements, such as the human languages. So long as we only clothe our knowledge in these languages, and do not carry it right up into the thoughts, we cannot come near Michael. Therefore, today in the spiritual world there is a very significant battle. For on the one hand the Michael impulse has entered the evolution of humanity. The Michael impulse is there. But on the other hand, in the evolution of humanity there is much that will not receive this impulse of Michael but wants to reject it. Among the things that would fain reject the impulse of Michael today are the feelings of nationality. They flared up in the nineteenth century and became strong in the twentieth—stronger and stronger. By the principle of nationality many things have been ordered, or rather, have become sadly disordered in the most recent times.

All this is in terrible opposition to the Michael principle; all this contains Ahrimanic forces which strive against the inpouring of the Michael-force into the earthly life of man. So then we see this battle of the upward-attacking Ahrimanic spirits who would like to carry upward what comes through the inherited impulses of nationality—which Michael sternly rejects and repels.

Truly today there is the most vivid spiritual conflict in this direction. For this is the state of affairs over a great portion of mankind. Thoughts are not there at all; men only think in words, and to think in words is no way to Michael. We only come to Michael when we get through the words to real inner experiences of the Spirit—when we do not hang on the words, but arrive at real inner experiences of the Spirit.

This is the very essence, the secret of modern Initiation: to get beyond the words, to a living experience of the Spiritual. It is nothing contrary to a feeling for the beauty of language. Precisely when we no longer think in language, we begin to feel it. As a true element of feeling, it begins to live in us and flow outward from us. This is the experience to which the man of today must aspire. Perhaps, to begin with, he cannot attain it for speech, but through writing. For in respect of writing, too, it must be said: Today men do not have the writing but the writing has them. What does it mean, “the writing has them”? It means that in our wrist, in our hand, we have a certain train of writing. We write mechanically, out of the hand. This is a thing that fetters man. He only becomes unfettered when he writes as he paints or draws—when every letter beside the next becomes a thing that is painted or drawn ...

Then there is no longer what is ordinarily called “a handwriting.” Man draws the form of the letter. His relation to the letter is objective; he sees it before him—that is the essential thing.

For this reason, strange as it may sound, in certain Rosicrucian schools learning-to-write was prohibited, even until the fourteenth or fifteenth century; so that the form, the mechanism which comes to expression in writing, did not enter the human being's organism. Man only approached the form of the letter when his spiritual vision was developed. Then it was so arranged that simultaneously with his learning of the conventional letters, needed for human intercourse, he had to learn others—specifically Rosicrucian letters—which are supposed to have been a secret script. They were not intended as such; the idea was that for an A one should learn at the same time another sign: 8. For then, one did not hold fast to the one sign but got free of it. Then one felt the real A as something higher than the mere sign of A or 8. Otherwise, the mere letter A would be identified with that which comes forth from the human being, soaring and hovering as the living sound of it.

With Rosicrucianism many things found their way into the people. For it was one of their fundamental principles:—from the small circles in which they were united, the Rosicrucians went out into the world, as I have already told you, generally working as doctors. But at the same time, while they were doctors, they spread knowledge of many things in the wide circles into which they came. Moreover, with such knowledge, certain moods and feelings were spread. We find them everywhere, wherever the Rosicrucian stream has left its traces. Sometimes they even assume grotesque forms. For instance, out of such moods and feelings of soul, men came to regard the whole of this modern relationship to writing—and a fortiori, to printing—as a black art. For in truth, nothing hinders one more from reading in the astral light than ordinary writing. This artificial fixing hinders one very much from reading in the astral light. One must always first overcome this writing when one wants to read in the astral light.

At this point two things come together, one of which I mentioned a short while ago. In the production of spiritual knowledge man must always be present with full inner activity. I confess that I have many note-books in which I write or put down the results I come to. I generally do not look at them again. Only, by calling into activity not only the head but the whole man, these perceptions which do indeed take hold of the entire man come forth. He who does so, by and by accustoms himself not to care so much for what he sees physically, what is already fixed; but to remain in the activity, in order not to spoil his faculty of seeing in the astral light. It is good to practise this reticence. As far as possible, when fixing things in ordinary writing, one should adhere not to writing as such, but draw the letters and re-draw them after one's pleasure (for then it is as though you were painting, it becomes an art). Thus one acquires the faculty not to spoil the impressions in the astral light.

If we are obliged to relate ourselves to writing in the modern way, we mar our spiritual progress. For this reason, in the Waldorf School educational method, great care is taken that the human being does not go so far in writing as in the profane educational methods of today. Care is taken to enable him to remain within the Spiritual, for that is necessary.

The world must receive once more the principle of Initiation as such among the principles of civilisation. Only thereby will it come about that man, here on the Earth, will gather in his soul something with which he can go before Michael, so as to meet Michael's approving look, the look that says: “That is right, cosmically right.” Thereby the will is fastened and made firm, and the human being is incorporated in the spiritual Progress of the Universe. Thereby, man himself becomes a co-operator in that which is about to be instilled into the evolution of mankind on Earth by Michael—beginning now in this present epoch of Michael.

Many, many things must be taken into account if man wishes rightly to cross that abyss of which I spoke yesterday, where in truth a Guardian is standing. We shall show in the next lectures how the abyss opened out in the 1840's, and how man today, as he looks back, can find his true relation to this abyss and to this Guardian—helped by such detailed knowledge as I have once again been trying to present.

The Michael period into which the world has entered ever since the last third of the 19th century, and into which human beings will have to enter with increasing consciousness, is very different from former periods of Michael. For in the earthly evolution of mankind different ones among the seven great Archangel Spirits enter from time to time into the life of man. Thus, after given periods of time a certain guidance of the world—such as the guidance of Gabriel or Uriel, Raphael or Michael,—is repeated. Our own period is, however, essentially different from the preceding period of Michael. This is due to the fact that man stands in quite another relation to the spiritual world since the first third of the 15th century than he ever did before. This new relation to the spiritual world also determines a peculiar relation to the Spirit guiding the destinies of mankind, whom we may call by the ancient name of Michael.

Recently I have been speaking to you again of the Rosicrucian movement. Rosicrucianism, I remarked, has indeed led to charlatanry in many quarters. Most of the so-called “Rosicrucianism” that has been transmitted to mankind is charlatanry. Nevertheless, as I have explained on former occasions, there did exist an individuality whom we may describe by the name of Christian Rosenkreutz. This individuality is, in a sense, the type and standard: he reveals the way in which an enlightened spirit—a man of spiritual knowledge—could enter into relation with the spiritual world at the dawn of the new phase of humanity.

To Christian Rosenkreutz it was vouchsafed to ask many questions, deeply significant riddles of existence, and in quite a new way when compared to the earlier experiences of mankind. You see, my dear friends, while Rosicrucianism was arising, directing the mind of man with “Faustian” striving—as it was afterwards described—towards the spiritual world, an abstract naturalistic Science was arising on the other hand. The bearers of this modern stream of spiritual life—men like Galileo, Giordano Bruno, Copernicus or Kepler, worthy as they are of fullest recognition—were quite differently situated from the Rosicrucians, who wanted to foster, not a merely formal or abstract, but a true knowledge of things. The Rosicrucians perceived in their own human life and being how utterly the time had changed, and with it the whole relation of the Gods to mankind.

We may describe it as follows. Quite distinctly until the 4th century A.D., and in a rudimentary way even until the 12th and 13th century, man was able to draw forth from himself real knowledge about the spiritual world. In doing the exercises which belonged to the old Mysteries, he could draw forth from himself the secrets of existence. For the humanity of olden times it really was so: the Initiates drew forth what they had to say to mankind, from the depths of their souls to the surface of their thought—their world of ideas. They had the consciousness that they were drawing forth their knowledge from the inner being of the human soul. The exercises they underwent were intended, as you know, to stir the human heart to its depths,—so to inform the human heart and mind with experiences which man does not undergo in the ordinary round of life. There-by the secrets of the world of the Gods were, so to speak, drawn forth from the depths, from the inner being of man.

