| 288. Architecture, Sculpture and Painting of the First Goetheanum: The Goetheanum in Dornach
12 Jun 1920, Stuttgart Rudolf Steiner |
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| Inside the nut is the fruit, and around it is the shell. Let us first look at the hard shell inside the green shell. If you study the whole configuration, the shape of the nut shell, you will say to yourself: it could not be any different than it is, because the nut is as it is. |
| One is not concerned with the horizon line, but above with the blue firmament, below with the green sea, and where the two colors meet, the line and the form arise by themselves. This is how I have tried to paint here: everything from the color. |
| That is why all the windows are large panes of glass in a single color. These panes – red, green, blue – are engraved, etched out of the glass, which then gives the glass its visual effect. This visual effect is there when the sun shines through the windows. |
| 288. Architecture, Sculpture and Painting of the First Goetheanum: The Goetheanum in Dornach
12 Jun 1920, Stuttgart Rudolf Steiner |
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A public lecture at the Stuttgart Art Building When the spiritual science, the aims and nature of which I have been honored to present in lectures in Stuttgart every year for almost two decades, gained greater currency, namely when artistic work was created from this spiritual science, the intention arose to create a central building for this spiritual science that would be particularly appropriate for it, somewhere where it would be fitting. This idea has become a reality in that we performed the Mystery Dramas in an ordinary theater in Munich from 1909 to 1913. These plays were intended to be born out of the spirit of this anthroposophically oriented spiritual science in their entire structure and attitude. What the supporters of this spiritual science had in mind, on the one hand, as the actual meaning of their world view, and, on the other hand, as the artistic expression of this world view, was initially brought about by the intention, just mentioned, to stage their own play, which was to be the representative, the outward representative of this spiritual science. In Munich, this did not succeed due to the lack of cooperation on the part of the relevant artists. Since I have set myself a different task today, I do not want to talk about everything that led to the construction of this building on a hill in a remote location in northwestern Switzerland, in the canton of Solothurn, where, at the time we began building, there were no restrictive building laws and one could build as one wished. As I said, all this has led to the fact that I do not want to go into it today. But I would like to talk about the sense in which the intention should be understood, especially for the spiritual science meant here. When one speaks of world views, world view directions or world view currents, then one usually has in mind a sum of ideas that often have a more or less theoretical or popular character, but which mostly exhaust themselves in the fact that they simply want to express themselves through communication, through the mere word, and then at most expect from the world that the word, which is formulated in a certain way programmatically, is actually carried out in reality. From the outset, what is meant here as anthroposophically oriented spiritual science is not predisposed in the same way as other world views. It is, if I may express it this way, imbued from beginning to end with a sense of reality. That is why it had to lead, even in difficult times in this present age, to direct penetration into what the attempt at a social reconstruction of modern civilization is. If a world view that is more in the realm of ideas needs a structure of its own for its cultivation, then, depending on one's means, one usually contacts someone whom one assumes to be professionally capable of constructing a structure from the relevant styles. One contacts such a personality or a series of such personalities in order to then create, as it were, a house, a framework for the cultivation of such a worldview. However, this could not have corresponded to the whole structure of our anthroposophically oriented spiritual science, for the simple reason that this spiritual science is not something that expresses itself only in ideas, but because it wants to express itself in all forms of life. Now I would like to use a simple comparison to suggest how this anthroposophically oriented spiritual science had to express itself in its own framework, both in terms of trees and in artistic terms. Take any fruit, let us say a nut. Inside the nut is the fruit, and around it is the shell. Let us first look at the hard shell inside the green shell. If you study the whole configuration, the shape of the nut shell, you will say to yourself: it could not be any different than it is, because the nut is as it is. You cannot help but think to yourself: the nut creates its shell, and everything about it that is visible through the shell must be an expression of what the nut itself is. Thus, a frame is quite appropriate in nature, in all creation, for what it frames. If you do not think abstractly, if you do not think theoretically, if you do not think from a world view that moves only in ideas, but that wants to be in all reality and in all life, then you feel compelled to do everything you do in a certain way, as the creative forces in the universe do. And so, if we had built with some alien architectural style, with something that had grown out of those building methods that are common today, a framework for an anthroposophically