The Rudolf Steiner Archive

[ 1 ] The loneliness I then experienced in respect to that which I bore in silence within me as my world-conception, while my thoughts were linked to Goethe on one side and to Nietzsche on the other – this loneliness was my experience also in relation to many other personalities with whom I felt myself united by bonds of friendship but who none the less energetically opposed my spiritual life.

[ 2 ] The friend whom I had gained in early years but whose ideas and my own had become mutually so divergent that I had to say to him: “Were that true which you think concerning the essential reality of life, then I had rather be the block of wood under my feet than a man” – this friend still continued bound to me in love and loyalty. His welcome letters from Vienna always carried me back to the place which was so dear to me, especially because of the human relationships in which I was there privileged to live.

[ 3 ] But if this friend undertook in his letters to speak about my spiritual life, a gulf then opened between us.

[ 4 ] He often wrote me that I was alienating myself from what is primal in human nature, that I was “rationalizing the impulses of my soul.” He had the feeling that in me the life of feeling was changed into a life of mere thought, and this he sensed as a certain coldness proceeding from me. Nothing which I could bring to bear against this view of his could do any good. I could not avoid seeing that the warmth of his friendship gradually diminished because he could not free himself of the belief that I must grow cold as to what was human since I passed my soul-life in the region of thought.

That, instead of being chilled in this life of thought, I had to take with me into this life my full humanity in order by this means to lay hold upon reality in the spiritual sphere – this he would never grasp.

[ 5 ] He failed to see that the purely human persists, even when it is raised to the realm of the spirit; nor could he see how it is possible to live in the sphere of thought; it was his opinion that one can there merely think and must lose oneself in the cold region of abstractions.

[ 6 ] Thus he made me out a “rationalist.” In this view of his I felt there was the grossest misunderstanding of what was reached by my spiritual paths. All thinking which turns away from reality and spends itself in the abstract – for this I felt the innermost antipathy. I was in a condition of mind in which I would develop thought drawn from the sense world only to that stage at which thought tends to veer off into the abstract; at that point, I said to myself, it ought to lay hold upon the spirit. My friend saw that I moved in thought out of the physical world; but he failed to realize that in that very moment I stepped over into the spiritual. Therefore, when I spoke of the really spiritual, this was to him quite non-existent, and he received from my words merely a web of abstract thoughts.

[ 7 ] I was deeply grieved by the fact that, when I was really uttering that which had for me the profoundest import, yet to my friend I was talking of a “nothing.” Such was my relationship to many persons.

[ 8 ] What so entered into my life I had to perceive also in my conception of the understanding of nature. I could recognize as right only that method of nature-research in which one applies one's thought to the task of looking through the objective relationships of sense-phenomena; but I could not admit that one should by means of thought elaborate concerning the region of sense-perception hypotheses which then are to be referred to a supersensible reality but which, in fact, constitute a mere web of abstract thoughts. At that moment in which thought has completed its work in fixing that which is rendered clear by the sense-phenomena themselves, when rightly viewed, I did not desire to begin with the framing of hypotheses, but in perception, in the experiencing of the spiritual which in reality lives, not behind the sense world, but within it.

[ 9 ] What I then held firmly as my own view in the middle of the 'nineties I later set down briefly as follows in an article I published in 1900 in No. 16 of the Magazin für Literatur: “A scientific analysis of our activity in cognition leads ... to the conviction that the questions which we have to address to nature are a result of the peculiar relationship in which we stand to the world. We are limited individualities, and for this reason we can become aware of the world only in fragments. Each piece, of and for itself, is a riddle; or, otherwise expressed, it is a problem for our understanding. But the more we come to know the details, the clearer does the world become to us. One act of becoming aware makes clear the others. Questions which the world puts to us and which cannot be answered with the means which the world gives us – these do not exist. For monism, therefore, there are on general principles no limits to knowledge. At one time this or that may not be clarified, because we are not yet in position, as to either space or time, to find the things which are there concerned. But what is not found to-day may be found to-morrow. Limits determined in this manner are only accidental, such as will vanish with the progress of experience and of thought. In such cases the formation of hypotheses legitimately comes into play. Hypotheses should not be formed in regard to anything which by its nature is inaccessible to our understanding. The atomic hypothesis is utterly without foundation when it is considered, not merely as an aid to abstract thought, but as a declaration regarding real being beyond the reach of our qualitative experience. A hypothesis must be merely an opinion regarding a group of facts which, for accidental reasons, is inaccessible to us but which belongs by nature to the world given to us.”

[ 101 ] I stated this view regarding the forming of hypotheses because I wished to show that “limitations of knowledge” were not proven, and that the limitations of natural science were a necessity. At that time I did this as to the understanding of nature only in a side reference. But this way of forming thoughts had always laid down the road for me to advance farther by means of the knowledge of spirit beyond that point at which one dependent upon the knowledge of nature reached the inevitable “limitation.”

[ 11 ] A contentment of soul and profound inner satisfaction were mine at Weimar by reason of the artistic element brought into the city by the art school and the theatre, and the musical people associated with these.

[ 12 ] In the teachers and students of painting in the art school there was revealed what was then struggling out of the ancient traditions toward a new and direct perception and reflection of nature and life. A good many among these painters might properly have been considered “seekers.” How that which the painter had as colour on his palette or in his colour-pot could be applied to the surface in such a way that what the artist created should bear a right relationship to Nature as she lives and becomes visible to man's eyes in creating – this was the question which was constantly heard in the most varied forms, in a manner stimulating, often pleasantly fanciful, and from the artistic experience of which there originated the numerous paintings that were displayed by Weimar artists in the frequent art exhibitions.

[ 13 ] My artistic experience was not then so broad as my relation to experiences in the realm of knowledge. Yet I sought in the stimulating intercourse with the Weimar artists for a spiritual conception of the artistic.

[ 14 ] To retrospective memory, that which I then experienced in my own mind seems very chaotic – when the modern painter who sensed the mood of light and atmosphere and wished to give these back took up arms against the “ancients” who knew from tradition how this or that was handled. There was in many of them a spiritualized striving – derived from the most primitive forces of the soul – to be “true” in the reproduction of nature.

[ 15 ] Not thus chaotic, however, but in most significant forms appeared to my mind the life of a young painter whose artistic way of revealing himself harmonized with my own evolution in the direction of artistic fantasy. This artist, then in the bloom of youth, was for some time in the closest intimacy with me. Him also life has borne far away from me; but I have often recalled in memory the hours we spent together.

[ 16 ] The soul-life of this young man was all light and colour. What others expressed in ideas he uttered by means of “colours in light.” Indeed, his understanding worked in such a way that he combined things and events of life as one combines colours, not as mere thoughts combine which the ordinary man shapes from the world.

[ 17 ] This young artist was once at a wedding festival to which I also had been invited. The usual festival speeches were being made. The pastor took as content of his talk the meaning of the words bride and groom. I endeavoured to discharge the duty of speaking – which rested upon me because I was a frequent visitor at the friendly home from which the bride came – by talking of the delightful experiences which the guests were permitted to enjoy at that home. I spoke because I was expected to speak. And I was expected to make the sort of speech “belonging to” a wedding feast. So I took little pleasure in “the role” I had to play. After me arose the young painter, who also had long been a friend of the family. From him no one expected anything; for everybody knew that such ideas as are embodied in toasts simply did not belong to him. He began somewhat as follows: “Over the glimmering red crest of the hill the glance of the sun poured lovingly. Clouds breathing above the hill and in the gleam of the sun; glowing red slopes facing the sunlight, blending into triumphal arches of spiritual colours giving a pathway to earth for the downward striving light. Flower surfaces far and wide; above these the air, gleaming yellow, slips into the flowers awakening the life in them ...” He spoke in this way for a long while. He had suddenly forgotten all the wedding merriment about him and begun “in the spirit” to paint. I do not know why he ceased thus to speak in painter fashion; I suppose his coat-tail was pulled by someone who was very fond of him, but who also wished equally that the guests should come to a peaceful enjoyment of the wedding roast meat.

[ 18 ] The young painter's name was Otto Fröhlich. He often sat with me in my room, and we took walks and excursions together. While Otto Fröhlich was with me, he was always painting “in the spirit.” In his company one could forget that the world has any other content than light and colour.

[ 19 ] Such was my feeling about this young friend. I know that whatever I had to say to him I placed before his mind clothed in colours in order to make myself intelligible to him.

[ 20 ] And the young painter really succeeded in so guiding his brush and so laying on the colours that his pictures were in a high degree a reflection of his own luxuriant, living colour fantasies. When he painted the trunk of a tree, there appeared on the canvas, not the delineated shapes of a picture, but rather that which light and colour reveal from within themselves when the tree-trunk gives them the opportunity to manifest their life.

[ 21 ] In my own way I was seeking for the spiritual substance of colour in light. In him I was forced to see the secret of the being of colour. In Otto Fröhlich there stood beside me a man who individually bore instinctively within him as his experience that which I was seeking for the taking up of the colour-world through the human soul.

[ 22 ] It gave me pleasure to be able through this very search of mine to give the young friend many a stimulus. The following was an instance. I myself experienced in a high degree the intensive colours which Nietzsche describes in the Zarathustra chapter on “the most hateful man.” This “Valley of Death,” described like a painting by Nietzsche, held for me much of the secret of the life of colour.

[ 23 ] I gave Otto Fröhlich the advice to paint poetically the picture done by Nietzsche in word colours of Zarathustra and the most hateful man. He did this. And now something really remarkable came to pass. The colours concentrated themselves, glowing and very expressive, in the figure of Zarathustra. But this figure as such did not come out fully, since in Fröhlich the colours themselves could not yet unfold themselves to the extent of creating Zarathustra. But so much the more living did the colour variations boil up into the “green snakes” in the valley of the most hateful man. In this part of the picture all of Fröhlich lived. But now the “most hateful man” There it would have required the line, the characteristic of painting. This Fröhlich refused. He did not yet know how there actually lives in colour the secret of causing the spiritual to take on form through the very handling of the colour itself. So “the most hateful man” became a reproduction of the model called by the Weimar painters “Füllsack.” I do not know whether this was really the name of the man always used by the painters when they wished to deal with the characteristically hateful; but I know that “Füllsack's” hatefulness was no longer merely conventional, but had something of genius in it. But to place him thus unchanged as a copy in the picture where Zarathustra's soul revealed itself shining in countenance and in apparel, when the light conjures forth true colour-being out of its intercourse with the green snakes – this ruined the painting of Fröhlich. Thus the picture failed to become what I had hoped might come to pass through Otto Fröhlich.

[ 24 ] Although I could not but realize the sociability in my nature, yet at Weimar I never felt in overwhelming measure the impulse to betake myself where the artists, and all who felt socially bound up with them, spent the evenings.

[ 25 ] This was in a romantic “Artists' Club” remodeled out of an old smithy opposite the theatre. There, united together in a dim-coloured light, sat the teachers and students of the Academy of Painting; there sat actors and musicians. Whoever sought for sociability must feel himself impelled to go to this place in the evenings. And I did not feel so impelled just for the reason that I did not seek companionship, but thankfully accepted it when circumstances brought it to me.

[ 26 ] In this way I became acquainted with individual artists in other social groups, but did not come to know the artistic world.

[ 27 ] To know certain artists at Weimar in those days was of vital value. For the tradition of the Court and the extraordinarily sympathetic personality of the Grand-duke Carl Alexander gave to the city an artistic standing which drew to Weimar, in one relation or another, everything artistic which was active in that period.

[ 28 ] There, first of all, was the theatre with the good old traditions – disinclined in its leading representatives to allow a naturalistic flavour to come into evidence. And where the modern would fain show itself and expunge many a pedantry, which nevertheless was always associated with good traditions, there modernity was kept far away from that which Brahm propagated on the stage and Paul Schlenther through the press as the “modern conception.” Among these “Weimar moderns” the chief of all was that wholly artistic noble fire-spirit, Paul Wiecke. To see such men take in Weimar the first steps of their artistic career gave one an ineradicable impression, and was a comprehensive school of life. Paul Wiecke used the basement of a theatre which, because of its traditions, annoyed the elemental artist. Very stimulating hours have I spent at the home of Paul Wiecke. He was on terms of intimate friendship with my friend Julius Wahle, and because of this I came very close to him. It was often delightful to hear Wiecke grumbling over almost everything that he must endure when he had to do the dress rehearsals for a new performance. Then, with this in mind, to see him play the role that he had so abused, and which nevertheless, through his noble endeavour after style and through his beautiful spiritualizing fire, afforded one a rare enjoyment.

[ 29 ] Richard Strauss was then making his beginning in Weimar. He was second director along with Lassen. The first compositions of Richard Strauss were performed in Weimar. The musical craving of this personality revealed itself as a piece of the very spiritual life of Weimar. Such a joyful unreserved acceptance of something which in the act of its acceptance became an exciting problem of art was then possible at Weimar alone. Round about one the peace of the traditional – a highly prized and worthy mood; now enters amid this Richard Strauss with his Zarathustra Symphony or even his music for the buffoon. Everything wakes up in tradition, reverence, worth; but it wakes up in such a way that the assent is lovable, the dissent harmless – and the artist can find in the most beautiful way the reaction to his own creation.

[ 30 ] How many hours long we sat at the first performance of Richard Strauss's music drama Guntram, in which the lovable and humanly so distinguished Heinrich Zeller played the leading role and almost sang himself out of voice!

[ 31 ] Indeed, this profoundly sympathetic man, Heinrich Zeller – even he had to leave Weimar in order to become what he did become. He had the most beautiful elemental gift of song. He needed for his unfolding an environment which, with the utmost patience, permitted that such a gift should in developing itself experiment over and over again. And so the evolution of Heinrich Zeller is to be numbered among the most human and beautiful things which one could ever experience. Besides, Zeller was such a lovable personality that one must count the hours one could spend with him among the most stimulating possible.

[ 32 ] And thus it came about that, although I did not often think of going in the evening to the Artists' Club, yet, if Heinrich Zeller met me and said I must go with him, I always yielded gladly to this demand.

[ 33 ] The state of things at Weimar had also its dark side. That which is traditional and peace-loving often held the artist back as if in a sort of seclusion. Heinrich Zeller became very little known to the world outside of Weimar. What was at first suited to enable him to spread his wings later crippled these wings. And so it was always with my dear friend Otto Fröhlich. He needed, like Zeller, the artistic soil of Weimar, but the dim spiritual atmosphere absorbed him too much in its artistic comfort.

[ 34 ] And one felt this “artistic comfort” in the pressure of Ibsen's spirit and that of other moderns. There one shared with everything – the battle waged by the dramatist, for example, in order to find the style for a Nora. Such a seeking as one could there observe occurs only where, through the propagation of the old stage traditions, one meets with difficulties in the effort to represent what comes from poets who have begun, not like Schiller with the stage, but like Ibsen with life.

[ 35 ] But one also shares in this reflection of this modernism out of the “artistic comfort” of the theatrical public. One ought to find a middle way between the two circumstances: first, that one is a dweller in “classical Weimar,” and, on the other hand, that what has made Weimar great has been its constant understanding for the new.

[ 36 ] It is with great happiness that I remember the productions of Wagner's music dramas at which I was present in Weimar. The Director von Bronsart developed a specially understanding devotion to this type of theatrical productions. Heinrich Zeller's voice then reached its most exquisite value. A remarkable gift as a singer belonged to Frau Agnes Stavenhagen, wife of the pianist Bernhard Stavenhagen, who was also for a long time director at the theatre. Frequent music festivals brought the representative artists of the time and their works to Weimar. One saw there, for example, Mahler as director at a music festival when he was just getting his start. Ineradicable was the impression of the way in which he used the baton – not aiding music in the flood of forms, but as the experience of a supersensible hidden something visibly pointing amid the forms.

[ 37 ] What came before my mind from these Weimar events – seemingly quite unrelated to me – is really deeply united with my life. For these were excitations and states which I experienced as pertaining in the deepest manner to me. Often afterwards, when I have encountered a person, or the work of a person, with whom I have shared experiences at his beginning at Weimar, I have recalled with gratitude this Weimar period through which so much became intelligible because so much had gathered from elsewhere there to pass through its germinal stage. Thus I then experienced in Weimar the artistic strivings in such a way that in regard to most of these I had my own opinion, often very little in harmony with those of other persons. But at the same time I was just as intensely interested in everything which others felt as in my own feelings. Here also there came to pass within me a twofold mental life.

[ 38 ] This was a genuine discipline of the mind, brought to me by life itself in the course of destiny, in order that I might find my way out from the “either or” of abstract intellectual judgment. This sort of judgment erects barriers separating the mind from the spiritual world. In this there are not beings and occurrences which admit of such an “either or” judgment. In the presence of the supersensible one must become many-sided. One must not merely learn theoretically, but must take everything to dwell in the innermost emotions of the soul's life, in order to view everything from the most manifold points of view. Such standpoints as materialism, realism, idealism, spiritualism, as these have been elaborated in the physical world by personalities with abstract ways of thinking into comprehensive theories in order that they may signify something for things in themselves, – these lose all interest for one who knows the supersensible. He knows, for example, that materialism cannot be anything else but the view of the world from that point from which it reveals itself in material phenomena.

[ 39 ] It is a practical training in this direction when one finds oneself in the midst of an existence which brings the life whose waves beat outside of one's own so inward as to become as close as one's own judgments and feelings. But for me this was true of much in Weimar. It seems to me that at the close of the century this ceased to be true there. Until then the spirit of Goethe and of Schiller still rested upon everything. And the lovable old Grand-duke, who moved about with such distinction in Weimar and its vicinity, had as a boy seen Goethe. He truly felt very strongly his “Your Highness,” but he always showed that he felt himself a second time ennobled through the work that Goethe did for Weimar.

[ 40 ] It was the spirit of Goethe which worked so powerfully from all directions at Weimar that to me a certain side of the experience of what was happening there became the practical mental discipline in the right conception of the supersensible worlds.