Man, however, cannot see the secrets he draws out of himself while in the very act of doing so. True, in the old instinctive clairvoyance man did behold the secrets of the world; he saw them in Imagination; he heard and perceived them in Inspiration; he united himself with them in Intuition. These things, however, are impossible so long as man merely stands there alone,—just as little as it is possible for me to draw a triangle without a board. The triangle I draw on the board portrays to me what I bear in a purely spiritual way within me. The triangle as a whole,—all the laws of the triangle are in me; but I draw the triangle on the board, thereby bringing home to myself what is really there within me. So it is when we make external diagrams. But when it is a question of deriving real knowledge out of the being of man, after the manner of the ancient Mysteries, this knowledge too must, in a certain sense, be written somewhere. Every such knowledge, in effect, to be seen in the spirit, must be inscribed in that which has been called from time immemorial “the astral light,”—i.e., in the fine substantiality of the Akasha. Everything must be written there, and man must be able to develop this faculty of writing in the astral light.

This faculty has depended on many and varied things in the course of human evolution. Not to speak, for the moment, of pristine ages, I will leave on one side the first Post-Atlantean epoch, the ancient Indian. At that time it was somewhat different. Let me begin with the ancient Persian epoch, as described in my Outline of Occult Science. There was an instinctive clairvoyance, knowledge of the divine-spiritual world. This knowledge could be written in the astral light so that man himself could behold it, inasmuch as the earth, the solid earth, afforded resistance. The writing itself is done, needless to say, with the spiritual organs, but these organs also require a basis of resistance. The things that are thus seen in the spirit are not inscribed, of course, on the earth itself; they are written in the astral light. But the earth acts as a ground of resistance. In the old Persian epoch the seers could feel the resistance of the earth; and hence the perceptions they drew forth from their inner being grew into actual visions.

In the next, the Egypto-Chaldean epoch, all the knowledge that the Initiates drew forth from their souls was able to be written in the astral light by virtue of the fluid element. You must conceive it rightly. The Initiate of the old Persian epoch looked to the solid earth. Wherever there were plants or stones, the astral light reflected back to him his inner vision. The Initiate of the Egypto-Chaldean epoch looked into the sea, into the river, or into the falling rain, the rising mist. When he looked into the river or the sea, he saw the lasting secrets. Those secrets, on the other hand, which relate to the transient—to the creation of the Gods in transient things—he beheld in the downpouring rain or the ascending mist. You must familiarise yourself with the idea. The ancients had not the prosaic, matter-of-fact way of seeing the mist and rain which is ours to-day. Rain and mist said very much to them—revealed to them the secrets of the Gods.

Then in the Graeco-Latin period, the visions were there like a Fata Morgana in the air. The Greek saw his Zeus, his gods, in the astral light; but he had the feeling that the astral light only reflected the gods to him under the proper conditions. Hence he assigned his gods to special places,—places where the air could offer the proper resistance to the inscriptions in the astral light. And so it remained until the 4th century A.D. Even among the first Fathers of the Christian Church, and notably the old Greek Fathers, there were many (as you may even prove from their writings) who saw this Fata Morgana of their own spiritual visions through the resistance of the air in the astral light. Thus they had clear knowledge of the fact that out of Man the Logos, the Divine Word, revealed Himself through Nature. But in the course of time this knowledge faded and grew feeble. Echoes of it still continued in a few specially gifted persons, even until the 12th or 13th century. But when the age of abstract knowledge came—when men were only dependent on the logical sequence of ideas and the results of sense-observation—then neither earth nor water nor air afforded resistance to the astral light, but only the element of the warmth-ether. It is unknown, of course, to those who are completely wrapped up in their abstract thoughts that these abstract thoughts are also written in the astral light. They are written there indeed; but in this process the element of the warmth-ether is the sole resistance.

The following is now the case. Remember once more that in the ancient Persian epoch men had the solid earth as a resistance so as to behold their entries in the astral light. What is thus contained in the astral light—all that, for which the solid earth is the resistance—rays on and out, but only as far as the sphere of the Moon. Farther it cannot go. Thence it rays back again. Thus it remains, so to speak, with the Earth. We behold the secrets reflected by virtue of the earth; they remain because of the pressure of the lunar sphere.

Now let us consider the Egypto-Chaldean epoch. The water on the Earth reflects. What is thus reflected goes as far as the Saturn-sphere, which presses once again. Thereby the possibility is given for man to remain with his visions on the Earth. And if we go on into the Graeco-Latin period—even into the 12th or 13th century—we find the visions inscribed in the astral light by virtue of the air. This time it goes to the very end of the cosmic sphere and thence returns. It is the most fleeting of all; yet still it is such that man remains united with his visions. The Initiates of all these epochs could say to themselves every time: Such spiritual vision as we have had—through earth or water or air—it is there. But when the most modern time arrived, only the element of the warmth-ether was left to offer resistance. And the element of the warmth-ether carries all that is written in it out into the cosmic realms, right out of space into the spiritual worlds. It is no longer there.

It is so indeed. Take the most pedantic of modern professors with his ideas. (He must at least have ideas. You would first have to make sure of it in the individual case; modern professors seldom have ideas!) But if he has ideas, then they are entered through the warmth-ether in the astral light. Now the warmth-ether is transient and fleeting; all things become merged and fused in it at once, and go out into cosmic distances.

Such a man as Christian Rosenkreutz knew that the Initiates of olden times had lived with their visions. They had confirmed what they beheld through knowing that it was there, reflected somewhere in the heavens—be it in the moon-sphere or in the planetary sphere, or at the end of the Universe—it was reflected. But now, nothing at all was reflected. For the immediate, wide-awake vision of man, nothing at all was reflected. Now men could find ideas about Nature; the Copernican cosmology could arise, all manner of ideas could be formed, but they were scattered in the warmth-ether, out into cosmic space.

So then it came about that Christian Rosenkreutz, by inspiration of a higher Spirit, found a way to perceive the reflected radiation after all, in spite of the fact that it was only a reflection by the warmth-ether. It was brought about as follows. Other conditions of consciousness—dim, subconscious and sleep-like—were called into play; conditions in which man is even normally outside his body. Then it became perceptible that that which is discovered with modern abstract ideas is after all inscribed, although not in space, but in the spiritual world. This, therefore, was the peculiar outcome for the Rosicrucian Movement: the Rosicrucians, as it were in a transition stage, made themselves acquainted with all that could be discovered about Nature in this epoch. They received it into themselves and assimilated it as only man can assimilate it. They enhanced into true Wisdom what for the others was only Science. Holding it in their souls, they tried to pass over into sleep in highest purity and after intimate meditations. Then the divine spiritual worlds—no longer the spatial end of the universe, but the divine spiritual worlds—brought back to them in a spiritually real language what had been conceived at first in abstract ideas.

In Rosicrucian schools not only was the Copernican cosmology taught, but in special states of consciousness its ideas came back in the form I explained here during the last few days. It was the Rosicrucians, above all, who realised that that which man receives in modern knowledge must first be carried forth, so to speak, and offered to the Gods, that the Gods may translate it into their language and give it back again to men.

The possibility has remained until this present. It is so indeed, my dear friends. If you are touched by the Rosicrucian principle as here intended, study the system of Haeckel, with all its materialism; study it, and at the same time permeate yourselves with the methods of cognition indicated in Knowledge of the Higher Worlds and its Attainment, Take what you learn in Haeckel's Anthropogenesis: on the Ancestors of Man. In that form it may very likely repel you. Learn it nevertheless; learn all that can be learned about it by outer Natural Science, and carry it towards the Gods; then you will get what is related about evolution in my Occult Science.