oriented worldview and its cultivation, there would have been two things: on the one hand, a building that expresses itself entirely from within, that says something for itself, that stands in its own artistic formal language. And then one would have entered and represented something inside, cultivated something that could only relate to the building in a very superficial way. One would hear words spoken in such a building, one would see plays performed on the stage (since these are intended) and other artistic performances; one would have heard and seen and beheld something that wants to present itself as something new in modern civilization. One would have turned one's eye away from what one might have seen on the stage; one would have turned one's ear away from what one might have heard, and one would have looked at the building forms — these would have become two essentially different things. The spiritual science meant here could not aspire to this. It had to strive in harmony with all world-building. It had to trust itself to express itself in artistic forms as well as in building forms. It had to claim that what forms itself into words, what forms itself into drama or into another form of artistic expression, is also capable of directly shaping itself into all the details of what is now the shell. Just as the nut fruit creates its shell out of its own essence, so too did a spiritual science such as this, whose essence is not understood in the broadest circles today because it breathes precisely this spirit of reality, had to create its own framework. Everything that the eye sees in this framework must be a direct expression of what is present as living life in this world view, as must the formed word. And there were some pitfalls to avoid. For those who have a certain inclination to make a building appropriate to a worldview are often, let us say, somewhat mystical or otherwise inclined, and they then have the urge to express what is expressed in the worldview in external symbols, in some mystical formations. But this merely leads to such a framing becoming something in the most eminent sense inartistic. And if one had performed a building bearing symbols, one would have wanted to express in allegorical or symbolic form what underlies anthroposophically oriented spiritual science, so nothing would have emerged but something in the most eminent sense inartistic. Indeed, I must even admit that some people who have come to what is referred to here as anthroposophically oriented spiritual science with their views and currents of life, as contributors or advisors, in the early days of our work in Dornach, were quite inclined to express everything that spiritual science contains in old symbolic or similar forms. I might also mention that those people, who are so numerous, who either out of a certain lack of understanding or out of malicious intent talk about the Dornach building, keep coming to the world with the idea that one can find symbols for this or that, allegorical expressions for this or that. Now, ladies and gentlemen, it must be admitted that even in what I have to show you this evening, anyone who does not look closely and with a lively sense of perception can find something to use as an expression: There are many allegorical or symbolic elements. In reality, there is not a single symbol or allegory in the Dornach building, but everything that is there is there entirely so that the inner experience of the spirit, which on the one hand is to be grasped in ideas that are expressed in lectures or the like, is experience is to be completely dissolved into artistic forms, that nothing else is asked for in artistic creation in Dornach than: what the line is like, what the form is like, what that is which can be shaped as an artistic form of expression in sculpture, in architecture, in painting, and so on. And many a person who comes to Dornach and asks what this or that means is always given the same answer by me: I ask them to look at the things; basically, they all mean nothing other than what flows into the eye. People often say that this or that means this or that. But then I am obliged to talk to them about the distribution of colors and the like. I have now tried to show how the building, as a shell, very much in the spirit of nature's own creation, forms the framework for anthroposophically oriented spiritual science. But for that very reason the whole idea of the building had to strive for something new. Now, in all that I am going to say today, I ask you to bear in mind that, of course, much criticism can be made of the Dornach building, that many objections can be raised. And I give you the assurance: the person who perhaps objects most of all is myself. For I am fully aware that the Dornach building is a beginning; that the Dornach building stands as a first attempt to create a certain stylistic form that cannot even be characterized in words today, because its details are not formed from abstract thoughts, but from what is experienced in a living way in that beholding of the spirit that is meant by our spiritual science. I may mention just one difference at the outset: if we compare the various architectural styles, which, in a certain development of form, still find expression today wherever buildings are constructed, it is apparent everywhere that, basically, the mathematical, the geometrical, the symmetrical, that which perhaps follows in the rhythm of the line, the mechanical, the dynamic, etc., all flow into architecture. From the basic feeling – I am not saying from the basic idea, I am saying from the basic feeling – of our spiritual science, the daring attempt was once made, I know it, to create an organic