If one wants to understand the deeper meaning of such significant works as the Apocalypse, then one must gain a deep insight into the structure of the world and the entire development of the world. Therefore, for the time when I could not be present, I asked Miss von Sivers to discuss the theory of evolution, the theory of the development of the various worlds that are somehow related to our Earth, here for a few hours. It has become clear that the way in which the development has been presented here has been seen as something individual. (It has happened entirely in line with my intentions, in which I have conducted research into it myself.)

Before we can make any kind of useful progress in the Apocalypse - which we may approach again soon, where you will see what depths are contained in it, in esoteric Christianity in general - we must first become clear about certain concepts of our solar and planetary system. Therefore, I myself will make some insertions about the development of our planet and our solar system. We are now going to tackle some very difficult parts of theosophical or mystical teachings, and so I have to say a few words in advance about how you should approach such material.

Above all, be aware that the Apocalypse is one of the most important and profound works in the world, containing the greatest of secrets. And also be aware that explaining the Apocalypse is an extremely difficult task, because there can be so little preparation for such an understanding at the present time. Hardly any explanation of the Apocalypse was given in Europe during the nineteenth century. Only now, after a long time, are we able to speak of the Apocalypse again. Be aware that the explanation of the Apocalypse as we give it is related to the very deepest secrets, and that you are hearing something in our time that was closed to man through the course of spiritual development and through the general course of the world. One must be lenient with oneself if not everything can be clear and transparent from the beginning. It is not possible for the difficult to be clear from the start.

The final explanation of the Apocalypse is one of the deepest secrets of initiation, and the veil that can be lifted today is already extraordinarily deep. We could not move on if we did not include some information about the world system with which our Earth is connected.

In connection with the matters that have been discussed in my absence, I would like to send some advance information. Miss von Sivers has presented the development of the earth and the sun in a way that I am able to present. However, the views of the various occult researchers in this field are only seemingly opposed. You must not believe that if something seems to contradict itself, that is a real contradiction. So if Mr. Schouten believes he has found a contradiction between what has been presented here and what he knows from our esteemed comrade Leadbeater, then of course it requires a kind of illumination on the whole, how to understand such things; we will discuss this in detail. Above all, please note that no practical mystic claims to be presenting a universally valid dogma. Neither Leadbeater nor I make such a claim. Each presents what he is able to present as the results of his observations. And please do not interpret what is presented here as anything other than a story that someone tells about what he has experienced. It can be discussed, it makes no claim to dogmatic value, they are not tenets. At first one might object: If different researchers in this field contradict each other, how can one ever arrive at clarity? But that is not the case. If you read travel descriptions of the most diverse regions, you will see how different even these descriptions are. And the observations of occult researchers are just as varied as these observations. With some understanding, which is difficult in this area, one always, without exception, comes to exactly the same results. There is never any real contradiction between two occult researchers if they both proceed in the necessary objective manner, really working with all the means of occult research.

However, one might not even realize the way in which research in this field comes about at all. I would like to speak here first of all about the case that has been discussed here, namely the case that constitutes a point of difference - not in the rest of esotericism, but in the younger current that has found expression in the Theosophical movement [as in Sinnett, Leadbeater and Blavatsky]. The theosophical movement is actually a very young movement compared to the occult movement. It was founded in 1875. But occultism is thousands of years old. In Europe, there were the same teachings as those brought by Theosophy; Theosophy also existed in Europe, only in the eighteenth century it receded somewhat because materialism did not allow these things to be spoken of. Materialism is something that has a scaring effect on the sacred science of occultism.

Within the theosophical movement itself, an apparent contradiction arises with regard to this teaching of the development of our earth. When the great teachers of the theosophical movement, whom we call the masters, first shared some of the secret knowledge with European students, so-called lay chelas, it was actually this European lay student, our revered friend Sinnett, who wrote the first effective book, Esoteric Buddhism, based on the master's teachings. There was a great deal that was unclear to this lay disciple. This was to be expected, for all European thinking differs quite significantly from the way an actual occultist, an actual esoteric, thinks. A person who is equipped with European cultural concepts - and you must not forget that the modern human being grows up entirely in the prejudices of the present day - easily misunderstands what the esotericist is saying because he translates it into his concepts, which are derived from materialism. Thus there was a certain initial disparity when the exalted master gave the first teachings to Sinnett through the mediation of Helena Petrovna Blavatsky about the development of our earth.

Our Earth has reached our present state after having passed through a very different state, and it will change again into a different state when it has gone through this present state. We can express this by saying that the Earth is undergoing transformations. The first Theosophists illustrated these three metamorphoses - the state of our earth that preceded the present one, the present state and the one that follows - by drawing three spheres, which were also called globes.

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The esotericist does not refer to what rock and metal complexes are as “earth”, but rather he also refers to what belongs to the earth: the mineral world, the plant world, the animal and human world. Then we have to imagine this earth as emerging from an earlier state. You don't have to imagine it like the present earth either, but rather imagine the earth at that time in a much finer matter, not at all in a physical matter, but in a matter that can be imagined something like what we call the human astral body, which envelops and permeates the human being in the form of a cloud. The Earth at that time consisted of such matter. This state has condensed to our present physical state. That is why it was called the astral globe preceding our Earth. The following one, into which our Earth will transform, is again similar to this state in terms of matter; it is also astral. In contrast to the astral globe, the third globe is called the plastic globe, because if you look at the earth in this astral state, it appears undifferentiated to you, a mass in which you can distinguish many fewer entities than in the third globe.

Above all, you will see the difference when you look at people. People are present on all three globes. On the first globe, people were in such a state that they were completely dependent on the external forces acting on them. People in our time, on our physical earth, have their hands, their legs, they can walk, can move, can move their mouths - today, all of this is at their own discretion. This was not yet present to the same extent on the astral globe; at that time, man was still much more of an automaton. He reproduced what external forces stimulated in him. He moved his hands because external stimuli affected him. He was at the mercy of external stimuli. This has changed, man has become more independent on the globe we call our earth. And that will be even more different when we will be on the third, the plastic globe. The physical body has disappeared, the earth is in dissolution, darkness has fallen. Then the human being will not only be able to move his limbs, but he will be able to shape his own form at will, so that the human being – while he has a permanent physiognomy today – will not be able to hide his feelings through his physiognomy. In his outer appearance, he will give an immediate impression of what lives within him. We will be able to extend our hands, not just move them. Man will be able to form himself plastically from within. His form will be the result of what lives within him. Life will express itself more in form.

These three stages of development are not the only ones that our earth goes through. This astral globe was preceded by another, and the plastic one will be followed by another. While here [on the astral globe] the entities we are dealing with – including human beings – are in a substance that is equivalent to our astral body, here [on the globe that preceded the astral one] the human being and all entities, in fact the whole earth, are in a matter that is equivalent to the mental aura, the thinking body of the human being. On this globe, everything is dependent on external stimuli. But that does not appear in our astral matter. What lives here can never be seen, not even with the senses of a clairvoyant. There is only sound, which the 'clairaudient' can perceive. Everything is spiritual sound. The spiritual sounds buzz around on this globe in confusion and are the same as the intermingling colors on the astral globe. It is a globe that is called the Rupa globe. This is the form that we know on our Earth in the physical state in the air waves. So is the infinitely fine matter of which our thoughts are formed. Only thought-matter was present on earth at that time when it was in that state. This globe gradually passed into the astral globe through condensation. 'Rupa' means form.

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Man will be in a similar state again when he has gone through the plastic state. On the plastic globe, passions and feelings express themselves extremely vividly, while here [on the intellectual globe] in the higher state, everything is expressed in tones. This sound world in which the person will live will be quite different from the sound world of the descending line of the Rupa globe. When the clairvoyant moves within this globe and perceives the entire sound world, he perceives something similar to what you hear when you are sitting in a hall in which a symphony is being played, but it is purely spiritual and is not heard with physical ears. While you perceive something like a symphony descending [on the rupa globe], you perceive words ascending [on the intellectual globe], an articulated sound world with the expression of the world of thoughts and ideas living in man.

These two globes are each preceded by another – one descending, one ascending. These are the Arupa globes. They are formless. The people in those days were such that in this whole world, which is even finer than the Rupa world, nothing lived except individual sounds, with a very specific timbre. These individual tones, which did not yet harmonize, which did not yet form into melodies, but lived as individual tones, were very substantial. Among these beings were individual basic essences of plants and animals, and above all, every human being, as he is today, was already present as a tone. Each person at that time had a different tone. This makes the human being a being that is different from all others. This tone, with a very specific coloration, is the human being again when he arrives at the globe, which we will call the archetypal globe. There the human being is again a tone, but from this tone everything that he has experienced resounds. It is a tone [of great abundance] from which the whole rich experience of the human being resounds. It is difficult to visualize this, but as I said, it can be imagined in such a way that this [on the Rupa globe] is a poor tone, while [on the archetypal globe] this is a tone that speaks of everything that a person has gone through at the various stages of development.

If you follow this, you will have an idea of how the earth transforms into its various states. A group of related metamorphoses is called a planetary chain. The term is not entirely accurate because it is a schematic drawing. If I were to design the drawing in such a way that it better reflected the facts, I would have to draw all the spheres in a single place. We do not have a succession of new spheres appearing one after the other, but a transformation.

This first Arupa sphere condenses, and out of it arises the state of the Rupa sphere. From this arises the astral sphere, and this then condenses to such an extent that the earth is formed from it. And then the following would come, but in such a way that I would have to draw all of this on top of each other. You may only understand the drawing as a schematic one. So we are dealing with seven successive transformations that the planet undergoes.

Initially, it was mistakenly imagined that transformations do not take place, but that there are seven spheres distributed in space and that life passes from one globe to the next.

This is not a problem if that is how you imagine it at first, because it is difficult to get the ideas right at such a high level anyway. And so it does no harm to speak of a wave of life flowing from globe to globe.

It is different that the following idea has been created by the master's first message. It has been thought that the wave of life flows from one globe to the other. In relation to the globes - at least in relation to two of them - ideas have crept in as if the first and third globes correspond to Mars and Mercury.

The master explained after further inquiry that Mars and Mercury have nothing to do with the development of humanity on Earth. For the occultist, this is an absolute impossibility, because Mars and Mercury are physical globes, but the others are not physical. Mars and Mercury are in the same physical state as the Earth, so they also have the physical form of a planetary chain like the Earth.

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So Mars is the physical representative of a planetary chain just like our Earth. It is the same with Mercury. Later, more and more researchers came to us who were not only able to follow these things from what the masters told them, but who also learned from their own observations. They learned the methods. This view can be somewhat misleading about the facts.

There are methods by which the clairvoyant can transport themselves back to the astral globe and also forward to the plastic globe, the globe “Three”. When you place yourself in the state of astral clairvoyance and direct your thoughts to the point where the astral globe must be found, then you can see what it was like when our animals, plants and minerals were in this position. You can see it clearly before you. When you place yourself in such a state, in the state of an astral clairvoyant, you are not only united with, not only in the astral world you have visited, but you are also in the astral worlds that are related to the one you have visited, that are therefore in the same state. One is present in all cosmic bodies that are in the same state. In this respect, clairvoyants perceive space and time in exactly the same way. They make no distinction at all. When one projects oneself back to the globe that preceded our Earth, when one is on the planet, one is also on all planets that resemble the state of the Earth at that time. The clairvoyant is then actually on those planets that today belong to the planets of our solar system and are in this state. Not all planets are in the same state. Mars is physically today, but it is only at the stage of development at which our Earth was at the time when it was going through the astral state. The Earth was then able to solidify, to become physical. Today's Mars is in this position. It is at the stage of the third globe, but not astral, but physical. Now one can perceive what is present in this state. If you place yourself in this state of Mars, then you are not only on our Earth, but also on Mars.

So now you can study the present state of Mars clairvoyantly, and you may make an interesting discovery. What you could otherwise only observe astrally, in cloud formations, you can observe on Mars today. It is as if it had suddenly turned to stone. So when we examine Mars, we may feel almost as if we had left this Mars some time ago. [A person today, here on our Earth, has never lived on Mars.] We were, however, in an astral form when we left it. Today's Mars looks as if man had left it and come over to Earth. This is the interesting problem, which can lead one to believe that one once lived on Mars. This astral globe “One” should not be confused with Mars.

Mercury is further advanced in its development than our Earth. It has already reached the state that people will have reached when we have astral plasticity. The beings of Mercury can endure the physical state. Earth people will undergo this state on an astral plastic globe. But Mercury gives us an idea of what man will become when he is on a plastic globe. For them, plasticity is compatible with the physical state. [So there is a relationship]. But the planets themselves have their chains, and only through their stages of evolution can it appear as if the development on Earth has something to do with them. The beings that live on Mercury and Mars are not human-like. They undergo completely different evolutions. People can only be physical on the physical Earth, while the Martians can be physical with the qualities of the astral human, and the Mercury beings are plastic on the physical globe, which people can only be on the plastic globe.

Thus we have completed what we call the planetary chain, namely the planetary chain of our earth. This planetary chain emerged from another planetary chain. Next time I will show how our earth developed out of another planet, just as we had the lunar epoch in the past. What remained of that epoch is contained in our present moon. Our present moon is not the earth's predecessor, it is only a condensed physical piece of it, a slag, so to speak. When we say that the beings of the earth developed from the moon, it is not entirely accurate, but within the limits of what I have said, it is quite correct. We will get to know a somewhat similar seven-part chain during this lunar epoch, so that we can say: Before the earth came into its sevenfold structure, it developed in the sevenfold structure of the lunar epoch. This sevenfold lunar epoch is characterized by the fact that people at that time did not yet have the bright consciousness of the mind that people have today, but rather a consciousness similar to a dream trance. This is the echo of the earlier dull consciousness.

Furthermore, we are dealing with a planet that can no longer be found in our space. This planet has become what the sun is today, through various intermediate phases. That is why the sun is a planet in the old esotericism. Esotericism does not mean the physical sun, but the father of our physical sun. Next time I will explain the sun predecessor of the earth.

Our Earth has therefore passed through one, two, three globes of seven links each and is now in the fourth globe of the chain, which also has seven links, making 28 links in total. In the future, it will pass through three more links that will be similar to Jupiter and Venus and so on. The next link in the chain, which will contain highly developed human beings, a planet that is not in a physical state, we will still get to know, and finally we will be able to pursue the actual goal of our earth development.

So there are still three globes to come, each with seven members, equal to 21 members, so that we have 7 x 7 members, that is 49 metamorphoses that we have to go through. These 49 metamorphoses are not written down by the esotericist in the same way as by the modern man. [Esotericism does not use the decimal system, but the system of seven.] 66 does not mean 66 to the esotericist, but [6 x 6 =] 36; according to the system of seven, that makes: 7 x 7 = 49. Thus you can understand what it means when the esoteric writes 77. For him, this does not mean 77, but 7 x 7 = 49 metamorphoses. On each planet there are seven root races. So we have seven chains, each with seven planets or globes, and each globe with seven root races, which makes a total of 343 states. This number plays a certain role in the Secret Doctrine. In the early days, the matter was very poorly understood. The relationship with the master is such that one solves the problem oneself, and then receives the answer from the master, whether it is right or not.

Further notes, presumably on a question-and-answer session regarding the lecture of January 30, 1905

When you look at the Earth from the outside, it appears to be a sphere with a green undertone. [The Earth has a green base color.] While it is relatively easy to examine the earlier stages, it is difficult to see the later ones. The Akashic Records do not speak to this, they only provide the intentions. In science, there are similar methods for looking back and for looking ahead. If a scientist has hydrogen and oxygen and an electric current, he knows that water will result.

The astral globe of our Earth is completely re-materialized astral globe – only more elaborate. The astral world has already prepared birth and death.

The Moon has a very dense physical body. It also has something similar to an astral body. It relates to the Earth as the negative photographic plate relates to the positive. Everything that appears joyful on Earth is a very sad thing when it appears on the Moon. Everything there means just the opposite. It is impossible for the psychic vision to see the astral matter. With the psychic power of the Earth, one does not see the astral sphere of the Moon. When one studies the operations performed during karmic investigations into the karma of people, one enters the region where one can perceive something of this moon itself.

The number 666 means 216 - 6x6x6. The most perfect state, the seventh, is missing from the Apocalypse.

[666 is the number of the beast, and this number is obtained by crossing out the two upper globes of each chain. These two upper globes are those of the deity. A chain is a round.]

It is difficult to say anything about the time of the next catastrophe, because the one who knows about it cannot say anything. Our fifth race will perish through the struggle of everyone against everyone. One cannot say anything about the timing. One must also not talk about numbers. Perhaps something can be said about this in the course of the lecture series. We are, after all, in a time when things are developing extremely quickly. The nineteenth century in the astral means as much as the previous millennium. It is progressing at an ever faster pace. This can also be observed in the root races. Towards the end of the cycles, life is greatly accelerated.

The Bible calls the seventh state on the intellectual globe bliss. In India it is called Devachan. The seventh state is always a state of bliss, only in quite different degrees on the different planets.

My dear friends!

On January 29, 1827, Goethe said to his friend Eckermann about the then already advanced second part of “Faust”:

But everything is sensual and, when presented on the stage, will catch everyone's eye. And that is all I wanted. If only the crowd of spectators take pleasure in the appearance; at the same time, the initiated will not miss the higher meaning, as is the case with The Magic Flute and other things.