Such is the connection between the feeble, shadowy knowledge which man can acquire here with his physical body, and that which the Gods can give him, if with the proper spirit he duly prepares himself by the learning of this knowledge. But man must first bring towards them what he can learn here on the Earth, for in truth the times have changed.

Moreover, another thing has happened. Let a man strive as he will to-day; he can no longer draw anything forth from himself as the old Initiates did. The soul no longer gives anything forth in the way it did for the old Initiates. It all becomes impure—filled with instincts, as is evident in the case of spiritualist mediums, and in other morbid or pathological conditions. All that arises merely from within, becomes impure. The time of such creation from within is past; it was past already in the 12th or 13th century. What happened can be expressed approximately as follows: The Initiates of the old Persian epoch wrote very much in the astral light with the help of the resistance of the earth. When the first Initiate of the old Persian epoch appeared, the whole of the astral light, destined for man, was like an unwritten slate. I shall speak later of the old Indian epoch. To-day I shall only go back to the ancient Persian epoch. All Nature: all the elements—solid, liquid, airy and warmth-like—were an unwritten slate.

Now the Initiates of the old Persian epoch wrote on this slate as much as could be written by virtue of the resistance of the earth. There, to begin with, the secrets destined to come to man from the Gods were written in the astral light. To a certain degree the tablet was inscribed; yet judged by another standard it was empty. So the Initiates of the Egypto-Chaldean epoch were able to continue the writing in their way; for they gained their visions by the resistance of the water. Another part of the tablet was inscribed.

Then came the Greek Initiates; they inscribed the third portion of the tablet. Now the tablet of Nature is fully inscribed; it was quite fully inscribed by the 13th or 14th century. Then human beings began to write in the warmth-ether; that, however, scatters and dissolves away in the vast expanse. For a time—until the 19th century—men wrote in the warmth-ether; they had no inkling that their experiences also stood written in the astral light. But now, my dear friends, the time has come when men must see that not out of themselves, in the old sense, can they find the secrets of the world, but only by so preparing themselves in heart and mind that they can read what is written on the tablet which is now full of writing. This we must prepare to do to-day. We must make ourselves ripe for this—no longer to draw forth from ourselves like the old Initiates, but to be able to read in the astral light all that is written there. If we do so, precisely what we gain from the warmth-ether will work as an inspiration. The Gods come to meet us, and bring to us in its reality what we have acquired by our own efforts here on Earth. And what we thus receive from the warmth-ether reacts in turn on all that stands written on the tablet by virtue of the air and water and earth.

Thus the Natural Science of to-day is actually the true basis for spiritual seership. Learn first by Natural Science to know the properties of air, water and earth. Attain the corresponding inner faculties. Then, as you gaze into the airy, into the watery, into the earthy element, the astral light will stream forth. It does not stream forth like a vague mist or cloud; but so that we can read in it the secrets of world-existence and of human life.

What, then, do we read? We—the humanity of to-day—read what we ourselves have written in it. For what does it mean to say that the ancient Greeks, Egyptians, Chaldeans, Persians wrote in the astral light? It was we ourselves who wrote it in our former lives on Earth.

You see, my dear friends: just as our inner memory of the common things that we experience in earthly life preserves them for us, so too the astral light preserves for us what we have written in it. It is the astral light which spreads around us, as a fully written tablet with respect to the secrets which we ourselves have inscribed. There we must read, if we wish to find the secrets once more. It is a kind of evolution-memory which must arise in mankind. A consciousness must gradually arise that there is such an evolution-memory, and that in relation to former epochs of culture the humanity of to-day must read in the astral light, just as we, at a later age, read in our own youth through ordinary memory. This must come into the consciousness of men. In this sense I have held the lectures this Christmas-time, so that you could see that the point is to draw forth from the astral light the secrets that we need to-day. The old initiation was directed mainly to the subjective life; the new initiation concentrates on the objective,—that is the great difference. For all that was subjective is written in the outer world. All that the Gods have secreted into man, . . . what they secreted in his sentient body, came out into the old Persian epoch; what they secreted in his sentient soul, came out in the Egypto-Chaldean epoch; what they secreted in his intellectual or mind-soul came out during the Grecian epoch. The spiritual soul which we are now to evolve is independent, brings forth nothing more out of itself; it stands over against what is already there. As human beings we must find our humanity again in the astral light.

That is the peculiarity of the Rosicrucian movement: in a time of transition it had to content itself with entering into certain dream-like conditions, and, as it were, dreaming the higher truth of that which Science discovers here—in a dry, matter-of-fact way—out of the Nature around us.

And this is the peculiarity since the beginning of the Michael epoch, since the end of the 1870's, the last third of the 19th century:—The same thing that was attained in the way above-described in the time of the old Rosicrucians, can now be attained in a conscious way. To-day, therefore, we can say: We no longer need that other condition which was half-conscious. What we need is a state of enhanced consciousness. Then, with the knowledge of Nature which we acquire, we can press into the higher world; and the Nature-knowledge we have acquired emerges and comes towards us from that higher world. We read again what has been written in the astral light; and as we do so, it emerges and comes to meet us in spiritual reality. We carry up into a spiritual world the knowledge of Nature here attained, or again, the creations of naturalistic art, or the religious sentiments working naturalistically in the soul. (Even religion has become naturalistic nowadays). And as we carry all this upward—if we develop the necessary faculties—we do indeed encounter Michael.

So we may say: the old Rosicrucian movement is characterised by the fact that its most illumined spirits had an intense longing to meet Michael; but they could only do so as in dream. Since the end of the last third of the nineteenth century, men can meet Michael in the spirit, in a fully conscious way.

Michael, however, is a peculiar being: Michael is a being who reveals nothing if we do not bring him something from our diligent spiritual work on Earth. Michael is a silent Spirit—silent and taciturn. The other ruling Archangels are talkative Spirits—in a spiritual sense, of course; but Michael is taciturn. He is a Spirit who speaks very little. At most he will give sparing indications, for what we learn from Michael is not really the word, but—if I may so express it—the look, the power, the direction of his gaze.

This is because Michael concerns himself most of all with that which men create out of the Spirit. He lives with the consequences of all that men have created. The other Spirits live more with the causes; Michael lives with the consequences. The other Spirits kindle in man the impulses for that which he shall do. Michael will be the true spiritual hero of Freedom; he lets men do, and he then takes what becomes of human deeds, receives it and carries it on and out into the cosmos, to continue in the cosmos what men themselves cannot yet do with it.

Other beings of the Hierarchy of Archangeloi give us the feeling that from them come the impulses to do this or that. In a greater or lesser degree, the impulses come from them. Michael is the Spirit from whom no impulses come, to begin with; for his characteristic period of rulership is that which is now coming, when things are to arise out of human freedom. But when man does things out of spiritual activity or inner freedom, consciously or unconsciously kindled by the reading of the astral light, then Michael carries the human earthly deed out into the cosmos; so that it becomes cosmic deed. Michael cares for the results; the other Spirits care more for the causes.

However, Michael is not only a silent, taciturn Spirit. Michael meets man with a very clear gesture of repulsion for many things in which the human being of to-day still lives on Earth. For example, all knowledge that arises in the life of men or animals or plants, tending to lay stress on the inherited characteristics—on all that is inherited in physical nature—is such that we feel Michael constantly repelling it, driving it away with deprecation. He means to show that such knowledge cannot help man at all for the Spiritual World. Only what man discovers in the human and animal and plant kingdoms independently of the purely hereditary nature, can be carried up before Michael. Then we receive, not the eloquent gesture of deprecation, but the look of approval which tells us that it is a thought righteously conceived in face of the cosmic guidance. For this is what we learn increasingly to strive for: as it were to meditate, so as to strike through to the astral light, to see the secrets of existence, and then to come before Michael and receive his approving look which tells us: That is just, that is right before the cosmic guidance.