building idea, not a mechanical-dynamic, but to create an organic building idea, and this under the influence of that which Goethe incorporated into his great, powerful view of nature under the influence of the idea of metamorphosis. The Dornach building, as far as this can be realized in architecture, should not merely represent the symmetrical, the dynamic, the mechanical, the geometrical; it should represent something that can be looked at, I do not say grasped, but looked at as a building organism, as the form for something living. In this case, however, it is a matter of every detail in an organism being exactly as it should be in its place. You cannot imagine the ear lobe in a human organism being formed any differently than it is. So we tried to make our building in Dornach a completely organic, internally organic unit by placing each individual part in the whole in such a way that it appears as a necessary structure in its place; that every detail is an expression of the whole, just as a fingertip or an earlobe is an expression of the whole human organism. That is one thing that has been attempted. As I said, it is a beginning, an attempt, and I know how many imperfections it has and how much can be objected to from the point of view of architecture and sculpture and so on. The other thing is what I would like to say in advance, namely that our world view itself demands that the whole idea of building be formulated differently from the way in which the idea of building is usually formulated. If we consider ordinary buildings – I will mention just one – we find that they are closed off from the outside by walls to a certain degree. Even the Greek buildings were closed off to a certain degree. What is required by the Dornach building is that the wall itself be treated in a completely different way than it is usually treated. The person who enters the Dornach building should not have the feeling that, having a wall around him, he is closed off in an inner space. Rather, everything should be artistically designed so that, to a certain extent, the wall itself is suspended; that the wall itself - please do not misunderstand me - the wall itself becomes artistically transparent, so that one gets the feeling - transparent is of course only spoken in comparison - you are not closed off, but everything that is wall, everything that is dome, opens up a feeling that it is broken through, that it cancels itself out, that you are in a feeling connection with the whole great universe. Far out into infinity, the soul is meant to feel connected to this through what the forms evoke; the forms of the columns, the walls, the forms of the dome paintings, etc. The building in Dornach is a double-domed structure, consisting of a small and a large domed space that do not stand side by side but interlock. The small domed room, that is, the circular room covered by a smaller dome, will be used for presenting mystery dramas, for dramatic performances in general, for other artistic performances, such as eurythmy. But there are also other things planned. Then there is the large domed room, which is connected to the smaller one in the segment of the dome. It is intended as an auditorium; so that those who approach this building must immediately be imbued with a certain feeling by this outer form. We will begin by looking at our building as it presents itself to someone approaching it from the northeast.  So, as you can see, we have a double-domed structure. This is the auditorium, and here is the stage. The two domes are inserted into each other by, if I may say so, a special technical feat, because this insertion was difficult. The person who approaches this building – which, I believe, is particularly appropriate in its artistic expression of the special mountain formation of the Jura region in which it is built – should have the feeling that something is present that reveals itself in a duality. The person who enters the building finds themselves in the large domed room. Inside, he may have the feeling: here something is seen, something heard. And this something, which is experienced in a sense in the heights of spiritual life, which is to reveal itself to an inclined audience, should already express itself as a feeling to those who approach the building. But initially, every single detail of the outer forms is attuned in such a way that one has an impression from the outside, so to speak – I could not express it in terms of ideas or thoughts – but through the forms, through the artistic language forms, one has an impression from the outside of what is actually being proclaimed inside as spiritual science. I would now like to show you another approach to the building, which presents itself when approaching it from the north:  Here is the building, here the main entrance, here a nearby building that has experienced very special challenges. I would just like to mention in this picture: the lower part of the building is a concrete structure. It has a walkway here. The entire building stands on the concrete rotunda. The entire double-domed structure is a wooden construction. I note that the task was not only to create a shell for spiritual science in this building, but also to find a style for this very special institution that could be derived from concrete. That, ladies and gentlemen, is what is not really understood today, that we have to create out of the material everywhere. Today we see how sculptors create things that they shape, I would say, by having some kind of novelistic idea or a novelistic harmony of ideas, which are then shaped in any material, in bronze or the like. But we have to come back to having such an intense feeling for the material that we ourselves, even with this brittle, I mean artistically brittle, this abstract concrete material, gain the ability to create forms of design out of the material. It is certainly the case that today people will not understand you if you say to them: I am going to paint a picture; in the middle I have this or that figure, on the sides this or that figure, I now want to do that, can you do something like that? And one answers: Yes, you can do anything, but it is a matter of what becomes of the colors. You cannot talk about a picture differently than from within the colors. Even in many artistic circles today, there is little understanding when one tries to think that which lives artistically as something quite separate from everything that is not direct contemplation, direct experience of feeling.  