In this way, Goethe expressed that he himself allows a deeper meaning to be recognized in his works. It is well known that explanations of Goethe's deeper worldview are met with the objection: You yourselves put all sorts of things into the works that Goethe did not mean at all. This objection could easily be refuted. Only someone who does not want to apply all the powers of their soul to get behind the meaning of the poem can say this. We will counter all these objections with what Goethe said in his conversation with Eckermann. Goethe appears to us as one of those artistic figures who did not allow themselves to be inspired by the arbitrariness of fantasy or the randomness of external experience, but rather strove to recognize and explore the great riddles of existence. Goethe was a serious and profound seeker. The direction of his quest can be seen in his very earliest childhood disposition. Nowhere can such a direction confront us as powerfully as in what Goethe told us about the time when he was seven years old. He takes the best minerals and rocks from his father's collection of natural objects and arranges them in a regular form on a music stand. This is the altar on which he wants to offer sacrifices to the god of nature. At the top he places incense cones, which he ignites with the help of a burning glass through the collected rays of the rising morning sun. For him, natural products are the expression of the primal divine forces of nature. Through the rays of the morning sun that he had captured, he had kindled a natural fire, a sacred fire through the essence of the divine forces of nature itself. With this, he wanted to make an offering to the god of nature; in this way, he wanted to come closer to the great god of nature. In this childlike way, Goethe's entire spiritual relationship to the cosmos is expressed. On higher levels, we see young Goethe's confession again in his prose hymn “Nature”, when he was already working in Weimar:

Nature! We are surrounded and embraced by her – unable to step out of her, and unable to get deeper into her. Uninvited and unwarned, she takes us into the cycle of her dance and carries on with us until we are tired and fall out of her arms.

Then he addresses all the beings of nature, how they are revelations of the spirit that is present in nature. Finally, he says:

She has brought me in, she will also lead me out. I trust her. She may do with me as she pleases. She will not hate her work. I did not speak of her. No, what is true and what is false, she has spoken everything. All is her fault and all is her merit.

And before that it says:

With a few draughts from the cup of love, she indemnifies for a life full of toil.

After his student days in Leipzig, Goethe had an important inner experience: on his sickbed, he learned to feel the seriousness of life. In Frankfurt, he then undertook all kinds of strange studies with friends and delved into many mystical and alchemical works. He met people who were involved in mysticism and who sought the God, the Christ, within themselves. Then in Strasbourg he met the other great mind, Herder, by whose side he gained a keen eye for nature, which was then expressed in his scientific studies and writings. When Goethe had moved to Weimar, we often find him in Jena, like a student, listening to the lectures of Loder and other scholars in order to get closer to the divine power in nature. He always sees a manifestation of the spirit in everything that presents itself materially. While he was still in Strasbourg, he came across a book by a materialistic French encyclopedist. It made a great impression on him. He says about it in “Poetry and Truth”:

But how hollow and empty we felt in this dreary atheistic half-night [...] Matter was supposed to have existed from eternity, and moved from eternity, and now, with this movement, right and left and in all directions, it was supposed to produce the infinite phenomena of existence without further ado.

Then he continues:

But he knew as little about nature as we do: for having nailed up a few general concepts, he immediately leaves them behind in order to transform that which appears in nature as higher than nature, or as higher nature, into material, heavy, and indeed moving, but directionless and formless nature, and thereby believes he has gained a great deal.

This is a critique that Goethe could also make of today's materialistic science. Those who immerse themselves in Goethe will soon notice that when he talks about nature, he speaks from great depths, from the spirit that we call the theosophical worldview. It was in the fourteenth century when this was already being cultivated in the Rosicrucian current. Nothing reliable about it has been reported by outsiders. Only the initiates knew what really mattered.

There is a poem by Goethe, “The Mysteries”, where a personality comes to a kind of monastery and meets a gathering of enlightened personalities, twelve in number. A thirteenth is with them, who is about to die. His twelve brothers speak of him in the most beautiful, appreciative terms. Some traits of this great man, who stands as the knower of the world, are then told. It is said that as a boy he had already killed the adder, which signifies the overcoming of the lower nature. Then, after many meaningful words, the lines follow:

From the power that binds all beings,
The man who overcomes himself is freed.

One who has overcome himself is presented in this poem “The Secrets” by Goethe. The whole situation in which the brother, to whom this greatness is being told, is led into, appears to the knowledgeable as the Grail or Parzifal situation. Goethe could not complete the poem, the material was too great. He once gave a student an explanation of it. He hinted at a league of enlightened people who had joined together in a brotherhood. Each of them represents one of the great religious systems of the world. The great emissaries of these are united in a brotherhood, where there must be one of the leaders who sees the unity, the core of wisdom, in the religions. What Goethe says here could be made the principle of the theosophical movement. Goethe points here to what every initiate knows, that there is a secret union. Goethe lets the newcomer see the mysterious symbol at the gate: the cross with the roses entwined. Goethe wanted to point out that there is such a mystery within the modern world, as there have been such initiates in all times.

Goethe then sought God further as an artist during his Italian journey. He sought God in the universe, in all his creations that breathe the divine greatness; he also sought him in the creations of men, in art, which was a continuation of nature for him. He wrote on September 6, 1787 in the diary of his Italian journey:

These great works of art, which are also the greatest works of nature, have been created by man according to true and natural laws. All that is arbitrary and imagined collapses; there is necessity, there is God.

Of Greek art, Goethe says:

I have a suspicion that they proceeded according to the very laws by which nature proceeds and which I am on the trail of.

He expresses the connection between man and nature beautifully in his book about Winckelmann:

When the healthy nature of man works as a whole, when he feels himself in the world as a great, beautiful, dignified and valuable whole, when harmonious comfort gives him pure, free delight – then the universe, if it could feel itself, would exult as if it had reached its goal and would admire the summit of its own becoming and being. For what is the purpose of all the effort of suns and planets and moons, of stars and milky ways, of comets and nebulae, of worlds that have come into being and are still in the process of becoming, if not ultimately for a happy human being to unconsciously enjoy his existence?

That which lives in man, in the depths of man, as a spiritual-mental entity, that is Nature herself, and for man she becomes conscious in the soul of man. It was this intuitive perception that guided Goethe when he attempted to shape the legend of Faust in a new form. This legend expressed what a number of people felt at that time. In the medieval Faust, we see a man who wants to recognize the divine in nature itself. In the Middle Ages, the search for the divine in nature was seen as apostasy. The divine was only to be found in the religious record of the Bible. On the other side was the legend of Faust, who seeks the divine in nature and makes a pact with the devil. On the other side was Luther, who, as the legend goes, threw the devil's inkwell at his head. Faust falls prey to the devil; he became a worldly man and a physician who wants to recognize the great God in nature. In the Middle Ages, such people were called “sons of the devil”. Goethe brings something new to the Faust idea; his guiding principle is:

Whoever strives, we can redeem.

A striving person who seeks the sources of nature, who seeks the spirit of nature, must reach the goal. Goethe is serious about the interpretation. Where man not only seeks something soulful and spiritual in himself, but where he rises to the realization that everything around us is ensouled, there he is on the right path. When we look at the human being, we have to say that our finger, for example, is only conceivable as a limb of our entire organism. Man lives under the illusion of personal self because man devotes himself to the idea that he is independent and self-sufficient, and not a member of the whole earth organism. But if man were to be lifted several miles above the earth, he would no longer be able to live; he would have to [suffer a miserable death by] suffocation and wither away like the finger of my hand if it were to be cut off. Goethe recognizes the earth organism. There is a deep recognition in his desire to let Faust penetrate to the sources of life and to characterize the spirit of the earth with the words:

In the flood of life, in the storm of action
I surge up and down,
weaving back and forth!
Birth and grave,
an eternal sea,
a changing weaving,
a glowing life,
so I create at the whirring loom of time
and weave the living garment of the Godhead.

How Goethe has placed himself in the spirit of the cosmos, how he feels and senses the spirit in the cosmos, and how he also lives in the human heart, is shown when he has Faust speak with the same Earth Spirit elsewhere. There we recognize that Goethe sees the same work in every tree, every plant, as in man:

Exalted Spirit, thou hast given me, given me everything
I asked for. Thou didst not turn thy face to me in fire in vain.
Thou gavest me the glorious kingdom of nature
and the power to feel and enjoy it. Thou dost not
allow only cold, astonished visitors,
granting me to look into her deep chest,
as into the bosom of a friend.
You lead the line of the living
past me, and teach me my brothers
in the silent bush, in air and water.
And when the storm roars and creaks in the forest,
the giant spruce toppling, crushing neighboring branches
And neighboring trunks squashing down,
And her fall dull hollow the hill thunders,
Then you lead me to the safe cave, show
Then myself, and my own chest
Secret deep wonders open up.

We will find the theosophical ideas in Goethe again, without compulsion.

There is talk of Pythagorean music of the spheres. At higher levels of human development, there are experiences that are similar to those of a person born blind who undergoes a successful operation and suddenly gains sight – only much more magnificent and powerful. Such a spiritual operation does exist. In it, we learn about things and beings that are all around us in the world. The world of the spirit, of which Fichte spoke to his audience in 1813, then opens up for us. He says: “A new sense is needed for this.” When one speaks of these worlds to people, it often happens to those who speak as it happens to a seeing person among a group of blind people, to whom he speaks of color, shine and light. Everything that is said theosophically about this spiritual world is spoken entirely in the spirit of Fichte. The theosophist does not speak of a beyond. How many worlds we perceive around us depends on how many organs we have for perceiving these worlds. As many dormant abilities as are awakened in us open up as many new worlds for us. For the human being of today, there is initially a level of consciousness through which he perceives sensual and externally perceptible things. Then there is another level of consciousness for those who have attained the ability of higher vision. A new world of color, splendor and light opens up before their mind's eye. This world is called the astral world. An even higher world can be perceived when one attains continuity of consciousness, where the manifestations of a higher world manifest themselves in a way called sounds. The devachanic world is a sounding world. This world is then taken over into everyday consciousness so that one can also perceive it when walking among everyday things, among tables and chairs. The theosophical worldview speaks of a world of the soul, the astral world, and of a devachanic world, the world of the spirit, which can be perceived by those whose spiritual eyes and ears are open. Where Goethe has Faust placed between the forces of good and evil, he lets the words resound:

The sun resounds in the ancient way
In the spheres of the brothers' song,
And its prescribed journey
It completes with a thunderclap.

When most people say that this is a poetic image, they misunderstand the poet if they think he is making up a phrase. A true poet does not do that. The physical sun does not resound. But if we look at the sun as the expression of a spiritual organism, then we can speak of the sun resounding. In the second part of Faust, Goethe lets him encounter a similar situation. It says:

Hark! Listen to the storm of the hours!
For spiritual ears,
The new day is already being born.
Rock gates creak and rattle,
Phoebus' wheels roll and clatter,
What a roar is brought by the light!
It drums and trumpets, eye blinks and ear is amazed,
unheard-of things are not heard.

These are the depths of wisdom from which Goethe draws. Those who do not know that Goethe sought to draw from the sources of esoteric wisdom do not understand Goethe well. He himself said that the deep meaning of his poetry would not remain hidden.

The second part of “Faust” has always been a big problem for people, also the fact that Mephistopheles, the representative of evil forces, is associated with Faust. Goethe researchers have also written an infinite amount about Mephistopheles. The word is composed of “Mephis” – is equal to Verderber – and “Tophel” – is equal to liar. At the same time, this leads us to the fact that Goethe was able to draw from sources where exactly this meaning of Mephistopheles could be found. We get to know the esoteric Goethe from the second part of “Faust”. People have thought a great deal about the homunculus. Some interpreters of Faust suggest that the homunculus represents humanistic research. Faust scholars can also be seen grappling with the question of what the “mothers” represent.

Occult teachings have always distinguished between the physical, mental and spiritual nature of the human being. Even today's materialistic science regards the physical nature. The soul world belongs to what we have characterized as the astral. The spirit belongs to the devachanic world. As in all mysticism, for Goethe the physical body is the transient one. The soul is that which forms the connection between what is transient in time and the spiritual eternal. For Goethe, the human being is also composed of three parts: body, soul and spirit. For the one who thus considers the structure of human nature, what happens to him when a person enters this world? He comes from the eternal sphere of Devachan. The source of spiritual existence is spoken of as the “Mothers”. The threefold source of the human being is with the Mothers. The eternal corresponds to the spirit. The soul also has an eternal archetype. In Theosophy, this is referred to by the Sanskrit words: Atma, Budhi, Manas. This is referred to as the divine trinity, which is with the mothers, of which man is a threefold image. Goethe wants to depict this, the way in which the threefold nature of man is composed of spirit, soul and body. A long-dead person is to stand before Faust: Helen. The example of Helen is to be used to illustrate the development of humanity. The re-emergence of the spirit in a new form is to be shown there. The three parts of the human being are to come together again.

Goethe depicts the soul itself through the homunculus, which is the astral body of the human being; it longs to be embodied. The spirit must join it; it is with the mothers. Now Goethe actually describes the journey to the mothers in a very appropriate way. Mephisto says to him as Faust enters the realm of the mothers:

Sink away! I could also say: rise!

There is no difference between up and down in Devachan. Then he shows him the tripod, which shows him the way to the mothers, the threefold nature of man. Faust succeeds in bringing up the ghost of the deceased Helena. Faust is not yet ready to fully understand this. When he wants to embrace Helena passionately, an explosion follows.

Homunculus is created; this is precisely the human astral body. This astral body is to receive a physical body. Goethe has him guided down to the ancient Greek philosophers. He wants to have the “thoroughly practical” for the astral soul. Now he is to learn from the Greek philosophers how to come into being and develop. The entire development through stones, plants and up to the human being is then described. The process of passing through the plant kingdom is aptly described as “it grunts so”. Finally, we see the possibility arise that the body connects with the soul when Eros comes. Homunculus is dashed to pieces against the shell carriage of Galathea; as a spirit he no longer exists, he has connected with the elements.

In the great world poem, we see how Goethe embodied his view in it. Goethe describes his view differently in the fairy tale of the green snake and the beautiful lily. The way the “fairy tale” was created should make it clear that what is expressed here is possible. During the time of their friendship, Goethe and Schiller published the Letters on Aesthetic Education as a kind of dowry. Schiller asked Goethe to make a contribution. Goethe wrote to him that he could not express what he had to say in a philosophical way, but that he would present it in a pictorial form. So he wrote the fairy tale of the green snake and the beautiful lily. If we want to understand what Goethe meant by the “fairytale”, we only need to read what Schiller wrote to Goethe at the time. Schiller sees in the realm of beautiful appearance, in the realm of artistic appearance, an intermediate realm that elevates people from the realm of necessity, of sensual nature, to inner freedom. He sees in the artist the person who finds the spiritual in the physical, so that the sensual is spiritualized. In this way, art can help people to rise above the sensual world. It is a means for them to purify and spiritualize their instincts. People may then follow their instincts when they have been so purified that they no longer go against the spirit, so that people cannot help but want the ideal. Goethe presents this in a great image, but one that is drawn from infinite depths. In the will-o'-the-wisp in the fairy tale, who cross a river and have to promise the ferryman to pay for their journey with three onions, three artichokes and three cabbages, we recognize the lower self of man , the ego nature, which has the potential to develop the three-part, higher, future nature, namely the wisdom nature or manas, the kind nature or budhi, piety and the strength nature or atma, strength. The development of man to this higher trinity is called initiation, which is carried out in the mysteries. Gradually, in the great process of evolution of humanity, all people will become initiates.

In all esotericism, water is used to describe the astral world.

Human soul, how like thou art to water!

says Goethe. There are two types of human nature: one that acquires wisdom in selfishness, the other that acquires wisdom by working from experience to experience. If the astral — the river — is to accept the gold, the wisdom acquired in vanity, then it will flare up. In esotericism, the original is represented by the lotus flowers, by something that can be peeled off so that a germ remains. The will-o'-the-wisps represent the human ego that only wants to shine; the snake represents the human ego that identifies itself with wisdom. Goethe once said:

If the eye were not solar
How could we see the light?

When the snake glows from within, it can enter the temple, where humanity acquires the three highest goods, which are represented by three kings: wisdom, piety or beauty and strength. The old man with the lamp represents the way in which most people are now enlightened. Religion is symbolized by the old man's wife. The beautiful lily represents the eternal, which man can only attain when he has been purified. The highest kills all that is living and immature. But through mystical death, man attains the highest spiritual gifts. In this fairy tale, Goethe has embedded the deepest truths of esotericism. In it, he shows how man attains the highest goods of humanity through the sacrifice of his lower nature. The same idea is expressed in the saying that appears in the West-Eastern Divan, in the poem that begins:

Tell no one, only the wise,
Because the crowd would scoff.

In the end, he speaks of the sacrifice of the lower nature and the spiritual rebirth of man:

And so long as you do not have this,
this: Die and become!
If you are only a dull guest
on the dark earth.

Speech Exercise:

In the vast unmeasured world-wide spaces,
In the endless stream of time,
In the depths of human soul-life,
In the world’s great revelations:
Seek the unfolding of life’s great mystery.

RUDOLF STEINER: The first four sentences have a ring of expectation, and the last line is a complete fulfillment of the first four. Now let’s return to the other speech exercise:

Proxy prized
bather broomstick
polka pushing
beady basket
prudent pertness
bearskin bristled

RUDOLF STEINER: You can learn a great deal from this. And now we will repeat the sentence:

Dart may these boats through darkening gloaming

RUDOLF STEINER: Also there is a similar exercise I would like to point out that has more feeling in it. It consists of four lines, which I will dictate to you later. The touch of feeling should be expressed more in the first line:

Lulling leader limply
liplessly laughing
loppety lumpety
lackety lout

RUDOLF STEINER: You must imagine that you have a green frog in front of you, and it is looking at you with lips apart, with its mouth wide open, and you speak to the frog in the words of the last three lines. In the first line, however, you tell it to lisp the lovely lyrics “Lulling leader limply.” This line must be spoken with humorous feeling; you really expect this of the frog.

And now I will read you a piece of prose, one of Lessing’s fables.¹

The Oak

One stormy night the raging north wind pitted its strength against a magnificent oak, which now lay on the ground. A number of low bushes lay shattered beneath it. A fox, whose lair was not far away, saw it next morning. “What a tree!” he cried, “I never would have thought it had been so big!”

RUDOLF STEINER: What is the moral of this fable?

Someone suggested: That it is not until someone is dead that we see how great that person was. Another suggested: That, until the great are overthrown, the small do not recognize what they were.

Rudolf Steiner: But why then choose the fox, who is so cunning?

Because the cunning of the fox cannot compare with the magnificence of the tree.