So it is with Michael. He also sternly rejects all separating elements, such as the human languages. So long as we only clothe our knowledge in these languages, and do not carry it right up into the thoughts, we cannot come near Michael. Therefore, to-day in the spiritual world there is much significant battle. For on the one hand the Michael impulse has entered the evolution of humanity. The Michael impulse is there. But on the other hand, in the evolution of humanity there is much that will not receive this impulse of Michael but wants to reject it. Among the things that would fain reject the impulse of Michael to-day are the feelings of nationality. They flared up in the nineteenth century and became strong in the twentieth—stronger and stronger. By the principle of nationality many things have been ordered, or rather, disordered in the most recent times. For they have in fact been disordered.

All this is in terrible opposition to the Michael principle; all this contains Ahrimanic forces which strive against the in-pouring and throbbing of the Michael-force into the earthly life of man. So then we see this battle of the up-ward-attacking Ahrimanic spirits who would like to carry upward what comes through the inherited impulses of nationality—which Michael sternly rejects and repels.

Truly to-day there is the most vivid spiritual conflict in this direction. For this is the state of affairs over a great portion of mankind. Thoughts are not there at all; men only think in words, and to think in words is no way to Michael. We only come to Michael when we get through the words to real inner experiences of the spirit—when we do not hang on the words, but arrive at real inner experiences of the spirit.

This is the very essence, the secret of modern Initiation: to get beyond the words to a living experience of the spiritual. It is nothing contrary to a feeling for the beauty of language. Precisely when we no longer think in language, we begin to feel it; we begin to have it streaming in us and out from us as an element of feeling. That, however, is a thing to which the man of to-day must first aspire. Perhaps, to begin with, he cannot attain it in his actual speech, but through his writing. For in respect of writing, too, it must be said: To-day men do not have the writing but the writing has them. What does it mean, ‘the writing has them’? It means that in our wrist, in our hand, we have a certain train of writing. We write mechanically, out of the hand. This is a thing that fetters man. He only becomes unfettered when he writes as he paints or draws—when every letter beside the next becomes a thing that is painted or drawn ... Then there is no longer what is ordinarily called ‘a handwriting.’ Man draws the form of the letter. His relation to the letter is objective; he sees it before him—that is the essential thing.

For this reason, strange as it may sound, in certain Rosicrucian schools learning-to-write was prohibited until the fourteenth or fifteenth year of age; so that the form, the mechanism which comes to expression in writing, did not enter the human organism. Man only approached the form of the letter when his spiritual vision was developed. Then it was so arranged that simultaneously with his learning of the conventional letters, needed for human intercourse, he had to learn others—specifically Rosicrucian letters—which are regarded nowadays as a secret script. They were not intended as such; the idea was that for an A one should learn at the same time another sign: O. For then one did not hold fast to the one sign but got free of it. Then one felt the real A as something higher than the mere sign of A or O. Otherwise, the mere letter A would be identified with that which comes forth from the human being, soaring and hovering as the living sound of A.

With Rosicrucianism many things found their way into the people. For it was one of their fundamental principles: from the small circles in which they were united, the Rosicrucians went out into the world, as I have already told you, generally working as doctors. But at the same time, while they were doctors, they spread knowledge of many things in the wide circles into which they came. Moreover, with such knowledge, certain moods and feelings were spread. We find them everywhere, wherever the Rosicrucian stream has left its traces. Sometimes they even assume grotesque forms. For instance, out of such moods and feelings of soul, men came to regard the whole of this modern relationship to writing—and, a fortiori, to printing—a black art. For in truth, nothing hinders one more from reading in the astral light than ordinary writing. This artificial fixing hinders one very much from reading in the astral light. One must always first overcome this writing when one wants to read in the astral light.

At this point two things come together, one of which I mentioned a short while ago. In the production of spiritual knowledge man must always be present with full inner activity. I confessed that I have many note-books in which I write or put down the results I come to. I generally do not look at them again. Only, by calling into activity not only the head but the whole man, these perceptions which do indeed take hold of the entire man come forth. He who does so, gradually accustoms himself not to care so much for what he sees physically, what is already fixed; but to remain in the activity, in order not to spoil his faculty of seeing in the astral light. It is good to practise this reticence. As far as possible, when fixing things in ordinary writing, one should adhere not to the writing as such, but draw in the letters after one's pleasure (for then it is really as though you were painting, it is an art). Or again, one does not reflect upon what one writes down. Thereby one acquires the faculty not to spoil the impressions in the astral light.

If we are obliged to relate ourselves to writing in the modern way, we mar our spiritual progress. For this reason, in our Waldorf School educational method, great care is taken that the human being does not go so far in writing as in the ordinary educational methods of to-day. Care is taken to enable him to remain within the spiritual, for that is necessary.

Thus the world must come to receive the principle of Initiation as such, once more, among the principles of civilisation. Only in this way will it come about: man, here on the Earth, will gather in his soul something with which he can go before Michael, so as to meet with Michael's approving gaze, which says: “That is just before the Universe.” Then the will is strengthened and made firm, and the human being is incorporated in the spiritual progress of the Universe. Hence man himself becomes a co-operator in that which is about to be instilled into the evolution of mankind on Earth by Michael—beginning now in this present epoch of Michael.

Many, many things must be taken into account if man wishes rightly to cross that abyss of which I spoke yesterday, where in truth a Guardian is standing. We shall show in the next lectures how this abyss was opened out in the 1840's, and how, under the influence of such knowledge as I have set forth once more to-day, man, looking back to this abyss, can relate himself to this same Guardian.

By the esoteric life we mean the knowledge of the things of the higher worlds, to which we already feel drawn by a longing, a homesickness. How can we attain knowledge of them? To put it in a nutshell, it happens through initiation, which Dr. Steiner compared to the seeing of one born blind. Initiation is accompanied by a gradual awakening of abilities and powers, whereby we perceive unknown things that belong to a world of light, color and radiance beyond the realm of the material senses. The astral, devachanic and still higher worlds are indeed around us, and the development of spiritual life takes place according to the laws of nature, and not outside of their regular development. At some point we all reach these worlds, and there have been initiates since ancient times whose development has progressed faster than that of the rest of humanity. Looking back into the dim and distant past, we find that in those ancient times the souls of men had not yet fully taken possession of their bodies. Men of those early times lacked the power of forming fixed ideas, and great Teachers were needed to guide them.

The first point to be emphasized is that no man can conquer initiation for himself. There is a mysterious occult law that no selfish desire can further our spiritual development, but only a sense of duty and altruism, and not only the feeling that I want to help my fellow human beings, but also the insight that I must prepare the tools to do so in the most purposeful way.

Consciousness of this duty is one of the first great conditions for the inner life and the influence of its laws. This is because there is a great difference between the thinking of the primitive man and that of one who has developed esoterically. For from the thoughts and feelings of the latter, consequences and effects emanate into the outer world. Therefore, the person who wants to begin the esoteric life must first be imbued with a sense of duty to humanity, of responsibility for the consequences of his occult influence on the outside world.

The next point that must be clearly in our minds is that the esoteric life is dependent on certain conditions in connection with the great laws of the occult world. It is now quite difficult for us to realize that it is not as we imagine it should be, but as those who know it by experience tell us. You make a glass rod electrically by rubbing it. But if you start saying, “I don't want to rub it,” you will never succeed in making your stick electric. Without submitting to the great laws of occult life, you will not get anywhere. To gain a preliminary understanding of these laws, we must clearly visualize the state of present humanity.