As the third picture, I would like to show you another aspect of the building. You can see the small dome, the large dome. Here, seen from the outside, the auditorium. The whole thing sits on the concrete substructure here. Here are the side wings, which fit into the building at the point where the two domes merge.  This is a slightly closer view of the structure. You will be entering from down here. The cloakrooms are located in the concrete substructure. There is a stairwell at the front of the interior. You can come up to this level through the wooden structure, but you can also come up here, where there is a walkway. You can walk around a large part of the structure here during the intervals between performances.  This is the main entrance from the terrace. You can already see that all the forms from the dynamic geometry have been transposed into the organic, into the living. There is nothing in this building that has not been created in the spirit in which I meant the design of the earlobe on the human body earlier. So everything, every detail and the whole, is designed in such a way that not geometric forms, but organic forms are present; but not, I would like to point out, organic forms that are modeled on this or that organic limb. That was not the intention at all. When I had first designed this structure in the wax model, from which the building then emerged, it was not a matter of reproducing anything naturalistically in organic forms, but rather of immersing myself in the creative essence of nature itself, of making what Goethe calls the truth, so to speak, of how nature lives in its creation. Now, of course, nature does not create such structures. Therefore, one does not find those organic forms in nature that can occur in such a structure, but by having the whole structure like an organic being in its intuition, in its imagination, the inner creation is formed in such detail that detail that, without imitating anything in nature, one is compelled to shape a structure like the one above the main entrance in the same way that a plant leaf is shaped out of the essence of the plant organism. So without imitating anything naturalistically, natural creation should reveal itself everywhere without symbolism and allegory, purely by proceeding in the design of the building forms as one can imagine that nature itself lives in its creation.  Once again, closer to the building. We are in front of the main entrance. This is where people will enter first. These are the cloakrooms. Then you come up through the stairwell and enter a vestibule, which I will also show later. This is the north side. Behind here are the storage rooms, the rooms for the equipment and the cloakrooms for the stage plays.  Another view of the main entrance. Here, the smaller dome is completely covered by the large dome. The two side wings were intended as dressing rooms for the performers.  This is a piece of the side wall. Next to it is the house that the man who was able to give us the land for this building had built. This house was built for him in a style that is certainly, since it is all a beginning, completely thought out in all its individual forms using the concrete material. That is what I would like to say about this house.  Here you can see one of the side wings, which, as I said, are intended to provide dressing rooms for those performing in the stage festival. If you walk around here, you will come to the main entrance. Here is a piece of the facade of such a side wing. It has been attempted to follow Goethe's idea of metamorphosis – not in a pedantic way, but in the spirit of transforming the ever-identical, of transforming the ever-uniform, to form everything as an organic unity, so that the motif above the main entrance is repeated here, but in a different form. As you will see in Dornach in general, what Goethe calls changeability in organic structures has been tried to be expressed in the building idea everywhere.  Here is the floor plan, here is the entrance, and there is the auditorium, which will hold about nine hundred to a thousand people. When you come out of the main entrance here, you walk through the space that is vaulted by the organ room above. You then come in here. The line that goes in this direction is the only symmetrical one in this building. Nothing else is oriented in a symmetrical way except for what lies to the left and right of this axis of symmetry. Therefore, as you enter the room, you see a row of columns. These columns are formed in such a way that only the symmetrical pairs always have the same pedestals, the same capitals and the same decoration in general. The formation of the capital progresses as one moves from the entrance towards the stage, so that each successive capital is formed in such a way from the previous one that the space of the architrave above a column is formed from the spatial design of the