RUDOLF STEINER: In which sentence would you find the moral of the fable in relation to the cunning of the fox? “I never would have thought it was so big!” The point is, he had never even looked up; he had run round the bottom of the trunk, which was the only part of the tree he had noticed, and here the tree had only taken up a small space. Despite cunning, the fox had only seen what is visible around the foot of the tree.

Please notice that fables—which by their very nature are enacted in their own special world—can be read realistically, but poems never.

Now the problem I placed before you yesterday brings us something of tremendous importance, because now we must consider what measures to take when we notice that one group of children is less capable than another in one or another subject or lesson. I will ask you to choose from any part of the period between six and fourteen, and to think especially of, let’s say, a group of children who cannot learn to read and write properly, or those who cannot learn natural history or arithmetic, or geometry or singing. Consider what course you will pursue in the class, or in your general treatment of the children, both now and later on, so that you can correct such shortcomings as much as possible.

Several teachers contributed detailed suggestions.

RUDOLF STEINER: The examples you mention might arise partially from general incompetence. On the other hand, it could also be a question of a particular lack of talent. You could have children who are perhaps extraordinarily good at reading and writing, but as soon as they come to arithmetic they do not demonstrate any gift at all for it. Then there are those who are not so bad at arithmetic, but the moment you begin to call on their power of judgment, such as in natural science, their powers are at an end. Then again there are children who have no desire to learn history. It is important to notice these specific difficulties.

Perhaps you can find a remedy in this way: When you notice that a child, right from the beginning, has little talent for reading and writing, you would do well, anyway, to get in touch with the parents and ask them immediately to keep the child off eggs, puddings, and pastry as much as possible. The rest of the diet can remain more or less as it was. When the parents agree to try to provide the child with a really good wholesome diet, however—omitting the items of food mentioned above—they might even cut down on the meat for awhile and give the child plenty of vegetables and nourishing salads. You will then notice that, through a diet like this, the child will make considerable gains in ability. You must take advantage of this improvement, and keep the child very busy when the diet is first changed.

But if you notice that a mere change of diet doesn’t help much, then, after you have talked it over with the parents, try for a short while, perhaps a week, to keep the child entirely without food for the whole morning, or at least the first part of the morning when the child should be learning to read and write—to allow learning on an empty stomach—or maybe give the child the minimum of food. (You should not continue too long with this method; you must alternate it with normal eating.) You must make good use of this time, however, when the capacities will most certainly be revealed, and the child will show greater ability and be more receptive to what you are teaching. If you repeat a cure of this kind several times over the year, you will see that the powers of a fairly young child undergo a change. This applies to the first years of school life. I ask you to consider this very seriously.

Generally speaking, you should be very aware that the foolish ways many parents feed their young children contributes greatly to the lessening of their faculties, especially with phlegmatic and sanguine children. Perpetually overfeeding children—and this is somewhat different at the present time,² but you should know these things—stuffing them with eggs, puddings, and starchy foods is one of the things that makes children unwilling to learn and incapable of doing so during the early years of their school life.

A teacher asked about cocoa.

RUDOLF STEINER: Why should children drink cocoa at all? It is not the least bit necessary except to regulate digestion. Things like this are needed sometimes for this purpose, and cocoa is better than other remedies for children whose digestion works too quickly, but it should not be included otherwise in children’s diet. These days children are given many things that are unsuitable for them.

You can experience some very strange things in regard to this. When I was a teacher in the eighties, there was a young child in the house; I did not actually teach him, since I had only the older children; he was a little cousin. He was really a nice lovable child with bright ideas. He could have become a gifted pupil. I saw him a good deal and could observe for myself how witty and gifted the child was. One day at table this little fellow—although he was scarcely two years old—had two little dumplings, and when someone said to him, “Look Hans, now you already have two dumplings,” he was clever enough to answer, “And the third will follow in a minute.” That’s what the little tyke said!

Then another thing: he was very fond of calling people bad names. This did not seem very important to me in a child of that age—he would soon grow out of it. He had gotten into the habit of being particularly abusive to me. One day as I was coming in the door (he was a little older by this time) he stood there and blocked the way. He couldn’t think of any name bad enough for me, so he said: “Here come two donkeys!” That was really very smart of him, wasn’t it?

But the boy was pale; he had very little appetite and was rather thin. So, on the advice of an otherwise excellent doctor, this child was given a small glass of red wine with every meal. I was not responsible for him and had no influence in this extraordinary way of treating a child’s health, but I was very concerned about it. Then in his thirty-second or thirty-third year I saw this individual again; he was a terribly nervous man. When he was not present I enquired what he had been like as a schoolboy. This restless man, although only in his thirties, had become very nervous, and demonstrated the lamentable results of that little glass of red wine given to him with his meals as a boy. He was a gifted child, for a child who says “Here come two donkeys” really shows talent.

Frau Steiner interjected, “What an impudent boy!”

RUDOLF STEINER: We needn’t bother with impudence, but how does this really come about? It’s amazing. He can find no word bad enough, and so he makes use of number to help him. That shows extraordinary talent. But he became a poor scholar and never wanted to learn properly. Thus, because of this method of treatment—giving him wine as a young child—he was completely ruined by the time he was seven years old.

This is what I want to impress upon you at the beginning of our talk today—that, in relation to a child’s gifts and abilities, it is not the least unimportant to consider how to regulate the diet. I would especially ask you, however, to see that the child’s digestion does not suffer. So when it strikes you that there is something wrong with a child’s capacities, you must in some tactful way find out from the parents whether or not the child’s digestion is working properly, and if not you should try to put it in order.

Someone spoke about the children who are not good at arithmetic.

Rudolf Steiner: When you discover a special weakness in arithmetic, it would be good to do this: generally, the other children will have two gymnastics lessons during the week, or one eurythmy lesson and one gymnastics lesson; you can take a group of the children who are not good at arithmetic, and allow them an extra hour or half-hour of eurythmy or gymnastics. This doesn’t have to mean a lot of extra work for you: you can take them with others who are doing the same kind of exercises, but you must try to improve these children’s capacities through gymnastics and eurythmy. First give them rod exercises. Say to them, “Hold the rod in your hand, first in front counting 1, 2, 3, and then behind 1, 2, 3, 4." Each time the child must change the position of the rod, moving it from front to back. A great effort will be made in some way to get the rod around behind at the count of 3. Then add walking: say, 3 steps forward, 5 steps back; 3 steps forward, 4 steps back; 5 steps forward, 3 steps back, and so on. In gymnastics, and also perhaps in eurythmy, try to combine numbers with the children’s movements, so they are required to count while moving. You will find this effective. I have frequently done this with pupils.

But now tell me, why does it have an effect? From what you have already learned, you should be able to form some ideas on this subject.

A teacher commented: Eurythmy movements must be a great help in teaching geometry.

RUDOLF STEINER: But I did not mean geometry. What I said applied to arithmetic, because at the root of arithmetic is consciously willed movement, the sense of movement. When you activate the sense of movement in this way, you quicken a child’s arithmetical powers. You bring something up out of the subconscious that, in such a child, is unwilling to be brought up. Generally speaking, when a child is bad both at arithmetic and geometry, this should be remedied by movement exercises. You can do a great deal for a child’s progress in geometry with varied and inventive eurythmy exercises, and also through rod exercises.

Comment: Where difficulties exist in pronunciation, the connection between speech and music should be considered.

RUDOLF STEINER: Most cases of poor pronunciation are due to defective hearing.

Comment: Sanguine students do not follow geography lessons very well because their ideas are vague. I recommend taking small portions of a map as subjects for drawing.

RUDOLF STEINER: When you make your geography lessons truly graphic, when you describe the countries clearly and show the distribution of vegetation, and describe the products of the earth in the different countries, making your lessons thoroughly alive in this way, you are not likely to find your students dull in this subject. And when you further enliven the geography lessons by first describing a country, then drawing it—allowing the children, to draw it on the board and sketch in the rivers, mountains, distribution of vegetation, forest, and meadow land, and then read travel books with your pupils—when you do all this you find that you usually have very few dull scholars; and what’s more, you can use your geography lessons to arouse the enthusiasm of your pupils and to stir up new capacities within them. If you can make geography itself interesting you will indeed notice that other capacities are aroused also in your pupils.

Comment: I have been thinking about this problem in relation to the first three grades. I would be strict with lazy children and try to awaken their ambition. In certain cases children must be told that they might have to go through the year’s work a second time. Emulation and ambition must be aroused.

RUDOLF STEINER: I wouldn’t recommend you to give much credit to ambition, which cannot generally be aroused in children. In the earliest school years you can make good use of the methods you suggest, but without overemphasizing ambition, because you would then later have to help the child to get rid of it again. But you must primarily consider food and diet, and I need to say this again and again.

Perhaps the friends who speak next will consider the fact that there are many children who in later life have no power of perceiving or remembering natural objects properly. A teacher may despair over some pupils who can never remember which among a number of minerals is a malachite or a hornblende, or even an emerald—who really have no idea of how to comprehend natural objects and recognize them again. The same is true also in relation to plants and animals. Please keep this in mind also.

Comment: I have noticed that with the youngest children you often find some who are backward in arithmetic. I like best to illustrate everything to them with the fingers, or pieces of paper, balls, or buttons. One can also divide the class without the children knowing anything about it; they are divided into two groups, the gifted ones and the weaker ones. We then take the weaker ones alone so that the gifted children are not kept back.

RUDOLF STEINER: In that case, Newton, Helmholtz, and Julius Robert Mayer would have been among the backward ones!

That doesn’t matter.

RUDOLF STEINER: You are right. It doesn’t matter at all. Even Schiller would have been among the weaker ones. And according to Robert Hamerling’s teaching certificate, he passed well in practically everything except German composition; his marks for that subject were below average!³

We have heard how eurythmy can help, and now Miss F. will tell us how she thinks eurythmy can be developed for the obstinate children, for they too must learn eurythmy.

RUDOLF STEINER: These suggestions are all very good. With regard to the children who resist doing eurythmy, there is still another way to get them to take pleasure in it. Besides allowing them to watch eurythmy frequently, try to take photographs of various eurythmy positions. These must be simplified so that the child will get visual images of the human being doing eurythmy forms. Pictures of this kind will make an impression on the children and kindle their abilities in eurythmy. That was why I asked Miss W. to take pictures of this kind (I don’t mean mere reproductions of eurythmy positions, but transformed into simple patterns of movement that have an artistic effect). These could be combined to show children the beauty of line. You would then discover an exceptionally interesting psychological fact—that children could perceive the beauty of line that they produced themselves in eurythmy, without becoming vain and coy. Although children are likely to become vain if their attention is drawn to what they have themselves done, this is not the case in eurythmy. In eurythmy, therefore, you can also cultivate a perception of line that can be used to enhance the feeling of self without awakening vanity and coquettishness.

Someone spoke of how he would explain the electric generator to children. He would try to emphasize in every possible way what would show the fundamental phenomenon most clearly.

RUDOLF STEINER: That is a very important principle, and it is also applicable to other subjects. It is a good principle for teaching, but to a certain extent it applies to all children in the physics lessons. It has no direct connection with the question of dealing with backward pupils. In physics the backward ones, especially the girls, are certain to put up a certain amount of opposition, even when you show them a process of this kind.

Question: Since food plays such a very important role, would Dr. Steiner tell us more about the effect of different foods on the body.

RUDOLF STEINER: I have already spoken of this, and you can also find many references in my lectures. It would perhaps lead us too far afield today to go into all the details of this subject, but most of all one should avoid giving children such things as tea and coffee.

The effect of tea on our thoughts is that they do not want to cohere; they flee from one another. For this reason tea is very good for diplomats, whose job in life is just to keep talking, with no desire to develop one thought logically out of another. You should avoid sending children’s thoughts into flight by allowing them to indulge in tea.

Neither is coffee good for children, because it disposes them to become too pedantic. Coffee is a well-known expedient for journalists, because with its help they can squeeze one thought out of another, as it were. This would not be the right thing for children, because their thoughts should arise naturally, one from another. Coffee and tea are among the things to be avoided. The green parts of a plant and also milk may be considered especially important food for children, and they should have white meat only, as far as possible.

Comment: When a child has difficulty in understanding, the teacher should offer a great deal of individual help, and should also inquire about how the child does in other subjects; but if too much time is spent with the duller children, the difficulty would arise that the others are left unoccupied.

RUDOLF STEINER: Please do not overestimate what the other children lose because of your work with the less gifted ones. As a rule, not much is lost provided that, while you present a subject properly for the duller children, you also succeed in getting the brighter ones to pay attention to it also. There is really then no serious loss for the more talented children. When you have a right feeling for the way in which a subject should be introduced for the weaker ones, then in one way or another the others will profit by it.

Comment: Whenever there is lack of interest, I would always have recourse to artistic impressions. I know of one child who cannot remember the forms of different minerals—in fact he finds it difficult to form a mental image of any type of formation. Such children cannot remember melodies either.

RUDOLF STEINER: You have discovered the particular difficulty found in children who have no perception of forms and no power of retaining them in memory. But you must distinguish between forms related to the organic world and those connected with minerals, which in fact run parallel to the forms of melodies. The important thing is that here we touch on a very, very radical defect, a great defect in the development of the child, and you must consider seriously how this defect can be fundamentally healed. There is an excellent way of helping these children to remember organic forms in nature—the forms of plants and animals; draw caricatures for them that emphasize the characteristics of a particular animal or plant. These drawings must not be ugly or in bad taste, but artistic and striking; now have the children try to remember these caricatures so that, in this roundabout way through caricature, they begin to find it easier to remember the actual forms. You could, for example, draw a mouse for them like this. Give it teeth and whiskers too if you like!

Then there is also another way of possibly helping children to grasp forms: have them understand from inside what they cannot grasp from outside. Let’s suppose, for example, that a child cannot understand a parallelepiped from outside.⁴ The child cannot remember this form. You say to the child: imagine you are a tiny little elf, and that you could stand inside of this form as if it were a room. You allow the child to grasp from inside what cannot be understood from outside. This the child can do. But you must repeat this again and again.

With forms of this kind, which also appear in minerals, this is relatively easy to do, but it is not as easy when it comes to perceiving color or any other quality of the mineral. In that case you can help the child to understand merely by letting the imagination see that a small thing is very large indeed. Have the child repeatedly try to picture some little yellow crystal as a gigantic crystallized form.

When you are dealing with the element of time, however—in music, for example—it is not such an easy matter. Let us for the moment suppose that you have not yet made any progress in improving the children’s grasp of spatial forms. Now, however, if you want to use caricature in musical form, you will only succeed when you introduce an arithmetical process, making the intervals infinitely larger and drawing out each sound for a very long time; thus by greatly increasing the time between each sound, you can produce the melody on a much larger scale, which will have an astonishing effect on the children. In this way you will achieve something, but otherwise you will not be able to effect much improvement.

Questions for tomorrow:

1. How can I treat the higher plants from a natural-scientific viewpoint in the same spirit shown yesterday for the animals, for cuttlefish, mouse, and human beings?⁵

2. How can I introduce mushrooms, mosses, and lichens into these lessons?

These two questions can perhaps be answered together. It is a case of applying the same methods for the plants as those I spoke of yesterday. It is not a question of object lessons, but of the proper teaching after the ninth year, when natural history is introduced into the curriculum.

• 1. Gotthold Ephraim Lessing (1729–1781), German dramatist, poet, critic, editor, and translator.
• 2. Due to the food shortages in Germany in 1919.
• 3. Robert Hamerling (1830–1889) was a distinguished German poet and a personal friend of Rudolf Steiner.
• 4. A parallelepiped is a solid with six sides, all of which are parallelograms.
• 5. See Practical Advice to Teachers, lecture 7.

Today I would like to examine certain other aspects of our subject.

I have often dealt with the genius of language, and you know from my book Theosophy that we refer to real spiritual entities when we speak of spiritual beings in an anthroposophical context. Thus “genius of language” designates the spiritual entity behind any specific language, an entity with whom man can become familiar and through whom he can receive, from the spiritual world, strength to express his thoughts which, at the outset, are present in his earthly self as a dead heritage from that higher world. It is, therefore, appropriate for anthroposophical students to seek, in the formation of language, a meaning which is independent of man because rooted in the spirit.

I have already drawn attention to the peculiar way the German language designates the beautiful and its opposite. We speak of the opposite of the beautiful (das Schoene) as the ugly or hateful (das Haessliche). Were we to denote the beautiful in the same way we would call it—since the opposite of hate is love—the lovely or loving. As it is, we make a significant difference. In German the word beautiful (das Schoene) is related to shining (das Scheinende). The beautiful shines; brings its inner nature to the surface. It is the distinguishing quality of the beautiful not to hide itself, but to carry its essence into outer configuration. Thus beauty reveals inwardness through outer form; a shining radiates outward into the world. If we were to speak, in this sense, of beauty's opposite, we would call it the concealed or non-radiant, that which holds back its being, refusing to disclose it in any outer sheath. To put it another way, “the beautiful” designates something objective. If we were to treat its opposite just as objectively, we would have to speak of concealment, of something whose outer aspect belies what it really is. But here subjectivity enters, for we cannot love what conceals itself, showing a false countenance; we must hate it. In this way the ugly calls up quite a different emotional reaction than the beautiful; we do not respond to it out of the same recesses of our nature.

Thus the genius of language reveals itself. And we should ask: When in the broadest sense we strive for the beautiful in art, what is our goal? The very fact that the German word for “beautiful” proceeds outward (as its opposite suggests a remaining within our emotions, our hate) means that the beautiful bears a relation to the spiritual outside us. For what shines? What we apprehend with our senses does not need to shine for us; it exists. It is the spiritual that shines, radiating into the sensory, proclaiming its being even in the sensory. By speaking objectively of the beautiful, we take hold of it as a spiritual element which reveals itself in the world through art. The task of art is to take hold of the shining, the radiance, the manifestation, of that which as spirit weaves and lives throughout the world. All genuine art seeks the spirit. Even when art wishes to represent the ugly, the disagreeable, it is concerned, not with the sensory-disagreeable as such, but with the spiritual which proclaims its nature in the midst of unpleasantness. If the spiritual shines through the ugly, even the ugly becomes beautiful. In art it is upon a relation to the spiritual that beauty depends.