If we look far back into early humanity with the occult eye, we come to a strange discovery. In ancient Lemuria and also later, in the Atlantean era, as the Akashic Records teach us, man felt the influence of his surroundings much more than he does today. The physical possibility of sleeping depended on the sunrise or sunset. In another way, people were subject to the influences of the moon. Certain bodily functions depended with great precision on the cosmic clock. Certain events occurred at sunrise and sunset. It was physically impossible at that time to turn night into day, as it happens now in our big cities. Mankind lived in harmony with the rhythms of nature. The fact that this harmony was lost in Lemuria was due to the unconscious ego. It was only with the conscious development of this ego that disharmony arose. The ego began to show its self-awareness by deviating from the rhythms of nature. The activities that had previously been connected with the course of the sun and moon were postponed. Until this time, when this took place (in the epoch of the transition to the fifth race), man had possessed a kind of dreamy clairvoyance. Now, in conquering our present form of consciousness, which, as I said, first expressed itself in the deviation from the rhythms of nature, this clairvoyance was temporarily lost. The effectiveness of the self that had awakened to consciousness consisted in the ordering and purifying of the astral body, and this purified and ordered part became Manas. This Manas encompasses all thoughts, all memories, every intellectual function, and we can call it the self of the spirit, the spirit self. And it is the task of the self to make the astral body a manasic body through purification. But how can clairvoyance and clairaudience, which used to be part of the human being, even if only in a dreamlike way, but has been lost through deviation from the rhythm of nature, be acquired again? This can only be done by the influence of the principle of Budhi on the etheric body, which is its shadow in the lower worlds. In this way it can be conquered again, but not in a dream-like state, but with full consciousness.

The esoteric life wants to awaken this clairvoyant state of consciousness again through methods that influence the soul. The gift of clairvoyance is not given to man. The master or [the disciple he has tested] gives the candidate instructions, which, if followed, must bring him back into harmony with the rhythm of nature. In preparation, he can familiarize himself with the theories and teachings of the great esoteric wisdom through study, but this purely intellectual exercise is not enough. The candidate must devote himself to meditation and concentration at regular times each day, cultivating inner contemplation of his own soul life. Regular repetition has an effect on the higher soul life, of which the etheric body is the vehicle. The content of meditation should be one or other profound saying, and it is best if the teacher chooses this, even if it is desirable that the saying itself comes to us from a high spiritual authority, such as: “Before the eye can see, it must wean itself from tears.” This sentence contains a world of spiritual depth and was given by a Master of Wisdom.

From such a well, the truth flows inexhaustibly and springs forth again and again in new reflections and in a thousand shades of spiritual light. The esoteric life does not consist in intellectually understanding such a saying, one must approach it again and again with one's whole soul. One should not always seek or want a new saying, but the same content must go through the soul again and again. This also explains the powerful effect of prayer: those who pray allow the same spiritual current to pass through their soul again and again. And repetition means acting on a different spiritual vehicle than that of the intellect.

If we follow the structure of the human being, we find on the one hand the I, this name that is inexpressible to the environment, and on the other hand the four lower principles, each of which must be transformed and made conscious by the I. Thus, the desires must be transformed into moral ideals. If we compare the savage with the European with the occult eye, we see that in the former the astral body is unified, but in the latter, a part of it has been transformed by the ego into manas. The sight of the aura proves this. And this manas is the spiritual self in occultism, but in its lowest form. 'But man is not only manas. As a person grows older, he gains in knowledge, at least up to a certain age. But what remains almost the same – unless he develops his being according to occult methods – are his habits and temperament. These habits, these characteristics, these habits proceed from the etheric body. Only impulses from the buddhi, of which the etheric is the reflection, can have a determining and developing effect on the etheric body. These impulses, which must act on the etheric body again and again, are awakened by devotional religious feelings, true art, and music. Thus, through the influence of Budhi, the etheric body is awakened and transformed, and the power to consciously change a habit arises, which actually means to renounce a habit or to unlearn a moral failing.

And repetition also plays a role here. At regular intervals, every day, a person should devote themselves to the meditation mentioned above, not only grasping the content of the meditation but also immersing themselves in it with their soul. As much of the etheric is recreated in consciousness, so much is Budhi consciousness. Later, when the candidate wants to bring the principle of the Atma to consciousness, he will have to act on the physical body.

Now - said Dr. Steiner - we still have to get a clear idea of this repetition in rhythms. We have to imagine the matter analogous to the growth laws of the plant world. The growth of a plant is governed from within by the etheric principle. This etheric principle is guided by the law of repetition, so that the branches come on the trunk and the leaves on the twigs. The astral principle of the plant surrounds it from the outside as a shining light, guiding and taming the principle of repetition in its work and stopping the further formation of leaves at the right moment to make room for the formation of blossoms, flowers, fruit and seeds. The etheric principle is that of repetition, the astral principle that of closure. In the human being, the effect of the etheric principle can be seen in the structure of the spine, which is closed by the formation of the skull. To live esoterically means to influence the etheric body through repetition, because what happens unconsciously must be repeated in the mind. This repetition must take place day after day in meditation. Just as all the forces in a plant work outwards in growth, so in man all the forces must work outwards through meditation. Through this spiritual repetition, the soul regains rhythm; in other words, it has regular spiritual points of rest.

You can follow a simple rhythm every day or use the same saying week after week, but you can also make the rhythm composite, for example, by having a different saying for each day of the week. In this way, the rhythm is developed from that from which we ourselves are developed, and the I comes to independence, emerging from itself in rhythm. That is why in old legends, initiates of the sixth degree are called solar heroes, because they did not deviate from the rhythm given to nature by the course of the sun.

The esoteric life is not repetition alone, it must also have guidance and limitation, just as the astral highlight has in plants. This element is represented in the development of the esoteric life of man by devotional feelings, religion, true art; aligning oneself with an individuality as one's ideal. And this meditation and this devotion must then coincide, as in the plant, the flower bud and fruit.

But the man who devotes himself to the esoteric life must also keep his eye on the world around him. Escaping from the world is not his ultimate goal. He has capacity for work and industry and does not want to be a saint in the distance, but a saint in the world. It is not esoteric to go one's way, absorbed in oneself, when there is much to see, to learn and to do outside. And the work of such a person must be the outward expression of his inner being. Therefore, separation based on misunderstanding must give way to holiness in the service of humanity.

Today we will continue to talk about what happens at death, when the human being enters into a new existence. We have already seen that the human being retains an extract of the life body, and we will see how important this extract and its absorption into the higher members is. Now we want to consider the astral body. It remains what it was before death, and retains all its good and bad qualities, its instincts, passions, and so on. What are the dead person's first sensations in their astral body?

When the life body, which still represented a connection with the physical world, has dissolved, the dead person, if he is not clairvoyant and has never risen above the circle of his own selfish interests in earthly life, will awaken after a first period of complete unconsciousness awaken in a painful state, in which he is aware that he is alive, but with the deceptive sensation of still having his physical body, just as a person still feels an amputated limb of his physical body and yet is aware that he cannot use it. On the other hand, however, the astral body, freed from the physical bond, vibrates in full power and strength, so that the person feels his urges, passions, and so on, to an increased extent, and suffers tremendously from not being able to satisfy them due to the lack of the appropriate tools. For the instincts are in reality inherent in the astral body and not in the physical body, and the astral body can only satisfy them through enjoyment. If, for example, a person is a gourmet, he retains the desire for fine food even though he lacks the palate. The same applies to the other sense organs.