architrave above the previous column, so that the metamorphosis view is expressed in the right sense. It is, I dare say, a great thing to attempt such a thing: here you have a first capital with very definite forms that arise inwardly for you as you shape them. And as you say to yourself, now it is so that it must remain in the place where it is, then the feeling comes: That is also to be transformed, just as in a plant growing out of the ground, a subsequent leaf is something metamorphosed in relation to the preceding leaf. There you shape the next form out of the previous one. There the next form presents itself as something absolutely necessary. People often come to Dornach and ask: What does this or that chapter mean? My task is simply to say: look! It is not a matter of someone finding an abstract, complicated meaning, but of sensing how the following chapter always grows out of the previous one in organic necessity. The smaller dome, framed by twelve columns, and the fourteen columns here, will provide space for the presentation of stage plays. Often, people also count when they come: one, two, three, four, five, six, seven. Seven columns! Then they say: They are mystics, they bring in the superstitious number seven. I can only say: Then nature is also superstitious. The rainbow has seven color shades, we have seven tones in music, the octave is the repetition of the prime. What is so self-evidently expressed in nature is repeated in the direct experience of creating something metamorphic. And I may well say: it was far from my mind to pursue some mystical number seven, but it was obvious to me to think of one capital out of the other. And then a wonderful thing happened – if I may call it a miracle – that just as there are seven colors in the rainbow, without any mysticism, simply by shaping the form, when you are finished with the seventh form, you can't think of anything more. That's how you get the seven forms. With the seventh, you can't think of a single small artistic idea, so you just know you've finished.  This is a section through the original model. It is cut through the axis of symmetry, so that you can see the formation of the columns in progress, the architraves on top, the bases. So this is the model on which the construction was based.  Another section, a kind of drawing section through the building. Here is the concrete substructure. Here we have to show how the two domes are joined together. But here too, two domes are joined together, leaving the space between them free. I originally had a specific idea in mind when arranging the double dome. When building such a thing, the most important thing is the acoustics, and I had the idea that if you connect two such domes with a connection that is as light as possible, a kind of soundboard must be created. Furthermore, not for mystical reasons but for very real ones, I had the seven columns made out of different types of wood. All of this, of course, yields a great deal when one tries to think and feel it all together. But many people know how difficult it is to get the acoustics right in a hall. Basically, everything was thought out, down to the choice of materials – as I said, the columns are made of different types of wood – and into this soundboard, so that both the sound that develops in the musical sense and the sound of the spoken word are accentuated in a beautiful acoustic way throughout the entire room. Just as the whole thing is an experiment, and one could not think that the most perfect thing could be created in the very first attempt, so I could not indulge in the illusion that the perfect acoustics had been created. But we were able to experience how the intuitions revealed something in the very last few days. The organ was installed as the first musical instrument. It was completed, and it became apparent to us that the entire structure, in terms of music, reveals itself acoustically in a very unique way. And I dare to hope – things are not yet ready, that can prove this – but when everything is there, including the curtain, that then the acoustics, including those for the spoken word, will also reveal themselves. But in any case, the one rehearsal for the intuitive design of a space with regard to the acoustics, the one rehearsal in terms of the music, seems to me – and as it seems to everyone who has heard the organ there in the last few days – to have actually been successful.  A little way into that staircase, which you enter when you come through the main entrance into the interior. You see here a capital above a column. You see this capital formed in a very special way. Every single form, every single surface, every single curve is conceived with the space in which it is located in mind. The line and surface run this way because this is where you come out, because there is little to bear. Here the column braces itself against the building. Here the individual forms must be shaped differently. Just as nature creates differently when it creates a muscle, depending on what it has to bear, so we must experience how the forms must be when each individual link in its place is to be thought of as it can only be in this place through the nature and essence of the whole.  