Proceeding from this truth, let us consider one of the arts: painting. Recently we dealt with it insofar as it reveals the spiritual-essential through shining color. In ancient times man, by surrendering in the right way to the genius of language, showed his inner knowledge of color in his vocabulary. When an instinctive clairvoyance prevailed, he felt that metals revealed their inner natures in their colors, therefore gave them, not earthly names, but names connecting them with the planets. Otherwise people would have felt ashamed. For man looked upon color as a divine-spiritual element bestowed upon earthly substances only in the sense of our recent lectures. Perceiving the gold in gold's color, he saw not merely the earthly in that metal but the sun proclaiming itself from the cosmos in its gold color. Indeed, from the very start man saw something transcending the earthly in the colors of earthly objects. But it was only to living things that particular colors were ascribed, for living things approach the spirit in such a way that the spiritual shines forth. Animals were felt to have their own colors because in them the spirit-soul element manifests directly.

In ancient times, when man's artistic sense was not outward but inward, he painted not at all. To paint a tree green is not true painting for the reason that however well one imitates her, nature is still the essential thing; nature is still more beautiful, more vital; it needs no copy. A real painter never imitates. He uses an object as a recipient or focus of the sun, or to observe a color reflex in that object's surroundings, or to catch, above it, an interweaving of light and darkness. In other words, the thing painted is merely an inducement. For example, we never paint a flower standing in front of a window; we paint the light which, shining in at the window, is seen through the flower. We paint the sun's colored light; catch the sun.

In the case of a person, this can be done still more spiritually. To paint a human forehead the way one believes it should look is nonsense; this is not painting. But to observe how the sun rays strike that forehead, how color shows up in the ensuing radiance, how light and darkness intermingle, to capture with one's paint brush all that interplay: this is the task of the painter. Seizing what passes in a moment, he relates it to the spiritual.

If, with a sense for painting, we look at an interior view, the matter of most importance is not the figure or figures therein. I once accompanied a friend to an exhibition where we saw a painting of a man kneeling before an altar, his back toward us. The painter had given himself the task of showing how sunlight falling through a window struck the man's back. My friend remarked that he would much rather see a front view. Well, this was only material, not artistic, interest. He wanted the painter to show the man's character, and so forth. But one is justified in doing this only if one expresses all perceptions through color. If I wish to paint a human being sick in bed with a certain disease, and study his facial color in order to apprehend how illness shines through the sensory, this may be artistic. If I want to show, in totality, the extent to which the whole cosmos manifests in the human flesh color, this may also be artistic. But if I try to imitate Mr. Lehman as he sits here before me, I will not succeed; moreover, this is not the task of art. What is artistic is how the sun illumines him, how light is deflected through his bushy eyebrows. Thus for a painter the important thing is how the whole world acts upon his subject; and his means of holding fast to a transitory moment are light and darkness, the whole spectrum.

In times not so long ago one could not imagine a presentation of Mary, the Mother of God, without a face so transfigured it had passed beyond the ordinary human state; a face overcome by light. One could not imagine her clothed otherwise than in a red garment and blue cloak, because only so is the Mother of God placed rightly into earthly life; the red garment depicting all the emotions of the earthly, the blue cloak the soul element which weaves the spiritual around her; the face permeated and transfigured by spirit, overcome by light as a revelation of the spirit. We do not, however, properly and artistically take hold of these truths if we stop with what I have just described. For I have translated the artistic into the inartistic. We feel them artistically only if we create directly out of red and blue and the light by experiencing the light, in its relationship to colors and darkness, as a world in itself. Then colors speak their own language, and the Virgin Mary is created out of them.

To achieve this one must live with color; color must become emancipated from the heavy matter opposing its innermost nature. Palette colors are alien to true painting in that, when used on a plane surface, they have a down-dragging effect. One cannot live with oil-based colors, only with fluid colors. When a painter puts fluid colors upon a plane, color—owing to the peculiar relationship between man and color—springs to life; he conceives out of color; a world arises out of it. True painting comes into being only if he captures the shining, revealing, radiating element as something living; only if he creates what is to be formed on the plane out of this element. For to understand color is to understand a component part of the world.

Kant once said: Give me matter, and out of it I shall create a world. Well, you could have given him matter endlessly without his ever being able to make a world out of it. But out of the interplaying medium of color a world of sorts can indeed be created, because every color has direct relationship with something spiritual. In the face of present-day materialism, the concept and activity of painting have—except for the beginnings made by impressionism and, still more, by expressionism—been more or less lost.

For the most part modern man does not paint, he imitates figures with a kind of drawing, then colors the surface. But colored surfaces are not painting for the reason that they are not born out of color and light and darkness.

We must not misunderstand things. If somebody goes wild and just lays on colors side by side in the belief that this is what I call “overcoming drawing,” he is mistaken. By “overcoming drawing” I do not mean to do away with drawing, but to let it rise out of the colors, be born from the colors. Colors will yield the drawing; one simply has to know how to live in colors. Living so, an artist develops an ability—while disregarding the rest of the world—to bring forth works of art out of color itself.

Look at Titian's “Ascension of Mary.” This painting stands at the boundary line of the ancient principle of art. The living experience of color one finds in Raphael and, more especially, in Leonardo da Vinci, has departed; only a certain tradition prevents the painter from totally forsaking the living-in-color.

Experience this “Ascension of Mary.” The green, the red, the blue, cry out. Now take the details, the individual colors and their harmonious interaction, and you will feel how Titian lived in the element of color and how, in this instance, he really created out of it all three worlds.

Look at the wonderful build-up of those worlds. Below, he has created out of color the Apostles experiencing the event of Mary's ascension. One sees in the colors how these men are anchored to the earth; colors which convey, not heaviness in the lower part of the painting, only a darkness which fetters the watching ones to earth. In the color-treatment of Mary one experiences the intermediate realm. A dull darkness from below connects her feet and legs with the earth; while, above her, light preponderates. This third and highest realm receives her head and radiates above it in full light, lifting it up. Thus are set forth, through inner color experience, the three stages of lower realm, middle realm, and the heights where Mary is being received by God the Father.

To understand this picture we must forget everything else and look at it solely from the standpoint of color, for here the three stages of the world are derived from color not intellectually but artistically. True painting takes hold of this world of effulgent shining, of splendid manifestation in light and darkness and color, in order to contrast what is earthly-material with the artistic. But the artistic is not permitted to reach the spiritual. Otherwise it would be not “shine” but wisdom. For wisdom is no longer artistic, wisdom leads into the formless and therefore undepictable realm of the divine.

With artistry like Titian's in “The Ascension of Mary,” we feel, on beholding the reception of Mary's head by God the Father, that now we must go no further in the treatment of light; we must halt. For we have reached the limit of the possible. To carry it further would be to fall into the intellectualistic, the inartistic. We must not make one stroke beyond what is indicated by light, rather than contour. The moment we insist on contour, we become intellectualistic, inartistic. Near the top this picture is in danger of becoming inartistic. The painters immediately after Titian fell prey to this danger. Look at the depiction of angels right up to the time of Titian. They are painted in heavenly regions. But look how carefully the painters avoided leaving the realm of color. Always you can ask yourself in regard to these angels of the pre-Titian age, and of Titian too: Couldn't they be clouds? If you cannot do that, if there is no uncertainty about existence, being, or semblance, shine, if there is an attempt fully to delineate the essence of the spiritual, artistry ceases.

In the seventeenth century it was otherwise, for materialism affects the presentation of the spiritual. Now angels began to be painted with all kinds of foreshortenings, and one can no longer ask: Couldn't that be clouds? When reason is active, artistry dies.

Again, look at the Apostles below: one has a feeling that in this “Ascension of Mary” only Mary is really artistic. Above, there is the danger of passing into the formlessness of pure wisdom. If one attains the formless one attains, in a certain sense, the zenith of the artistic. One has dared to press forward boldly to the abyss where art ceases, where the colors disappear in light, and where, if one were to proceed, one could only draw. But drawing is not painting. Thus the upper part of the picture approaches the realm of wisdom. And the more one is able to express, in the sensory world, this wisdom-filled realm, and the more the angels might be taken for billowy clouds shimmering in light, the greater the art.

Proceeding from the bottom of the picture to the really beautiful, to Mary herself rising into the realm of wisdom, we see that Titian was able to paint her beautifully because she has not yet arrived at, but only soars up toward, the realm of wisdom; and we feel that, were she to rise still higher, she must enter where art ceases. Below stand the Apostles. Here the artist has tried to express their earth-fettered character. But now a different danger threatens. Had he placed Mary further down, he could not have depicted her inward beauty. If Mary were to sit among the Apostles, she could not appear as she does as a kind of balance between heaven and earth; she would look different. She simply does not fit among the Apostles with their brownish tones. Not only are they subject to earthly gravity; something else has entered: the element of drawing takes hold. This you can see in Titian's picture. Why is it so?

Well, brown having already left the realm of color, it cannot express Mary's beauty; something not belonging entirely to the realm of the beautiful would be injected. If Mary stood or sat among the Apostles and were colored as they are, it would be a great offense. I am now speaking only of this picture and do not maintain that when standing on earth Mary must be in every instance, artistically speaking, an offense. But in this picture it would be a blow in the face if Mary stood below. Why?

Because if she stood there colored like the Apostles we would have to say that the artist presented her as virtuous. This is the way he presents the Apostles; we cannot conceive of them otherwise than looking upward in their virtue. But this for Mary would he inappropriate. With her, virtue is so self-evident that we must not express it. It would be like presenting God as virtuous. If something is self-evident, if it has become the being itself, we must not express it in mere outer semblance. Therefore Mary soars up into a region beyond all virtues, where we cannot say of her, through colors, that she is virtuous, any more than we can say of God that He is virtuous. He may, at most, be virtue itself. But this is an abstract, philosophical statement having nothing to do with art. With the Apostles, however, the artist succeeded in representing, through his color treatment, virtuous human beings. They are virtuous.

Let us look at how the genius of language reflects this truth. Tugend (virtue, in German) is related to taugen (to be fit, in German). To be fit, to be able to cope with something morally, is to be virtuous. Goethe speaks of a triad: wisdom, semblance and power. Art is the middle term: semblance, the beautiful; wisdom is formless knowledge; virtue is power to carry out worthwhile things effectively.¹

Since ancient times this triad has been revered. Once, years ago, a man said to me—and I could appreciate his point of view—that he was sick and tired of hearing people speak of the true, the beautiful and the good, for anyone in search of an idealistic expression mouthed the phrase. But in ancient times these realities were experienced not externally but with complete soul participation. Thus in the upper region of Titian's picture we see wisdom not yet transcendent, radiating artistically because of the way it is painted. In the middle, beauty; below, virtue, that which is fit. What is the inner nature of the fit? Here is manifest the genius, the profundity, of the languages active among men. If we proceeded in an exterior way we might be reminded of a certain hunchback who went to church and listened to a priest describing quite externally how everything in the world is good and beautiful and fit. Waiting at the church door, the hunchback asked the priest: You said the idea of everything is good—have I, too, a good shape? The priest replied: For a hunchback you have a very good shape.

If things are considered as externally as this, we shall never penetrate to the depths. In many fields modern observation proceeds so. Filled with external characteristics and definitions, men do not know that their ideas turn round and round in circles.

In respect to virtue it is not a question of fitness for just anything, but of fitness for something spiritual, so that a person places himself into the spiritual world as a human being. Whoever is a complete human being by reason of his bringing the spiritual not merely to manifestation but to full realization through his will is—in the true sense—virtuous. Here we enter a region which lies within the human and religious, but no longer within the artistic, sphere, and least of all within the sphere of the beautiful. Everything in the world contains a polarity. Thus we can say of Titian's picture: Above Mary he is in danger of passing beyond the beautiful, there where he reaches the abyss of wisdom. Below, he comes to the brink of the other abyss. For as soon as a painter represents the virtuous, meaning that which man realizes through his own being, out of the spiritual, he again leaves behind the beautiful, the artistic. The virtuous human being can be painted only by characterizing virtue in its outer appearance, let us say by contrasting it with vice. But an artistic presentation of virtue as such is no longer possible.

Where in our age do we not forsake the artistic? Simple life conditions are reproduced crudely, naturalistically, without any relation to the spiritual, and without this relation there is no art. Hence the striving of impressionism and expressionism to return to the spiritual. Though in many cases clumsy, tentative, exploratory, it is better than the inartistic copying of a model.

Furthermore, if one grasps the concept of the artistically-beautiful, one can deal with the tragic in its artistic manifestations. The human being who acts in accordance with his thoughts, who lives his life intellectualistically, can never become really tragic. Nor can the human being who leads an entirely virtuous life. The only tragic person is one who in some way leans toward the daimonic, that is to say, toward the spiritual, whether in a good or bad sense. Today in this age when man is in the process of becoming free, daimonic man, that is man under the influence of tutelary spirits, is an anachronism. That man should outgrow the daimonic and become free is the whole meaning of the fifth post-Atlantean age. But as he progresses in freedom the possibility of tragedy diminishes and finally ceases. Take ancient tragic characters, even most of Shakespeare's: they have a daimonism which leads to the tragic. Wherever man had the appearance of the daimonic-spiritual, wherever the daimonic-spiritual radiated and manifested through him, wherever he became its medium, tragedy was possible. In this sense the tragic will have to taper off now; a free mankind must rid itself of tutelary spirits. This it has not yet done. On the contrary, it is more and more falling prey to such forces.

But the great task and mission of the age is to pull human beings away from the daimonic towards freedom. The irony is that the more we get rid of the inner daimons which make us tragic personalities, the less do we get rid of external ones. For the moment modern man enters into relation with the outer world, he encounters something of the nature of daimons. Our thoughts must become freer and freer. And if, as I say in The Philosophy of Spiritual Activity, thoughts become will impulses, then the will also becomes free. These are polaric contrasts in freedom: free thoughts, free will.

Between lies that part of human nature which is connected with karma. And just as once upon a time the daimonic led to tragedy, so now the experiencing of karma can lead to inmost tragedy. Tragedy will flourish when man experiences karma. As long as we live in our thoughts we are free. But the words with which we have clothed our thoughts, once spoken or written, no longer belong to us. What may happen to a word I have uttered! Having absorbed it, somebody else surrounds it with different emotions and sensations, and thus the word lives on. As it flies through the world it becomes a power proceeding from man himself. This is his karma. Because it connects him with the earth, it may burst in on him again. Even the word which leads its own existence because it belongs not to us but to the genius of language may create the tragic. Just in our present time we see mankind at the inception of tragic situations through an overestimation of language, of the word. Peoples wish to separate themselves according to language, and their desire provides the basis for the gigantic tragedy which during this very century will break in upon the earth. This is the tragedy of karma. If past tragedy is that of daimonology, future tragedy will be that of karma.

Art is eternal; its forms change. And if in everything artistic there is some relationship to the spiritual, you will understand that with the artistic we place ourselves, creatively or through enjoyment, in the spirit world. A real artist may create his picture in a lonely desert. He does not worry about who will look at his picture or whether anybody at all will look at it, for he creates within a divine-spiritual community. Gods look over his shoulder; he creates in their company. What does he care whether or not anybody admires his picture. A person may be an artist in complete loneliness. Yet he cannot become one without bringing, by means of his creation, something spiritual into the world, so that it lives in the spirituality of the world. If one forgets this basic connection, art becomes non-art.

To create artistically is possible only if the work has a relationship to the world. Those ancient artists who painted pictures on the walls of churches were conscious of this fact; they knew that their murals stood within earth life insofar as this is permeated by the spirit; that they guided believers.

One can hardly imagine anything worse than painting for exhibitions. It is horrible to walk through a picture or sculpture gallery where completely unrelated subjects appear side by side. Painting lost meaning when it passed from something for church or home to an isolated phenomenon. If we paint or view a picture in a frame, we can imagine ourselves looking out through a window. But to paint for exhibitions—this is beyond discussion. An age which sees value in exhibitions has lost its connection with art. By this can be seen how much waits to be done in culture if we would find our way back to the spiritual-artistic. Exhibitions must be overcome. Of course some individual artists detest exhibitions. But today we live in an age when the individual cannot achieve very much unless his judgment grows out of a world-conception permeating fully free human beings; just as world-conceptions permeating people in less free ages led to the rise of genuine cultures. Today we have no real culture.

Only a spiritual world-conception can build up true culture, the indubitably artistic.

• 1. The English word virtue, derived from the Latin vir, man, carries a similar connotation of power. (Translators)

In the short lecture before the eurythmy performance this morning, I pointed out how modern man’s relation to the celebration of the festivals has gotten ever deeper into materialism. Of course, in order to see this a much deeper view of materialism must be taken. The most threatening symptom is not that man is infected by materialism but he is infected by the superficiality of our time, and this is far more dangerous.

This superficiality exists not only in relation to the spiritual views of the world, but also in relation to materialism itself. One usually only pays attention to its most superficial phenomena. In this regard I pointed out this afternoon, for example how, in olden times people were still receptive to the moods which could be experienced in the course of the year and which came to be expressed in the festival celebrations. These moods were embodied in the winter solstice festival, the spring festival, the St. John’s festival and the Michael festival—these were embodied in ritual-like celebrations in which these moods were embedded, and they took hold of man as he consciously experienced the course of the year.

Thereby something was given to the soul which today is only given to man’s body. We all still participate in the course of the day. When the sun sends its golden rays announcing the dawn we eat our breakfast. When it is at its highest point and pours out its warmth and light with special love over mankind, we eat lunch, and so on through midday, snack, and supper. In those daily festival events, we accompany the course of the sun through the day by co-experiencing in our souls the fiery trip of the sun around the world. We participate in this fiery ride around the world by overcoming the craving for food with the contentment of feeling satiated. And so the mood for the physical organism exists in a very decided and definite way at different times of the day. We can call breakfast, snack, dinner, snack, supper, the festivals of the day. The human physical organism accompanies what takes place between earth and cosmos.