Then there is the feeling of loneliness, which is caused by the fact that the person cannot perceive anything of the new world around him. But gradually he begins to perceive. First of all, it is auditory perception, because the astral world is eminently a world of sound. Then perceptions of light are added. It is important to note that while in physical life we see the things around us illuminated by light, in the astral life, on the other hand, man himself begins to shine like a small sun. When we observe him there, we see him at first as if shrouded in a dark cloud. This cloud is formed from that part of the astral body that contains the passionate elements and that must be shed at the end of life on the astral plane.

Life in the astral world usually lasts a third of the previous earthly life, although there are exceptions, for example for very intelligent people who are completely entangled in materialistic beliefs, whose life on the astral plane can last for centuries. It should be noted, however, that the perception of time there is different from ours. When the astral life is complete, the person leaves behind his third corpse. We are surrounded by such corpses, which hover around us and even penetrate into us. They are the ones that can be made visible through mediumistic powers or somnambulists at spiritualistic séances. The Christian religion calls life in the astral world “purgatory,” and in India it is called “Kamaloka”.

When we speak of supersensory worlds, we need not fall into the error of imagining them as spatial planes, as they are often called, one above the other. In reality, they are states of consciousness and different modes of perception in a single space. The length of time spent in Purgatory or Kamaloka depends on the intensity of the individual's desires and passions. It is a time of purification. Unfortunately, we do not always try to shorten it. However, those who are already capable of spiritual pleasures on earth will have a shorter Kamaloka. Artistic pleasures, such

the contemplation of Raphael's or Michelangelo's works of art, make life in the spiritual world accessible to us. But the same cannot be said of art that only seeks to glorify the physical form and has no uplifting effect at all. Furthermore, Kamaloka life is also shortened by noble deeds and by a life devoted to the search for truth and knowledge.

One peculiarity of the astral life, which is rarely mentioned in occultism, is that it runs backwards. At first, the initiate is completely confused because everything in that world is reversed and appears as if reflected in a mirror. So a number, for example 345, is read as 543. It is particularly disconcerting and confusing that this also applies to time, so that the past appears to us after the present as if it were the future. For example, you will see the chicken crawling back into the egg it came from. As for our lives, we go through it backwards as well, starting with the day of our death and ending with the day of our birth. In contrast to the panorama that the life body presented to us, however, the perceptions of the astral body do not leave us indifferent, and they are always accompanied by the feelings that go with them.

For example: If a person has died at the age of eighty and has caused another person pain when he was fifty, and if he has now reached his fiftieth year in his retrograde Kamaloka life, he feels the pain because he identifies himself with his victim.

But the same applies to experiences of joy. If a person did not experience joy, he would later find many obstacles in his path. But as it is, we learn that every evil must be made good. If this were not so, evil would never leave us, and union with God would be impossible.

In this way, then, we purify ourselves. And when we reach our childhood, we have come to the threshold of the heavenly world. This is what the Holy Scripture means when it says: Unless you become like children, you will not enter the Kingdom of Heaven. Through purification, the fog that obscured the astral body lifts, and it then shines in all its glory. The self with the purified astral body enters devachan.

Has it always been like that? We know that humanity lived on earth in a certain way during the Egyptian period, in a different way during the Indian period, and so on, and that our time is also quite different from the Greek period. So is there also a history for the other world? Yes, most certainly: the soul life of an Indian from two thousand years ago was quite different from ours. He had no interest in the physical world. For him, people, animals, plants, etc. were all Maya, a dream. He wanted to decisively deny this world, which was an illusion to him. During this life, he was already in the spiritual world, and after death he did not feel disoriented at all. But humanity has not retained this tendency to flee from the physical world.

The ancient Persians, taught by Zoroaster – not the one in history, but a much greater one – learned to love life and take an interest in the physical world, while the Indians only ever thought of Brahma behind the stars. Zoroaster taught that man must live and work here on earth, but at the same time direct his mind upwards. He preached that mankind must work the material, physical world in order to unite with the great spiritual aura of the sun. He called this Ahura Mazdao, later it was called Ormuzd.

Meanwhile, however, humanity lost its direct and conscious connection with the Primordial Light, and its life on earth – and also after death – darkened. This darkening was already very great during the Egyptian-Chaldean period and reached its peak in Greek times. The Greeks placed the center of life entirely in the physical world. If we look at a Greek temple, we see that it is harmoniously built according to spiritual dimensions. It can stand there, abandoned and lonely, and yet we feel that it lacks nothing, even if there are no people inside, because the deity to whom it was dedicated could dwell in it and truly did so, filling it completely. If, on the other hand, we look at a Gothic church, we really feel a void. The souls of the faithful are needed to bring it to life. Seen clairvoyantly, the Greek temple appears only as a black spot in its astral form. That is why people in those days could not bring anything with them when they passed through the gate of death; they were not at all prepared for life after death. The life after death was the realm of shadows for them, which they feared so much that they said: Better a beggar on earth than a king in the realm of shadows. Man found himself alone in the spiritual world at that time. In contrast, the astral form of the Gothic church appears quite different; it is completely luminous and offers the eye the point of connection between the two worlds. Let us now follow the story of the spiritual world.

After the classical period, an immensely important fact takes place in it, which all the great teachers of mankind had previously proclaimed. The seven great Rishis of India had said: Our wisdom reaches to a certain point, but no further. After this point comes an entity that will redeem humanity. Zarathustra also had an inkling of this entity, and Hermes [Trismegistus] showed the Egyptians a being who was ready to come - Osiris - and would come with a divine mission.

Before this important fact, which we will discuss later, took place, another, equally important one occurred, namely, the appearance of the Buddha six hundred years earlier. We know that he came from a royal family and that his attention was drawn to the suffering of humanity by seeing a sick person, an old person, and a corpse. In evil, in old age and in death, he saw only suffering; likewise in unsatisfied desire. The whole of life seemed to him to be suffering, so that he wanted to educate humanity to flee from life. He left his family, his relatives, his possessions and devoted himself entirely

the search for the path to this liberation. Thus the so-called truths of life arose in his soul. [But six hundred years later, with the great event of Golgotha, we see that everything has changed significantly.

What did a corpse on a cross mean for the new community? This corpse had become the true sign of salvation and bliss! Nothing like this has ever occurred in the history of humankind, and it happened only through the Mystery of Golgotha. If there had been a Hellscher when the Mystery of Golgotha was consummated and the blood of Christ ran from the five wounds, he would have seen how the Christ penetrated like an arrow of light into the realm of the dead and transformed it from a realm of darkness into a realm of light.

At that moment, the substance of the astral body of the earth received the Christ principle and began to shine; which is also what happens to us the more we approach the Christ. In the past, man brought nothing with him from the earth; now he can love life [because the human elements have been formed by the elements of Christ]. The clairvoyant sees nothing of the Greek temple on the astral plane, but he does see the Gothic church and the works of art by Raphael and Michelangelo, and so on. What he sees there is infinitely more beautiful and sublime than what is physically present here on earth. The same can be said of the Gospels and the Book of Revelation. When we experience them, we appropriate a large part of the spiritual world.

Later we will see how the dead in heaven live on in the light of Christ.

The occultist will never dream of imposing dogmas. He is one who tells what he has seen and tested in the astral and spiritual worlds or what has been revealed to him by trustworthy and reliable teachers. He does not desire to convert but to quicken in others the sense that has awakened in him and to enable them to see likewise.

Here we shall consider man as an astral being as he is revealed by clairvoyant vision. The astral being of man includes the whole world of feelings, passions, emotions and impulses of the soul. To inner sight these are changed into forms and colours. The astral body itself is a cloud-like, ovoid form, permeating and enveloping man. We can perceive it from within.

In man as a physical being, we have to consider the substance and form of the body. The astral substance entirely changes in the course of seven years, but the form remains. Behind substance is the constructive, upbuilding principle—the etheric body. We do not, in the ordinary way, perceive it; we only see its accomplished work, in the physical body. The eye of sense only sees what is finished, not what is in the state of becoming.

The contrary is the case when we are able to see the astral body—that is to say, our own astral body. We become aware of it from within through our desires and the various movements of the soul.

Seership consists in learning to see from without that which in ordinary life we feel from within. Feelings, desires and thoughts then become living and visible forms, constituting the aura around the physical sheath.

The etheric body builds and moulds the physical body; the astral body is made up of desires. Every human aura has its own individual shades and predominating colours. There is one fundamental colour in which the others play. The aura of a man with a melancholic temperament, for example, is of a bluish hue. But so many impressions coming from without flow through it that the observer may easily be deceived, above all if he is looking at his own aura. The clairvoyant sees his own aura reversed, as it were, the outer as the inner, the inner as the outer, because he is observing it from outside.

All the great Founders of religions have been possessed of clairvoyant sight. They are the spiritual Guides of mankind, and their precepts are precepts of the moral life based on astral and spiritual truths. This explains the similarities in all the religions. There is a certain similarity, for instance, between the Eight-fold Path of the Buddha and the Eight Beatitudes of Christ. The same underlying truth is that whenever man develops one of the virtues, he unfolds a new faculty of perception. Why are eight stages mentioned? Because the seer knows that the faculties which may be transmuted into organs of perception are eight in number.

The astral organs of perception are called in occultism, the ‘lotus-flowers’ (sacred wheels, chakra). The lotus-flower with sixteen petals lies in the region of the larynx. In very ancient times this lotus-flower turned from right to left—that is to say in the opposite direction to the hands of a clock. In the man of today, this lotus-flower has ceased to turn. In the clairvoyant seer it begins to move in the opposite direction—from left to right. In earlier times, eight of the sixteen petals were visible, the others undeveloped. In future ages they will all be visible, for the first eight are the result of the action of unconscious initiation, the other eight of the conscious initiation attained by dint of personal effort. The eight new petals correspond to the Beatitudes of Christ.

Another lotus-flower (with twelve petals) is situated in the region of the heart. In earlier times, six petals only were visible. The acquisition of six virtues will, in times to come, develop the other six. These six virtues are: control of thought, power of initiative, balance of the faculties, optimism which enables a man always to see the positive side of things, freedom from prejudice, and finally, harmony in the life of soul. When these virtues have been acquired, the twelve petals begin to move. They express the sacred quality of the number twelve which we have in the twelve Apostles, the twelve knights of King Arthur, and again in all creation, in all action. Everything in the world develops according to twelve different aspects. We have another example in Goethe's poem, Die Geheimnisse, which expresses the ideal of the Rosicrucians. According to the explanation given by Goethe to certain students, each of the twelve Companions of the Rose Cross represents a religious creed.

We find these virtues expressed again in signs and symbols, for symbols are not arbitrary inventions—they are realities. The symbol of the Cross, for instance, as well as that of the Swastika, represents the four-petalled chakram in man. The twelve-petalled flower is expressed in the symbol of the Rose Cross and the twelve Companions. The thirteenth among them, the invisible Companion who unites them all, represents the truth that unites all religions.

This truth underlies the rites and ceremonies of the various religions. Divine wisdom speaks through the rites and cults which have been founded by seers. The astral world expresses itself through them in the physical world. As in a reflection, the rite represents what is happening in higher worlds. This fact appears again in masonic ritual and in certain Asiatic religions. At the birth of a new religion, an Initiate gives the foundations upon which the ritual of the outer cult is built. As evolution proceeds, the rite—a living picture of the spiritual world—tends towards the domain of Art. Art, too, comes from the astral world; the rite becomes beauty. This came to pass notably at the time of Greek civilisation. Art is an astral event of which the cause has been forgotten.

We have an example in the Mysteries and Gods of Greece. In the Mysteries, the hierophant retraced the development of man in its three stages: man the animal, man the human, man the God (the true Superman, not the false Superman of Nietzsche). The hierophant projected these three super-sensible types as living images into the astral light, where they were visible to those who had been initiated into the Mysteries. At the same time they were expressed in poetry and sculpture by three symbols: (1) the Satyr, or bestial type; (2) the human type: Hermes, or Mercury; (3) the divine type: Zeus, or Jupiter. Each of these figures, together with everything around them, represents a cycle of human evolution. That is the way in which the disciples of the Mysteries carried over into Art what they had seen in the astral light.

The zenith of the earthly life of man is reached at about the age of thirty-five. Why is this so? Why does Dante begin his journey at the age of thirty-five, the middle point of human life? Before this moment, man's activity has been concentrated on the development of the physical body but he can now begin his ascent to the spiritual worlds and apply his forces for the unfolding of seership. Dante became a seer at the age of thirty-five. It is the age when the physical forces cease to forestall the influx of Spirit; liberated from the body, these same forces can be transformed into clairvoyant faculties. Here we are touching upon a deep mystery: the law of the transformation of organs. Transformation of the organs constitutes man's evolution. The highest in him is the product of what once was the lowest and which has been transfigured.

At the time of the separation of the sexes, the astral body of man divided: the lower part producing the sexual (physical) organism and the higher part giving rise to thought, imagination, speech.

In days of yore, the sexual organs (the procreative forces) and the organ of the voice (the word creative) were united. Two poles have appeared in man's being, where formerly there was but one single organ. The negative pole (animal) and the positive pole (divine) were once united and have separated.

The third aspect of the Logos is the creative power of the word (as expressed at the beginning of the Gospel of St. John), of which the words of human speech are the reflection. In the old myths and legends this truth was represented in the figure of Vulcan, the cripple. His mission was to guard the sacred fire. He is crippled because, in initiation, man must lose something of his lower, physical forces; the lower part of the body is a product of the past. Raised to the heights of initiation, the lower nature must fall away, to rise thereafter to a yet higher stage. Thus in the course of his evolution man has divided into a lower and higher nature.

In certain mediaeval pictures, the human body is divided into two parts by a straight line; the head and left upper part of the body are above, the right upper part and the lower part of the body are below the line. This division is an indication of the past and the future of the human body.

The two-petalled lotus-flower lies beneath the forehead, at the root of the nose. As yet it is an undeveloped astral organ which will one day unfold into two antennae or wings. The symbol of them can already be seen in the horns traditionally represented on the head of Moses.

Viewed from above downwards, head and sexual organ, man is synthetic and one. All this is the product of the past. Left and right he is symmetrical, representing the present and the future. These two symmetrical parts, however, have not the same value. Why is man usually right-handed? The right hand which is the more active of the two today, is destined subsequently to atrophy. The left hand will survive when the two ‘wings’ on the forehead have developed. The heart will be the brain of the chest—an organ of knowledge.

Before man assumed the upright posture there was a time when he moved on all fours. Such is the origin of the riddle of the Sphinx: ‘Who is the being who in infancy walks on four legs, in middle age on two, in old age on three?’ Oedipus answers that this being is man, who when, a baby crawls on all fours, and in old age leans on a stick. In reality, riddle and answer refer to the whole evolution of humanity, past, present and future, as it was known in the ancient Mysteries. Quadruped in a previous epoch of development, man walks today on two feet; in the future he will ‘fly’ and will indeed make use of three auxiliary organs, namely the two wings developed from the two-petalled lotus which will be the motive organ of his will, and for the rest, the organ arising by a metamorphosis of the left half of the chest, and the left hand. Such will be the organs of movement in the future.

The present organs of reproduction will atrophy as well as the right side and the right hand. Man will give birth to his like by the force of the word; his word will mould ethereal bodies like his own.

If it was our last esoteric lesson * the great laws of spiritual life revealed in the course of human development, they were the great spiritual powers that guide everything that happens on the physical plan. And which replace each other in their effectiveness, today we want to speak in a somewhat more intimate way of the laws of spiritual life, as it takes place within man himself.