In a similar way the course of the year was experienced intensively in the soul in olden times through instinctive clairvoyance. Actually, certain things played from one sphere over into the other. You need but remember what has been left as remnants of these festivals: Easter eggs, stuffed geese, etc. The lower bodily region plays into the soul region which ought also to experience the course of the year. Well, the easiest way to stimulate interest in the course of the year in our materialistic time would be by making available—I do not want to say “Easter eggs”,—but “stuffed turkeys.”

But this is not the way it was meant in olden times with regard to festival moods. They were attuned, rather, to soul-hunger and soul satisfaction. The soul of man needed something different at Christmas, Easter, St. John’s, and Michaelmas time. And one can really compare the content of the celebration to a kind of satisfying the hunger of the soul at different seasons.

So as we look at the daily path of the sun, we can say that it is related to what serves the needs of the body; as we look at the yearly course of the sun, we can say that it is related to what serves the needs of the soul.

If festivals are to become alive again, it would have to happen out of a much more conscious condition, out of an awakening of the soul as it is striven for in anthroposophical endeavors. We cannot just base a renewal of the Festivals on old history; we would have to rediscover them through a new knowledge, a new world-conception, out of our own soul-being. But, besides the body and soul, we also differentiate the human spirit.

However, for modern man it is already difficult enough to have a clear picture when someone speaks of the soul. Everything becomes a sort of indefinite fog. Already in the nineteenth century when they began to speak of psychology, they began to speak of a soul-science without a soul. Fritz Mauthner, the great language critic, found that we really do not know anything about the soul, we only experience something indefinite, certain thoughts and feelings, but really nothing of a soul reality. We ought not, therefore, to use in the future the world “soul” but “dis-soul” (Geseel). Mauthner advises, that in the future, when a poet intends to write a real work he ought not to say: “Sing immortal Soul, the sinful man’s redemption,” but rather, “Sing immortal What-cha-macall-it, the sinful men’s redemption”—if in the future it still would make sense to speak of something like that.

Today we can really say that modern man knows nothing more of the connection of his soul with the sun’s yearly course. He became a materialist in this region, also. He sticks to the festivals of the body which follow the daily course of the sun. The festivals are celebrated out of traditional habits but no longer experienced. Yet we have, besides a body, also a soul, and yes, also a spirit.

Let us now take into consideration the historical epochs. Those epochs, which reach far beyond the course of the year, encompassing centuries, are co-experienced by the human spirit, if it experiences them at all. In olden times they were most certainly experienced. He who knows how to enter, carried by the spirit, into the way the course of time was followed in the past knows how it was said: at this or that time some personality appeared out of the heights of the world and revealed the spirit again. And this spirit entered as the sunlight enters the physical. If such an epoch then entered its twilight phase, something new appeared.

Historical epochs are related to the evolution of the human spirit, as the course of the sun through the year is related to the soul evolution. Of course, wherever such metamorphoses, such changes in spirit evolution occur, it must happen through fully conscious cognition. Today, one would like to ignore such metamorphoses completely. One is outwardly touched by the effects, but one does not wish to consider seriously those changes emanating from the spirit which are nevertheless expressed in the outer events.

It would be helpful to pay attention to a certain direction of thinking and feeling appearing in children and young people, which was unknown to earlier generations, and which, when looked at properly in the course of the development of humanity, can really be compared to the course of the year. Therefore it would be good to listen to what the different ages proclaim as a need, to listen to the way in which a new age arises and how human beings demand something different from what might have been demanded in ages gone by. But just for this contemporary man has a very inadequate organ.

When we approach the festival mood in the right way out of a contemporary consciousness, the great relationships of life can again fill our souls. When we, for example, let something like the St. John’s mood really enter our soul, then we try to gain for our soul what will be met by the cosmos.

Certainly, the great world connections have become a matter of indifference for modern mankind. There is no heart for getting to know the great world relations. It is quite evident how the spirit of littleness, narrowness, I would like to say, the spirit of the microscope, the spirit of atomizing appears, which, when mentioned in the way I do, seems paradoxical.

I would like to point to something definite in relation to the St. John’s mood which, however, seems quite far-fetched. What is more obvious (even if one has not developed an organ for the course of the year) than the impression of growing plants, growing trees: when spring comes, things sprout, grow, everything goes from leaf to blossom. All this growing makes the impression as though the cosmos, with its sun forces, calls upon the earth to open itself to the cosmos, and this happens at St. John’s time.

Then begins a retreat of the sprouting, and we approach the time when the earth collects the growing forces into itself, when the earth withdraws from the cosmos. How obvious it is that from the received impressions one gets the picture that the snow-cover belongs to winter, when the being of the plants crawls, so to speak, into the earth; that it belongs to summer for the plants to grow towards the cosmos. What is more natural than to get this idea—although in a deeper sense the opposite is correct—that the plants sleep in winter and wake in summer.

I do not wish to speak now about the correctness of this sleeping and waking. I wish to speak only of the impression one receives, which leads to the thought that summer belongs to growing vegetation, and winter to the withdrawal of growth. In any case, a kind of world-feeling develops in which one is engaged in relating to the warming, bright force of the sun when seeing this force again in the greening, blossoming plant-cover of earth, and immersing into the feeling of being an earthly hermit with regard to the cosmos when the plant cover is replaced with snow in winter. In short, by so feeling, one tears oneself free with one’s consciousness from earth existence. One places oneself in a larger relation to the universe.

Now comes modern research—and what I am saying now is in no way critical, on the contrary—now comes modern research and shrugs its shoulders whenever great cosmic connections are referred to. Why should one feel elevated to divine radiating warming forces of the sun when the trees are shooting, becoming green, when earth covers itself with a cover of plants? Why should one have to sense a cosmic relation on seeing this plant cover? It is disturbing. One cannot bring such sentiments into harmony with a materialistic consciousness. Plant is plant. It seems like stubborness of the plant to blossom only in spring, or to be ready in summer to bear fruit. How does this actually work? One is supposed to be concerned not only with the plant but with the whole world? If one is to feel, to know, one is supposed to be concerned with the whole world, not only with the plant? That doesn’t sit right. Is one not already making an effort to avoid dealing with substances existing in powder or crystal forms, but rather just to deal with atomic structures, atomic cores, with electromagnetic fields, etc.? One tries to deal with something enclosed, not with something that points in so many directions. In the case of the plant is one supposed to admit that a sensing is needed that reaches to the whole cosmos? It is really awful if one cannot narrow one’s view to a singular object! One is used to, when using the microscope, to have everything limited to a narrow view. Everything takes place in the small enclosure. It must be possible to look at a plant by itself, not in connection to the whole cosmos!

And look, at the turn of the nineteenth to the twentieth century the scientists succeeded to an extraordinary degree in this region. It was known, of course, from some plants in hothouses, greenhouses, that the mere summer and winter aspects of the plant could be overcome. But on the whole, not enough could be discovered about the plant needing a certain winter rest. Discussions about tropical plants occurred. The researcher, who did not want to know about plants being connected with the cosmos, maintained that the tropical plant grows throughout the year. The others, more conservative, said: one thinks this because plants have their winter rest at different times, some only for eight days. This being so, makes it imperceptible when a certain species is dormant. Long detailed discussions concerning tropical plants took place. In short, one became aware of a tremendous discomfort concerning the relation of plants to the cosmos.

But the most interesting and grandiose experiments in this direction were made exactly at the turn of the nineteenth to the twentieth century, when one succeeded in driving the stubborness out of the plants in the case of a great number of not only annuals, but also trees, which are much stronger: to drive out the cosmic stubborness from the plant. It was possible to do this in plants known as annuals by creating certain conditions. In the case of most of the trees growing in the temperate zone, conditions could be established which caused them to remain green all year round, to give up their winter sleep. This then provided the basis for certain materialistic explanations. In this way really magnificent accomplishments were achieved.

It was discovered that the cosmic element could be driven out of trees if they were brought into enclosed spaces, given enough nourishing minerals, making it possible that plants in winter-time, when the soil is poor in minerals, can find this nourishment. If enough moisture, warmth, and light is supplied, the trees will grow. However, one tree in Central Europe was defiant: the Blood Beech. It was approached from all sides to give up its independence and subjected to isolation in a prison. It was provided with everything necessary, but remained stubborn, and demanded nevertheless its winter rest. But it was the only one that still resisted.

And now we must record that in the twentieth century, in 1914, the beginning of the war, another great historical event occurred: the immense, mighty accomplishment of the most capable researcher, Klebs, who was able to compel the Blood Beech to give up its independence. He simply was able to bring it into an enclosed space, provide the necessary nutrients, warmth and light, which could be measured, and the Blood Beech submitted to the demands of research.

I am not mentioning this phenomenon in order to criticize it, for who can help but wonder at this most diligent scientific labor. Besides, it would be silly to try to disprove the facts. They exist and are there. It is not a matter of agreeing or disagreeing, but something quite different.

Why should it not be possible if somewhere on neutral ground the necessary condition for hair-growing existed, to grow hair outside the human or animal realms? Why not? One need only bring about the conditions. I know many would rather have hair growing on their heads than in some culture, but we can imagine it to be possible. Then it would no longer be necessary to bring anything that happens on earth together with what happens in the cosmos.

With all due respect to research, one must look deeper. Aside from what I said recently about the being of the elements, I would like to say something more today. One must be clear that, for example, the following is the case: we know that once earth and sun were one body. Of course this is long ago, during the Saturn and Sun periods. Then there was also a short repetition of those periods during the Earth period. But something remains behind which still belongs there. And this we bring forth again today. And we bring it forth from the repetitious condition on earth not only by heating our rooms with coal, but we bring it forth by using electricity. For, what remains from those times after Old Saturn and Old Sun, when the sun and earth were one, that provided the basis for what we have today on earth as electricity. We have in electricity a force which is sun-force, long connected with the earth, a hidden sun-force in the earth.

Why should not the stubborn Blood Beech, when approached forcefully enough, be induced to use not the sun that radiates from the cosmos, but to use the sun force retained within the earth, the Old Sun force, electricity?

Looking in this way we become aware of the necessity of deeper knowledge. As long as man could believe that the sun force comes only from the cosmos, man arrived at the perception of the relationship of the plant world to the cosmos. Today, when from a materialistic point of view, one would like to separate from the cosmos what so easily can be seen as cosmic effect, one must, if one looks at the seeming independence of the plant, have a science which recalls that cosmic relation between earth and sun which once existed, but in a different form. By being narrowed on the one hand by the microscope, we simply need a much wider expansion on the other hand, and especially the details show how much we need an expanded view.

The problem is not a dilettantic anthroposophical opposition to progress in research. But since progress in research necessarily leads through one’s own nature, it can bring us to the often mentioned “night-crawler view” and prevent that wide view of the great cosmic historic connections between earth and sun, which enables us to be conscious not only of the present sun, but also of the Sun of long past conditions. Everywhere we need the polarity, the counter-pole: not opposition to research, but the spiritual counterpole is what is needed. This is the position we need to take. And I would like to say it is also the mood of St. John’s time. When we inscribe clearly into our sentiment that we now have to live in a world-historic St. John’s mood, we carry our gaze into cosmic distances. That is what we need in spiritual cognition. Nothing is gained by mere talking about spirit; what is important is real penetration into the concrete phenomena of the spiritual world. What we bring forth by pointing to Saturn, Sun, Moon and Earth evolutions, etc., has a tremendous supporting force regarding historic cognition.

When our attention is called to such brilliant results of materialistic science as those discovered by Klebs, that even the stubborn Blood Beech can be compelled to grow with electric light, this will lead us, without spiritual science, to the point where we will shatter everything into pieces and have a very narrow view. The Blood Beech will stand before us, growing in electric light, and we will know nothing except what this very narrow picture tells us.

With spiritual science, however, we can say something else: Klebs took the sunlight from the Blood Beech. He then had to give her electric light, which is actually ancient sun light. Our view is not narrow, but greatly enlarged. So, those who do not want to know of the soul experience will say glibly that one day is just like the next. There is breakfast, snack, dinner, snack, supper,—it is even nice when at Christmas time we get a nice cake—but basically every day is a repetition of the previous day. In fact material man sees only the day. But what about cosmic connections? Let us free ourselves of such a world view. Let us become clear that the stubborn Blood Beech no longer needs the sun. If we imprison her and give her enough electricity, she will grow without the sun. No! She will in fact not grow without the sun. But we need to seek the sun in the right way when we do something like that. And we must be clear that it is different when the Blood Beech grows in the sunlight or when ahrimanic sunlight, originating from long-past, is forced upon her. And we recall what has often been mentioned as the two polarities of Lucifer and Ahriman.

With an adequately wide view of these things we will not admire our brilliance at having overcome the stubbornness of the beech, but go much further. We will progress on to the sap of the beech, and investigate its effect on the human organism, investigate both the beech we permitted to be stubborn and the one which we treated with electric light, and we might discover something very special about the healing forces of one as opposed to the other. But we must do this by considering the spiritual!

But of what concern is this to people today? One has an admirable interest in research. One sits in the classroom, is an experimental psychologist, writes down all kinds of words which must be remembered, examines memory, experiments with children, and arrives at most interesting information. Once the interest is awakened, everything is interesting, depending on the subjective point of view. Why should it not be possible that a stamp collection is more interesting than a botanical collection? Since this is so, why not also in other realms? Why should the tortures to which children are subjected when they are experimented with, be not interesting? But the question everywhere is, whether or not there are higher responsibilities, and whether it is really justified to experiment with children at a certain age. The question arises: what is one ruining? And the greater question: what damage is done to the teachers, when instead of asking of them a living, heartfelt relation, one asks of them an experimental interest out of the results of experimental psychology. So everything depends, in such research, on whether or not one has the right relation to the sense world, and also to the supersensible world.

Now certain people who emphasize the necessary objectivity of research will assert that there are some who find it immoral when Klebs takes the stubbornness out of the Blood Beech. This would not occur to me. I wouldn’t dream of it. Everything that is done ought to be done, but one must have a counterweight for it. In the time when one emancipates oneself with regard to the growing beech tree from the cosmos, one must on the other hand, in a civilization which does such things, also have a sense for how the spiritual progress of man takes place. One must have a sense for the epochs of time, like ours. I do not want to limit research, but one must feel the necessity of a counter measure. There must be an open heart for the fact that at certain times spiritual impulses want to reveal themselves. When on the one hand materialism takes over and great achievements result, then those who are interested in such achievements should also be interested in the achievements of research about the spiritual worlds.

This lies in the inner nature of Christianity. A true view of Christianity sees, after the Mystery of Golgotha, the continuing of the Christ being in the earth, in the Christ force, the Christ impulse. And this means that when autumn comes, when everything dries up, when the growing and sprouting in nature ceases, ceases for the senses, then one can see the growing and sprouting of the spirit which accompanies man during the winter time.

But in the same way one must learn to sense how, although justifiable, the view for detail is narrowed in a certain way, the view for the totality for the great whole is narrowed. With regard to Christianity this is the St. John’s mood. We must sense with understanding that the St. John’s festival mood is the starting point for that occurrence which lies in the words: He must increase, I must decrease.

This means that the impressions upon man of everything that is accomplished by empirical research must decline. As the sense details are ever more enhanced, the impression of the spirit must be more and more intensified. And the sun of the spirit must shine more and more into the human heart, the more the impressions of the sense world decline.

The St. John’s mood must be experienced as the entrance into spirit impulses and as exit from the sense impulses. In the St. John’s mood we must learn to sense wherein something weaves and wafts like a soft wind, wafts the spiritually demonic out of the sensible into the spiritual, and from the spiritual into the sensible. And through the St. John’s mood we must learn to form our spirit light so that it does not stick like tar to the solid contour of ideas, but finds itself in weaving, living ideas. We must learn to notice the lighting up of the sensual, the dimming of the sensual, the lighting up of the spiritual in the dimming sensual. We must learn to experience the symbol of the June bug: the lighting up has its meaning as does the dimming of the light.

The lightning bug lights up, dims down, but by dimming down it leaves behind in us the living life and weaving of the spirit in the twilight evening, in the dusk. And when we see in nature everywhere the little waves as in the symbolic lighting up and dimming of the lightning bug, we will find the right St. John’s mood if it is experienced with clear, bright, full consciousness. And this St. John’s mood is necessary, for we must in this way pass through our time if we do not want to fall into the abyss, pass through in such a way that the spirit becomes glowingly alive and that we learn to follow it.

The St. John’s mood:—towards the future of the earth and mankind! No longer the old mood which understands only the growing and sprouting on the outside, which is pleased when it can imprison this growing and sprouting under electric light what otherwise was thriving in the sunlight. Rather we must learn to recognize the lighting up of the spirit so that the electric light becomes less important than it is today, so that the St. John’s gaze becomes sharpened for that old sunlight which will appear when we open ourselves to the great spiritual horizon, not only to the narrow earthly horizon, but the great horizon from Saturn to Vulcan.

If we allow the light of the great horizon to shine in the right way, then all the trivialities of our time will appear in this light, then we will go forward and upward; but if we cannot make this decision we will go backward and downward.

Today everything revolves around human freedom, human will. Everything revolves around the independent decision of either going forward or backward, upward or downward.

Countless numbers of human beings have felt the Festival of Easter to be something that is related on one side to the profoundest feelings of the human soul and on the other to very profound cosmic mysteries. Our attention is attracted to the connection of this festival with the mysteries of the universe by the fact that it is what is called a moveable feast and has to be regulated year by year according to those constellations of which we propose to speak more exactly during the next few days. When it is noted how all through the centuries religious customs and ceremonies having an intimate connection with humanity have been associated with the festival of Easter, we realise the very special value that has gradually come to be placed on it in the course of man's historical development.

From early Christian centuries—not indeed from the immediate foundation of Christianity, but from its early centuries—this has been a festival of the greatest importance, one associated with the fundamental idea and the fundamental impulse of Christianity, as revealed to Christian consciousness in the fact of the resurrection of Christ.

The Festival of Easter is the festival of resurrection, but points to times even before Christianity. It points to festivals connected with the period of the Spring equinox, which have certainly had something to do with the fixing of Easter, a festival that was associated with the re-awakening of Nature and the reviving life of the earth.