The one in an occult training course is, in a sense, a waiter, a seeker. He is waiting for a new world to uncover him one day except for the one he has otherwise perceived. He is waiting for one day to say to himself, "I see a new world;" I will be able to say to himself; "I will be able to do so." Between all the things I have been able to perceive in the room so far, I see a fullness of spiritual beings that were previously hidden from me. -To make this quite clear to you, you must call the seven states of consciousness that man goes through in the course of his development before the soul. The first state of consciousness that man underwent was a dull, dawny degree of consciousness in which man felt one with the cosmos; We call Saturndasein this state. In the soldon, the level of consciousness decreased, but it became all the brighter for it. When man lived through the man's being, his consciousness was similar to what we experience as the last remnant in our dreams, it was a dull image consciousness. Here on earth we have the bright awareness of the day, which will remain when man rises again to the consciousness of images on Jupiter, so that we then have a bright consciousness of images there. Be. Even two higher states, the inspired and intuitive state of consciousness, will continue to rise to two higher states, the person. So our bright awareness of the day stands in the middle of the dull image consciousness of the moon and the bright image consciousness of Jupiter. And what the esoteric is waiting for to reveal itself to him one day is Jupiter consciousness. It will reach each of you once, at one earlier, at the other later, that depends on your abilities, on the degree of inner maturity.

Now, however, the consciousness of Jupiter in its first germs is already present in every human being. In a very delicate way, the future consciousness is already indicated, man is only unable to interpret it. This is precisely the esoteric life to a large extent that the disciple learns the subtle processes in himself and in his surroundings.

One still the old moon consciousness, in the other the new consciousness of Jupiter is already there, are the feeling of shame and the feeling of fear. In the feeling of shame, where the blood is pushed towards the periphery of the body, there is still one last remnant of the moon consciousness, and in the Feeling of fear, where the blood flows after the heart to find a fixed center, is annoedly announced by Jupiter consciousness. So normal daytime consciousness strikes out after two sides.

Shame---------Standard----------Feeling of anxiety

When we talk about Anything Feeling shame and the pubic blush rising in our faces, we experience something reminiscent of being a moon. Imagine a Modem Man. He could not yet «I» to say to himself, but lived in a dull, dawning image consciousness, embedded in astric forces and Beings with which he felt one and in harmony. Think of it, my sisters and brothers, one day with such a Modem Man the feeling suddenly dawns: I am a «I». I am different from the others, I am an independent being, and all the other beings in my environment look at me. -The whole lunar man would have glowed through from top to bottom a very enormous feeling of shame, he would have disappeared, trying to go down with shame, when he could have felt such a premature feeling of self. So we, my sisters and brothers, too, when a sense of shame arrives, would like to disappear, sink under the ground, dissolve our self-iness, as it were. Imagine how the ancient Modem man was embedded in harmony with the forces and Beings of his surroundings. When an enemy being approached him, he did not think, but he knew instinctively how to avoid it. He acted in a feeling that, if he had been conscious, he could have expressed as follows: I know that the legality of the world is not set up in such a way that this wild beast will now tear me apart, but the harmony of the world is such that it means it. Who must protect me from my enemy.

So directly in harmony with the forces of space felt the old moonman. And if a feeling of self had awakened in him, it would have immediately disturbed this harmony. And the feeling of me actually, as it began to penetrate man on earth, has brought him more and more into disharmony with his surroundings. The Helllistener hears the universe ring out in a mighty harmony, and when he compares the sounds that penetrate from the individual people to him, so Today this gives a discord to all people, more to one, to the other, less so, but it is a discord. And your task is to resolve this discord more and more in harmony in the course of your development. Through the insoence this discord has arisen, but wisely it was set up by the spiritual powers that dominate and guide space. If people had always remained in harmony, they would never have come to self-employment. The discord was used so that man could achieve harmony freely, on his own strength. The self-confident feeling of self had to develop first at the expense of inner harmony. When the time comes when the consciousness of Jupiter lights up, and man again comes back in harmony connection with the forces of the cosmos, then he will save his self-conscious feeling with his self-confidence into the new state of consciousness, so that man then Independent self and yet will be in harmony with space.

We have now seen that the new consciousness of Jupiter is already being announced in the feeling of fear. But whenever a future state begins to occur before time, it is premature and not quite in place. This will be clear to you by an example. If a flower, which by its very nature should bloom in August, is brought to heap in a greenhouse as early as May, it will no longer be able to unfold in August, when its actual flowering period has come; Her powers will be exhausted and she will no longer fit into the conditions she should then get into. And in May, too, as soon as you remove it from the greenhouse, it will have to go to the bottom, because it does not fit into the natural conditions of this time of year. Straadeso it is with the sense of anxiety. It is still out of place today and much less so in the future. What happens when you feel an anxiety? The blood is pressed into the center of man, into the heart, in order to form a fixed center, in order to make man strong against the outside world. It is the innermost power of the I that causes this. This power of the I, which acts on the blood, which must become more and more conscious and on Jupiter, man will then be able to consciously direct his blood after the center and become strong. The unnatural and harmful thing about it, however, today is the feeling of fear associated with this blood flow. This must not be allowed to happen in the future, only the forces of the I, without fear, must work there.

In the course of human development, the outside world around us is becoming more and more hostile. More and more you must learn to confront your inner power with the encroaching outside world. But fear must disappear. And especially for those who undergo esoteric training, it is necessary, unavoidably, to free himself from all feelings of fear and fear. Only here does fear have a certain justification, where it alerts us to stand strong, but all the unnatural feelings of fear that torment people must disappear altogether. What should happen if man still has feelings of fear and fear, and Jupiter consciousness comes to an end? There, the outside world will face man much, much more hostile and terrible than it is today. A person who does not get used to fear here will fall there from a terrible horror to the other.

In order for man to fully grow up in the face of the evil forces of the future, he must have the innermost power of his self in his hands, he must be able to regulate the blood consciously in such a way. That it makes him strong against evil, but without fear of any kind. He must then have the power that drives the blood inward in his power. But even that other ability to pour the blood from the heart to the periphery must not be lost on it. Because the state of Jupiter will in some way also mean a return to the old moon consciousness. Man will come back into harmony with the great world laws and feel at one with them. He will regain the ability to flow together with the spiritual world powers, but not unconsciously and dawnfully as on the moon, but on Jupiter he will always maintain his bright awareness of the day and self-confident I-feeling and yet live in harmony. With the forces and laws of the world. The discord will then dissolve in harmony. And in order to be able to let oneness flow into the harmony of space, he must consciously learn to let the innermost power of his self radiate from the heart. He must therefore be able to consciously centralize the inner forces of his blood when an enemy confronts him, and he must also be able to radiate them consciously. Then only he will be up to future circumstances.

The one who is striving for an inner development must begin today to gradually get these forces more and more into his power. He does it by consciously learning his breath and moving in. When man draws his breath, the forces of the I enter into activity, which bring him into connection with the forces of the cosmos, those forces that radiate from the heart to the outside. And when man spends his breath and when he abstains from the breath, those forces of the I enter into activity, which push for the center points, after the heart, and there create a fixed center there. Thus, even today, when the disciple consciously does his breathing exercises in this sense, he learns to gradually master the powers of his self. No one can believe, however, that they independently carry out such exercises if they have not yet received instructions on them. Everyone will get them at right time. But even for those who do no such exercises, it is never too early to familidate themselves with the meaning of these exercises and to gain understanding of them. They will then become all the more fruitful for him later. So you, my sisters and brothers, are also to gain more and more understanding for the subtle processes within you and in the world as a whole and gradually grow into the future periods of human development.

* See therefore december 5 1907