With this we have reached the point where we will at once speak of “Easter as a page from the History of the Mysteries,” in so far as the subject is one that can be dealt with in words. As a Christian festival Easter is a festival of resurrection. The corresponding heathen festival, which took place approximately at the same time, was a kind of resurrection-festival of Nature, a re-awakening of the objects of Nature, which had slumbered, if I may so express it, during the winter. Here I must explain that the Christian festival of Easter is absolutely not a festival that, according to its inner meaning and nature, is comparable with the heathen festival held at the time of the Spring equinox; but if we think of it as a Christian festival, it coincides absolutely with very ancient heathen festivals that had their source in the Mysteries and occurred in the Autumn. The strangest thing regarding the fixing of Easter, which quite obviously, according to its whole content, is connected with certain procedures in the Mysteries, is that it directs our attention to a radical and profound misunderstanding that has come to pass in the general acceptance of one of the most important facts concerning our human evolution. This is nothing less than that the Festival of Easter has been confused, in the course of the early Christian centuries, with an entirely different festival, and has on this account been changed from an Autumn to a Spring festival. This fact indicates something prodigious in human evolution. But let us consider for a moment the content of the Easter festival. What is most essential in it? The most essential thing in it is: that the Being who stands in the centre of Christian consciousness, Christ Jesus, passed through death; of this Good Friday reminds us. Christ Jesus then rested in the grave during the period of three days; this represents the union of Christ with earthly existence. The time between Good Friday and Easter Sunday is held by Christians as a solemn festival of mourning. Then Easter Sunday is the day on which the central figure for all Christendom rose from the grave, the day on which this fact is held in remembrance. The essential content of the Easter festival is: the death, burial, the repose in the tomb (Grabes-ruhe), and resurrection of Christ Jesus.

Let us now consider some of the features of the corresponding ancient heathen festival. Only by doing this can we arrive at an inner comprehension of the connection between the Festival of Easter and the living content of the Mysteries (Mysterien-wesen). In many places, among many people we find ancient heathen festivals which in outward form and ceremonial resemble absolutely the main features of those of the Christian Easter. From among numerous ancient feasts let us take that of Adonis. This was met with among certain peoples, and over long periods of the past, in Asia-Minor. A statue provided its central point. This statue represented Adonis the spiritual prototype of all youthful growing forces, all the beauty of man.

It is true that ancient peoples have in many respects confused the image with what it represented. In this way these old religions have frequently acquired a fetishlike character. Many people saw in the statue the actual god of beauty—the youthful forces of man, the evolving germinal powers revealing in splendid life all that was glorious in existence, all that man possessed or could possess of inner worth and inner greatness.

With mournful singing and ceremonies expressive of the profoundest human grief and woe the divine image was on this day (if the sea happened to be near) sunk beneath the waves, where it remained for three days; otherwise an artificial tank was constructed so that it could be lowered into it. During these three days profound quiet and sorrow lay upon the whole community of those who followed this religion. When the three days were over the image was raised again from the water. The earlier songs of sorrow were turned into songs of joy, into hymns about the risen god, the god who had come back to life.

This was an outward ceremony, one that deeply stirred the hearts of wide circles of people. It recalled, by means of an outward act, what happened to every one attaining to initiation in the Holy Mysteries. Every man attaining initiation in these ancient times was conducted into a special chamber. The walls were black; the whole room, in which was nothing but a coffin, was dark and gloomy. The aspirant for initiation was then laid in the coffin by those who had conducted him there with solemn dirges, and was treated as one about to die. He was made to realise that, now he was placed in the coffin, he had to pass through what a man experiences when going through the gates of death, and during the three days following. The arrangements were carried out in such a way that he who was in the act of being initiated reached full inner comprehension of what a man experiences in the first three days after death.

On the third day there rose in a particular place before the eyes of him who lay in the coffin a budding branch representing springing life. The former songs of woe turned into hymns of joy. The neophyte, who had experienced all this, now rose from the grave with a changed consciousness. A new language had been imparted to him and a new writing: the language and the writing of the spirit.

If what took place in the depths of the Mysteries to those about to experience initiation were to be compared with the religious ceremony performed outside, this would have to be done in a figurative way, though similar in form, to that which was experienced by carefully selected individuals in the Mysteries. And the ceremony—take that of the cult of Adonis, for instance—was explained to those participating in it in an appropriate way. It was a religious act that took place in the Autumn, and those who took part in it were instructed as follows: Behold it is Autumn; the earth now loses its green plants, all its leafy covering. Everything withers. Instead of the fresh, green, sprouting life which arose to deck the earth in Spring, all is now bleak and bare, or perhaps covered with snow. Nature is dying. But when all around you dies, you must experience that which in man resembles to some degree the death you see in surrounding Nature. Man also dies, Autumn comes to him also. When life draws to an end it is well that the human heart and soul of those who survive should be filled with deepest sorrow. And in order that the full seriousness of the passage through the gates of death should rise before your souls, that you not only experience death when it comes but that you are reminded of it again and again each year, for this reason you are shown every Autumn how that Divine Being who represents the beauty, youth, and greatness of man dies, how he goes the way of all natural things. But just at the moment when Nature is most desolate and dreary, when death is near, you have to remember something else. You have to remember that though man passes through the gates of death, though here in earthly existence he only experiences things of a nature similar to that which perishes in Autumn, that so long as he lives on earth he only experiences temporal things, when once he is withdrawn from earth his life will continue on into the wide spaces of universal ether. There he sees himself grow ever larger and larger—he becomes one with the whole world. During the three days his life expands to the confines of the universe. While here, earthly eyes are directed to the image of death, to that which is mortal and perishable; out there, after three days, the immortal soul awakens. About three days after death it rises again; it is born anew in the land of the spirit.

All this was brought about in the depths of the Mysteries through an impressive inner transformation of the body of the neophyte who had presented himself for initiation. The notable impression, the tremendous forward push that human life received in this ancient form of initiation, was the awakening of the inner soul-forces, the waking of sight. This brought to him the knowledge that henceforth he lives not merely in the world of the senses but in the world of the spirit.

The teaching that from this time onwards was given on suitable occasions to the pupils of the Mysteries I can describe somewhat as follows:—They were told: what takes place in the Mysteries is a picture of what takes place in the spiritual world, and what takes place in the cosmos is a model for that which takes place in the Mysteries. What everyone who was admitted to the Mysteries had to realise was: the mysteries veil in earthly acts performed by men, what is experienced by them in other states of existence, and in the wide astro-spiritual spaces of the cosmos.

Those who in olden times were not admitted to the Mysteries, who on account of the degree of ripeness they had acquired in life were not fitted to receive direct vision of the spiritual world, had communicated to them in the ceremonies carried on in the Mysteries—that is in pictures—what was suited to them. So the purpose of the Mystery-Festival, which we have come to know as the one corresponding to the festival of Adonis, was for the purpose of arousing in the consciousness of men, or at least for placing before their eyes in pictures, the certainty that at the time of autumnal decay, when death overtakes everything in Nature, it also overwhelms Adonis, the representative of all youth and beauty, all the grandeur of the human soul. The god Adonis dies also. He passes into the water, into the earthly representative of the cosmic ether. But just as after three days he rises out of the water, or is taken from it, so the human soul is raised out of the water of the world; or in other words, out of the cosmic ether, some three days after passing through the gates of death. The secret of death is what these Ancient Mysteries sought to reveal, aided by the appropriate Autumn festival. It was clearly demonstrated and made obvious through the fact that the first half—the one side of the religious ceremony—accorded with dying Nature, but the other half with its opposite, with what is most essential to man's own existence. It was intended that man should look upon dying Nature so as to realise that, though to outward seeming he dies, according to inner reality he rises again in the spiritual world. The meaning of these old heathen festivals that were associated with the Mysteries was to reveal the truth concerning death.

In the course of human evolution a most important thing now took place, which was, that what the pupil passed through on a certain plane in regard to the death and resurrection of the soul when preparing himself for initiation into the Mysteries was consummated by Christ Jesus down to the physical body (bis zum Leibe). For how did the Mystery of Golgotha appear to one who was an adept in the Mysteries? Such an adept gazed into the ancient Mysteries. He saw how anyone preparing for initiation was led according to the state of his soul through death to resurrection, which meant to the awakening of the higher consciousness of his soul. The soul dies so that it may rise again in a higher state of consciousness. What has to be firmly maintained here is that the body does not die, but that the soul dies so that it may be awakened to a higher consciousness.

What the soul of every man experienced who passed through initiation was experienced by Christ Jesus as far as to the body; that simply means, it was experienced on a different plane, for Christ was no earthly man, but a Sun-being within the body of Jesus of Nazareth, and could experience in every part of his human nature what the ancient Initiate of the Mysteries experienced in his soul. Those who still existed as “Knowers” of the ancient Mysteries, who were conversant with the ceremony of initiation, were such men as have even to this day a deep understanding of what happened on Golgotha. What could such men say of it? They could say: Through thousands of years men have been brought to the secrets of the spiritual world through the death and resurrection of their souls. The soul was separated from the body during the ceremony of initiation. Through death it was led to everlasting life. What was experienced there by a few exceptional men has been experienced in the body by a Being who came down from the Sun at the baptism in Jordan and entered into the body of Jesus of Nazareth. That which for long thousands of years had been an ever-recurring procedure of the Mysteries had now become an historic fact. The most essential fact for men to know was this: that because the Being who entered into the body of Jesus of Nazareth was a Sun-being, that which could only take place as regards the souls, and in the soul-experiences of those presenting themselves for initiation, could now take place as far as bodily existence. In spite of the death of the body, in spite of the dissolving of the body of Jesus of Nazareth in the mortal earth, a resurrection of Christ could take place, because the Christ rose higher than the souls of those seeking initiation. Such men could not take their bodies into the deep regions of sub-material existence (tiefe Regionen des Untersinnlichen) as Christ Jesus did; and for this reason they could not rise so high at resurrection as the Christ did; to make the infinite difference of this apparent, the ancient ceremony of initiation was enacted as an historic fact for all the world to see on the place of consecration—on Golgotha.

In the early Christian centuries only a few people were aware that a Sun-Being—a Cosmic Being—had lived in Jesus of Nazareth, and that the earth had thereby been fructified (befruchtet); that a Being had actually descended to earth from the sun—a Being such as until then it had been possible to see only in the sun from the earth, through methods employed in the centres of initiation. The most essential fact regarding Christianity as accepted by those who had a real knowledge of the ancient mysteries was expressed as follows: The Christ to whom we could rise through initiation, the Christ we could find when we rose to the Sun in the ancient Mysteries, has descended into a mortal body, the body of Jesus of Nazareth. He has come down to earth. At first it was more what might be described as a holy attitude of mind—a solemn feeling of reverence, experienced in mind and soul, that made some understanding of the Mystery of Golgotha possible at the time. What formed the living content of human consciousness at that time gradually became, through events we shall learn of later, a festival of remembrance recalling the historical event of Golgotha.

As this memory developed, people lost the consciousness, more and more, of Christ as a Sun-Being.

Adepts in the wisdom of the Mysteries could not be in any uncertainty as to the nature of Christ. They knew well that true Initiates, those who had been initiated and had therefore become free from their physical bodies and had experienced death in their souls, rose as far as the Sun-sphere, and that there they found the Christ, that from Him, the Christ in the Sun, their souls received the impulse to resurrection; they knew who the Christ was, because they had raised themselves up to Him. These ancient Initiates, who understood what took place during initiation, knew from what took place on Golgotha that the same Being who formerly had to be sought in the Sun had now come down to men on earth. How did they know this? Because the proceedings in the Mysteries, undergone by the neophyte that he might rise to Christ in the sun, could no longer be carried out in the same way as before, for the simple reason that human nature had in the course of time become different. The ancient ceremony of initiation had become impossible because of the way in which the being of man had evolved. The Christ could no longer be sought in the Sun according to the methods of ancient initiation. He therefore came down to earth, there to accomplish a deed through which men might now find Him. That which is contained in this Mystery (Geheimnis) belongs to the most sacred things that can be spoken of on earth.

For how actually did the Mystery of Golgotha appear to men living in the centuries immediately following it? In ancient places of initiation men looked up towards existence on the Sun (Sonnendasein) and became aware, through initiation, of the Christ in the Sun. They looked out into space in order to draw near to Christ.

If I represent diagrammatically how evolution progresses in the ensuing years, I must represent it in time; that means I must represent the earth—in one year, in another, in a third year, as progressing in time. Spatially, the earth is always there, but the passage of time must be represented thus. (A diagram was shown).

The Mystery of Golgotha then took place. Let us suppose that a man who lived in the 8th century, instead of looking out from the Mysteries to the Sun in order to find Christ, looked to the turning-point of time at the beginning of the Christian era, looked to the time after the Mystery of Golgotha, he was then able to see the Christ in an earthly happening—in the Mystery of Golgotha. What had previously been perceived spatially had now, because of the Mystery of Golgotha, to be seen in time. (Sollte nun zeitliche Anschauung werden.) This was the fact of greatest importance.

It is especially when our souls are affected by all the things which took place in the Mysteries, and which were an image of the death of man, and the resurrection that followed, and when added to these we consider the form of the religious procedure, more especially at the festival of Adonis (which was again an image of what took place in the Mysteries), that we realise how these three things, united and raised to their highest aspect, were concentrated within the historic deed on Golgotha.

There now was seen on the outward plane of history what formerly had been enacted in deep inwardness in the sacred precincts of the Mysteries; what formerly had only been for Initiates was now there for all mankind to see. No longer was an image required that had to be sunk symbolically in the sea and raised from it again. Instead, men were to have the memory of what had actually happened on Golgotha. Instead of the outward symbol connected with an event that was experienced in space, inward, intangible, formless thoughts were to arise—thoughts that lived only in the soul, thoughts of the historical deed done on Golgotha.

In the centuries that followed we now become aware of an extraordinary development in humanity. The penetration of mankind into what was spiritual declined more and more. The spiritual content of the Mystery of Golgotha could no longer find a place in the souls of men. Evolution tended towards the training of a materialistic intelligence. Men lost the inward emotional understanding of such things as, for instance, that where the transitory quality of external Nature is revealed—at the moment when the life of Nature is seen to be most desolate and as if dying—is exactly the moment when the vitality of the spirit becomes most apparent. Mankind also lost understanding of the external festivals of the year: understanding that the coming of Autumn, bringing as it does death to the outward things of Nature, is the time when it is most easy to realize that the death of all these things is connected with the resurrection of what is spiritual.

Along with this, Autumn lost the possibility of being the season of resurrection; it lost the possibility of directing the mind, by way of the fleeting things of Nature, to the everlasting quality of the spirit. Man has need of the support of substance. He needs the support of that which does not die in Nature but springs again, the germinating power of seeds which fall to the ground in Autumn but rise again. Man accepts substance as a symbol of what is spiritual, because he is no longer capable of being stirred by substance to perceive spirit in its reality. Autumn has no longer power to demonstrate the immortality of spiritual things, as compared to the mortality of natural things, through the inner force of the human soul. Man has need of the support of Nature, of external resurrection. He likes to see how plants spring from the earth, how the strength of the sun increases, and the coming of light and warmth; he needs the resurrection of Nature in order to cultivate thoughts of resurrection.

But with this the direct connection linking it with the festival of Adonis disappears, as also that which can link it with the Mystery of Golgotha. That inner experience that comes to every one at earthly death loses power when the soul knows: man passes through earthly death, and during the three days that follow undergoes certain experiences of a very solemn nature; but later the soul is filled with inner joy and happiness, because it knows that after these three days it rises from death to spiritual immortality.

The power contained in the festival of Adonis was lost. Humanity was so organised at one time that this power could be developed with the greatest intensity. When looking on the death of the god, men saw the death of all that was beautiful in humanity, the death of all its splendour and youthful powers. With great sadness the god was laid beneath the waves on a day of mourning—Good Friday (Char-Freitag, Day of Mourning). People felt the deep solemnity of this, because it was intended to evoke in them realization of the frailty of all natural things. But it was intended that this feeling regarding the mortality of natural things should then be changed into a feeling concerning the super-sensible resurrection of the human soul after three days. As the god, or rather the likeness of the god, was raised from the water, the well-instructed believer saw in this image the representative of the human soul a few days after death. Behold! they said to him, what happens in spirit to those who die. What happens is brought before your soul in the likeness of the risen god—the god of beauty and of youthful vigour.

This outlook, which was bound up so deeply with the destiny of humanity, was brought directly before the human spirit every Autumn. It would not have been thought possible at that time to associate this with external Nature. What could be experienced in spirit was represented symbolically in ceremonial acts. But the image of a former time had to be effaced, it had to emerge again as memory—as formless, inward, soul-felt memory of the Mystery of Golgotha, which represented the same thing; at first men had not the power to carry out this change, because the spirit had passed into the subconscious part of human souls (in die Untergründe der Seele des Menschen ging). So things remained until our day; men had need of the support of external nature. But external nature provides no image—no complete image of the destiny of man after death. Thoughts about death persisted. Thoughts about resurrection faded more and more. Even if people spoke of resurrection as part of their belief it was not a vital fact in the lives of the men of later times. But it must become so once more; it must become so, because the Anthroposophical outlook stirs men's minds to true thoughts concerning resurrection.

If on one side it is said, at the appropriate season, thoughts on Michael are precious to the soul of the Anthroposophist as bringing thoughts of annunciation, if thoughts concerning Christmas give depth to his soul, those on Easter must be specially thoughts of joy. For Anthroposophy must add to the thought of death the thought of resurrection. She must herself become like a festival of resurrection within the souls of men, bringing an Easter spirit into their whole outlook on life. This Anthroposophy will do, when people have realised how the old thoughts of the Mysteries can live on in rightly conceived thoughts of Easter; when they have acquired a right understanding of the body, soul, and spirit of man, and of the destiny of these in the physical, psychic, and spiritual heavenly worlds.

On February 11, 1903, Mathilde Scholl had written to Rudolf Steiner:

...In connection with our conversation, I would now like to ask the following. On plate XXVI of Leadbeater's book [“Man visible & invisible”] is the aura of one of Buddha's disciples, a disciple who has reached the fourth stage on the path, the stage of an arhat. The aura is concentrically arranged, the color sequence from the center:

1) yellow = intelligence
2) pink = love
3) light blue = devotion
4) green = compassion (sympathy)
5) violet = spirituality

all this surrounded by a rainbow-colored or rather mother-of-pearl-colored halo and permeated by living rays of light emanating from the body of the Arhat. - Leadbeater says that the order of the colors can be used to identify the type of Arhat or Master.

To which species or hierarchy could a being belong whose aura, starting from the center, first shows 1) light blue = devotion and then 2) pink = love. The arrangement is also concentric, just like the aura shown - but no colors other than light blue and pink were visible. [In a dream experience.] However, the physical body appeared only in outline and transparent, not three-dimensional, and in it appeared centers (like the swastika or like wheels) that turned in the fastest motion around themselves and emitted light. The face had the features and expression of Master M.

If you can or may tell me who this being is or how I can find an explanation myself, I would be happy.

Should a merger of the E.S. in Germany be possible at a later date, I would be delighted. Some external things are still of help to me. For example, I would love to have proper instructions for my studies. At the beginning, that is, two and a half years ago, the instruction was given as to which verses I should memorize each evening. But since no further instructions were given, I went through the Bhagavad Gita in this way and then the “Voice of Silence,” which I have now reached at the end of the second book. It would be a help for me not to study without guidance and to know, for example, in the morning during meditation that many are focusing their thoughts on the same thing as me – to know that others are studying the same book as me, and many other things.

Rudolf Steiner replied as follows:

Dearest Miss Scholl!

I should have written to you long ago. However, my obligations regarding “Lucifer” ¹ had a somewhat oppressive effect on everything else. Now it will finally come out in a few days; and then I will hopefully also get down to quite regular work. In any case, I will not wait so long to answer in the future as has unfortunately been the case up to now.

First, let me address your main question. The aura you describe is not clear enough for me to be able to say anything substantial about it. You say nothing about rays emanating from the being described. Now, in a more advanced human being, rays are always present in the causal body. These rays are namely the expression of the active forces that the person inflicts on his advancing karma. It seems that what you describe is not a causal body image. However, I do not want to say that we are not dealing with a highly developed being in your case. But then it could only be the projection of the causal body in mental matter. And in this case, I do not understand the swastikas, which again point to an astral element. I therefore request that you write to me with more details about this matter. I would like us to be clear about this.²

It would be quite nice if the newer members of the E.S. in Germany would in some way join together more closely. We need this in Germany in particular. For the E.S. must become the soul of the Theosophical Society. In Germany it must do so even more so because for a long time to come we can only hope for deeper, inner cooperation among individuals, and larger circles will only join externally. But the individuals will form a more loyal, secure and powerful base. And we need that, because we have come so far astray.

In Weimar, everything went quite well. We now also have a lodge there. The lectures were extremely well attended. I would like to come to Cologne for a variety of reasons, to give a lecture there as well. Please, maybe you can prepare the ground there a little. Much, very much depends on us creating new centers. Up to now almost all German Theosophists have sought a connection with the English mother movement that was much too loose. And only from this, in the most intimate connection with it, must we now work. There was too much of a tendency towards dogmatics in Germany, towards the mere intellectual grasp of doctrines, while there is no real understanding of living spirituality. Only when we awaken this latter, when we open our eyes to the fact that for the progress of the theosophical current it is not enough to learn the dogmas (Hartmann), but to belong spiritually to the central individualities from whom wisdom originates and in whom it has its continuous source: - only then can we move forward. We must make it clear, not through words but through imponderables, that it is a matter of the continuous fertilization of the bearers of the T.S. by central individualities. Only those who work esoterically will fully understand all these things; but for that, they must also stand together in a clearly conscious and forceful way, awakening the others.

It was deeply satisfying for me to be able to spend a few hours with you in Düsseldorf. It is the kind of satisfaction we feel when we see others on the road where the mile markers always point forward. For the Theosophist, there is only one gate through which one should pass only once, and which one should not enter a second time, to go back.

In Germany, we have only four or five very secure personalities. And that is why we have to work intensively. If we do that, we will find the ways and means to move forward. If we do not find these ways and means in Germany, then we would be neglecting something now that cannot be remedied so quickly.

My next exoteric task is to spread the teaching as much as I can. I hope, my dearest and most esteemed Miss Scholl, that you are settling in well in Cologne and are able to work there for our cause and to your satisfaction. How are the people in your care?

Hoping to hear from you soon, I remain sincerely yours

Rudolf Steiner

• 1. The journal founded and edited by R. Steiner. See GA 34.
• 2. In response, Mathilde Scholl wrote the following on May 7, 1903: “...Thank you very much for answering my question. The vision I described to you did indeed radiate light, and this light seemed to bubble up from the swastikas located on the head and upper body. In fact, only the head and upper body were visible, and only in outline. The being did not appear corporeal, but seemed to be only a luminous apparition. But the impression was so strong that I believed in the dream that I threw myself at the feet of this being and lost consciousness. Upon awakening, everything was vividly before my eyes and I felt the inner emotion for a long time afterwards. At first I did not look for an explanation at all. It was only through Leadbeater's book that I understood how it is possible to see such an arrangement of colors. But I would like to know who this being was, because even if it seemed to have the features of Master M., it may just as well have been based on my individual mood as on reality.” [The answer to this question is not known.]

Handwritten note by Rudolf Steiner
Note sheet archive number 6974

Where do you come from?

From the lodge of St. John.

What happens in the lodge of St. John?

A temple of virtue is built there and prisons for vices are dug there.

What do you bring from there?

Welfare, progress, and goodwill for all mankind.

What do you intend to do here?

To conquer my passions, subjugate my will and make new progress.

Take your place, my B., and be welcome in this place, where the rays of your light are consciously received.

Individual texts by Rudolf Steiner in the handwriting of Marie Steiner-von Sivers

Wisdom should have guided you while you were building this temple, which is an earthly image of the spiritual life stream. This wisdom is now a water of light to guide you, as your soul unfolds the seeds of wisdom.

Beauty should adorn your work while you were building this temple, which is an image of self-limiting form-creating: this beauty is now a releasing salt for you, as your soul dissolves the covers of your spirit seed.

Strength should have carried out your work as long as you were building this temple, which is an image of the creative powers of existence: the fire of creation, to which the ashes of your body will return, is this strength in the future, as your spirit unites with the world spirits to create the great temple of being.

Brothers of the past, your wisdom penetrated the waters of the elemental kingdom and gave our sister an earthly shell so that she could reveal in the world what her soul had accepted under your wise guidance in prehistoric times.

Brothers of the present, our sister sought to come into your wise guidance so that your thoughts of God might be revealed in her part.

Brothers of the future, you will incorporate our sister's soul into your plan of construction, so that she may continue to flow in your strength, in the body of your great soul.

And you, sister, who have joined us in our striving for the vision of the heights of eternal light, your powers that flow into another form of being, let them flow into our work, work with us in the sanctuary of spiritual life: but we are inseparable in our souls from yours.

One, united, unity.

Prepared by silence, it is spoken with the mantle of that which has been received from above.

To make himself the bearer of wisdom, the$* [Rosicrucian] Mason vows to his God in the soul of his spirit. He beholds a temple of this God in the human form of his being. He vows to make himself the builder of this temple. He will think nothing that might be shameful to wisdom. The watchword floats before his eyes:

My thoughts shall seek thee everywhere, divine spirit.

The Mason [Rosicrucian] will make himself the servant of Beauty; he pledges himself to Beauty, because only in her bosom can the life of God flourish in his soul. The Mason [Rosicrucian] avoids an appearance that contradicts reality; he seeks true embodiment in the appearance of reality. His breathing in his breathing the watchword:

My speech shall reveal you, divine soul.

The + [Rosicrucian] Mason wants to make fortitude his covering; he praises fortitude because only through its fire can the God in his heart mature. The Mason seeks to flee from languor, which only hinders all progress; he seeks fortitude, which, with a sharp, two-edged sword of fire, prepares the way for all advancement. The watchword beats in his heart:

My heartbeat shall confirm you, divine will.

I

The earth's soil bears me;
The earth's air envelops me;
Around me I see the rocks of the mountains;
Around me the plant cover of the earth blossoms;
In the animal kingdom there is feeling,
Which, as in a thousand individual forms,
my own being's abundance.
I feel the power to shape myself ever higher,
only this noble striving makes a human being.

II

He is born of the earth's soil.
He is animated by the earth's air.
He is related to the rocks of the mountains,
His existence is interwoven with the plant cover,
The realm of the animals carries his spirit power;
But as if in a harmonious miracle
Earth, rocks, life are joined in him.
The earth's soil will sink beneath him.
The circle of the air will be the bearer of death.
The mountains' rocks will fall,
The plants will wither,
The animals' life will be stunned.
But he will bear the fruit of being earth
To create new worlds in a distant time.
To feel this goal's eternal value
Creates wisdom in every thought,
Receive beauty in every breath of life,
Strengthen fortitude in every beat of the blood.

We, wise M.d.O. [Masters of the East], present ourselves before you in spirit with purified desire, that the center of the heart may be silent in the expression of the outer self and burn with the fire of a new inner self. Let the fundamental fires germinate in us, melting and uniting the elements of the temple, which shall be a worthy dwelling for your divine being. ¹

The old temple will give birth to the new.

The three may create a new chariot from our signs.

The three may make Audhumla fertile.²

The following spoke, sitting amidst the stars of wisdom:

The time will come when man's intelligence and sensuality will become desolate and formless. And the power of the flesh will be barren and the daughter of the brain will be lame. And what has been founded among men by thinking and feeling will dry up like the sea dries up in scorching heat. But the revelation of the stars of wisdom will flourish. Mine is what you have kept as silver, what you have kept as gold – so says He who sits in the midst of the stars of wisdom.

The revelation of the new temple will shine forth more brightly than the first, and the I will have found itself in the I.

The initiate at the gates: M.M. Remember that you must find your way in fields where you have never been:

West = Ahriman: He wants to be you.
South = Lucifer: He wants to be you.
East = gold. A

Hand over your sources

1. 3. 7. 12.

Water

In nomine Elohim et per spiritum aquarum viventium, sis mihi in signum lucis et sacramentum voluntaris.

Smoke

Per serpentum aneum sub quo cadunt serpentes ignei, sis mihi.

Hauch

Per firmamentum et spiritum vocis, sis mihi.

Erde

In sale terrae et per virtutem vitae aeternae, sis mihi.

Sylphs

Spirit of light, spirit of wisdom, whose breath determines the form of all things – reach through to us.

Undines

King of the sea, who holds the keys of heaven, we call upon you – –

Salamander

Immortal, eternal, uncreated father of the world

Invisible king, lead us to clarity.

Handwritten note by Rudolf Steiner
from notebook Archive number 611

Green the Earth Mother rises
With the bright colors of flowers
The spirit of the sun will cover up
What springs from the soil in a living way.

Dress is what springs from the earth
Coat is what the spirit of the sun creates
It holds the soul within it alive
The soul is permeated by the spirit with power.

Spirit you become sisters, you brothers
Look only when you hear,
What to tell your being innermost
Has the word of the wise of the East.

Take the word of the spirit.
Those who have served him from the beginning
will send you their strength
through the wisdom, the beauty and strength.

• 1. “Chariot” may refer to Ezekiel's vision of the divine throne chariot, “Merkabah”, with which a special secret doctrine was associated in Jewish mysticism.
• 2. Audhumla = in Norse mythology, the cow that arose from the primeval ocean; see lecture Berlin, October 7, 1907.

[ 1 ] The successive stages in the growth of the Cosmos and Mankind have been regarded in these studies from the most various aspects. It has been seen that the forces of his being come to Man from the extra-terrestrial Cosmos, all except those which give him his consciousness of Self; these he has from the Earth.

[ 2 ] This gives at once the significance of the Earth-world for Man. To this now comes the question: what significance has the Earth-world for the Macrocosm?

[ 3 ] To arrive at any answer to this question, we must look back at the previous observations.

[ 4 ] The Macrocosm is seen by the clairvoyant consciousness of the seer in every greater fullness of life, the farther back his vision penetrates into the past. Its life in a remote past is such that at a certain point all calculability of its life-manifestations ceases. From this fullness of life Man is gradually separated out. The Macrocosm passes over more and more into the sphere of the Calculable.

[ 5 ] Therewith however, it slowly dies out. In the same measure as Man, the Microcosm, emerges as an independent being out of the Macrocosm, the Macrocosm died.

[ 6 ] The cosmic Present shows an extinct Macrocosm. But in the process not only Man has arisen; out of the Macrocosm has arisen also the Earth.

[ 7 ] Man, who draws from the Earth the forces for his own Self-consciousness, is inwardly much too close to the Earth to have a clear perception of its essential character and being. In all their active development of Self-consciousness during the age of the Spiritual Soul, men have accustomed themselves to turn their attention to the size of the Universe in space, and to look upon the Earth as a grain of dust, of no significance in comparison with the physical spatial Universe.

[ 8 ] It may therefore at first seem strange, when spiritual observation of the facts discloses the true cosmic significance of this supposed ‘grain of dust.’

[ 9 ] The substructure of the Earth is the mineral world, in which the other kingdoms of Nature, the vegetable and animal worlds, are as it were embedded.

[ 10 ] Through the whole, run those living forces which manifest themselves during the course of the year in its successive phenomena. If we look at the Vegetable world: in autumn and winter it manifests forces of physical decay and death. The consciousness of the seer recognizes in this form of manifestation the inner being of those forces which have brought about the decay of the macrocosm. In spring and summer, the life of the plant-world is a manifestation of growing, sprouting forces. Clairvoyant consciousness recognizes in this growing, sprouting life, not only the green bounty of the revolving year, but a surplus. The surplus is one of young seed-force. The plants bear within them more young seed-force than they can use for the growth of leaves and flowers and fruit. This excess of young seed-force can be perceived with spiritual sight, streaming forth beyond the earth-world into the macrocosm outside it.

[ 11 ] So too an excess of force streams from the Mineral kingdom into the Cosmos beyond the Earth. It is the task of this excess of mineral force to carry the forces from the plants to their allotted places in the macrocosm. Under the influence of the mineral forces, the plant-forces shape themselves into the new image of an ordered macrocosm.

[ 12 ] Again, there are forces which go forth from the Animal world. These forces do not however act like the mineral and vegetable ones, radiating outward form the Earth, but in such a way that all that is carried out from the plant-world by the mineral forces into the Universe, to take shape there is held together in a sphere (a globe) so as to present the aspect of a macrocosm rounded in on all sides and self-contained.

[ 13 ] Such is the true character and being of Earth, as seen to spiritually perceptive consciousness. It stands as a source of new life in the midst of the dead and dying Macrocosm.

[ 14 ] As out of the little plant-seed—in space so small and insignificant—the large and perfect plant grows up again when the old one is dead and fallen, so out of that ‘grain of dust,’ the Earth, a new Macrocosm will grow up, while the old one dies and falls to pieces.

[ 15 ] A true view of the Earth, in its real character and being, sees everywhere in it's the springing life-seed of a forth-coming World. Thereby alone can one arrive at an understanding of the natural world and its kingdoms, by learning to recognize in them all this seedling life.

[ 16 ] Man's earthly existence is carried on in the midst of this new-upspringing life. He has his part in the up-springing of the new, as well as in the life that is extinct and dead. From the dead, he has his Thinking forces. So long as, in the past, these Thinking forces came from the still living macrocosm, they gave no basis for Self-conscious Man. They lived as forces of Growth, in Man who had as yet no consciousness of Self. The forces of Thought must have no inherent life of their own, if they are to afford a basis for Man's free Self-Consciousness. They, with the dead and dying macrocosm, must remain dead shadows of what was living in an earlier cosmic age.

[ 17 ] On the other hand Man has his part in the Earth's new, upspringing life. From this he has his Will-forces. These are very life; but just because of this, Man cannot partake in their real being with his Self-consciousness. They send forth their beams in the interior of the human being, radiating into the Thought-shadows. With them mingles the stream of shadows; and in this mingled stream, where free human Thought unfolds amid the new, upspringing life of Earth, during the Age of the Spiritual Soul there grows to full free life in Man the consciousness of his human Self.

[ 18 ] The Past casting Shadows, the Future holding Seeds of new reality, meet in the being of Man. And their meeting is the human life of the Present.

[ 19 ] That this is the case, becomes clear at once to the consciousness of the seer when turning to that region of the spirit-world which directly adjoins the physical, and which is also the scene of Michael's labours.

[ 20 ] The life of the whole earthly world grows plain when, underlying it all, one recognizes the life-seed of a new universe. Every plant in its variety, every stone, appears in a new light to the human soul which learns to perceive how every one of these forms of being—through its special life, though its special shape—contributes to make the entire Earth the embryo-seed of a new, reviving Macrocosm.

[ 21 ] Let anyone but once try to make the thought of these facts alive within himself, and he will feel what such a thought can signify for the human heart and mind.

Leading Thoughts

[ 22 ] In the beginning of the age of the Spiritual Soul, men have accustomed themselves to direct their observation to the physical proportions of the Universe in Space, and to regard primarily its bigness in this respect. Accordingly, they speak of the Earth as a grain of dust in the midst of this, to physical appearance, so gigantic Universe.

[ 23 ] To the consciousness of the seer, this ‘grain of dust’ reveals itself as the first life-seed of a newly arising Macrocosm; whilst the old Macrocosm can be seen to have died out. It was necessary for it to die and become extinct, in order that Man might separate himself out from it in full Self-consciousness.

[ 24 ] In the present cosmic age, Man takes part in the dead and dying Macrocosm with his Thinking forces, which give him freedom; whilst with his Will-forces, whose real being is hid from him, he takes part in the young Macrocosm that is springing up as Earth-born seed into new life.