This is the staircase itself. The staircase goes up here. What I showed before is the vestibule above the concrete room. This is where I am standing, and this is where you would stand when you enter the building. Here is the banister for the staircase that leads up from the lower concrete substructure to the building, which is then made of wood, to the actual auditorium. I have tried here to transform a support from the merely geometrically mechanical to the organic. Let me reiterate: I am, of course, aware of all the objections from the point of view of conventional architecture, but it has at least been attempted, and I have the feeling, however imperfect everything is, however many objections there may be, that a start has been made that paves the way for a new architectural style that will be further developed. Perhaps it will lead to something quite different from what has been built in Dornach, but if you don't even start with something, nothing new will come of it. Therefore, even if it goes completely wrong, something new should be attempted here: the development of the mechanical-dynamic form into organic forms. The concrete is worked in such a way that the beam expresses in its own form what it bears; on the other hand, it is shown here how it only forms outwards, bearing nothing.   Here you can see a radiator screen. The individual radiators are covered at the bottom with concrete screens and at the top with wooden screens. These screens are designed in such a way that their plastic forms reflect something that, in its formation, is, so to speak, in between animal and plant forms. It comes from the earth, as if organically grown, but not symbolically, but artistically designed. In creating this, one has the feeling of something coming into being if the earth itself allowed something like this to grow out of its principle of growth. If you take this staircase, you will come to the room that was shown before, and through that you then enter the actual auditorium.  So this is where you come in, enter the auditorium. Here on the left and right are the first two columns. You can see how the simplest capital structure, the simplest architrave structure, is used here. And now you will see how each subsequent capital structure attempts to create something that necessarily grows out of what has gone before, just as a subsequent plant leaf, which is more complicated and more dissipated in form, always grows out of the one that went before.  Here is the first column individually. It is always important to me that one sees that the essential is not: what does the individual column mean? Some people have done a terrible disservice by always talking about the meanings of the Dornach columns; it is important to me that the artistic form must be questioned. Therefore, I will always show the one column and the next one, so that it becomes clear how simply, artistically, the next form was attempted to be derived from the preceding one.  So here, continuing from the simple column – that is the left aspect – we have the second column. It is designed in such a way that what goes down here goes up there. Just as a plant leaf develops from another, this capital form is derived from the preceding one through artistic experience, and this architrave form from the preceding one.  The second column by itself. Now the following two columns, always to illustrate how the next column is to be artistically designed from the previous one. There now follow several column pictures, initially single ones, then in twos.   Everything that one experiences artistically is actually formed in one's imagination as a matter of course. One cannot help it, it just happens. One can hardly say anything else about it either. But the strange thing is: when one simply transfers one's own experience into the forms, then one gradually feels how one creates in harmony with nature's own creative process. One feels the life that lies in the shaping of one metamorphosis out of another, in intimate harmony with natural creation. And so I believe that those who experience – not intellectually, but with lively feeling – what develops there as one capital out of the other actually get a more vivid sense of development than can be given by anything in modern science. For when we speak of development, we usually mean that each successive structure is more complicated than the one that precedes it. This is not true. When one inwardly experiences a development such as this evolution of columns and architraves, then at first the simple develops into the complicated. But then one reaches a height, and then the structures become simpler again. You are amazed when you see the results of artistic necessity, how you create in harmony with nature. Because that is how it is in nature too. An example: the most perfect eye is the human eye, but it is not the most complicated eye. The animal eye is much more complicated than the human eye; in certain animals there are fans and xiphoid processes; in humans this has been absorbed again. The shape is simplified. You don't follow that when you create something like this from abstract ideas, but it presents itself to you as something self-evident in the form.  The next two columns. Here we come to something that the abstract mystic or mystical abstractor might say: “He formed the caduceus here.” I did not form the caduceus, I let the preceding forms grow. It formed by itself. It emerges organically, by itself, from the preceding form. I had to say to myself: “If the preceding column grows just like that, it will come out like that, one from the other.” Two consecutive columns showing how the forms become simpler as development progresses.  Here we are already approaching the gap where the auditorium borders on the stage.  Here the first column of the stage area; here the last of the auditorium, here the gap for the curtain.  Here you can see into the small domed room. If you stand in the auditorium and look that way, you get a view similar to this. The top of the dome, initially carved and then painted. We won't look at the painting here, we'll come to that later.  Here I would like to show the order of the individual columns, so that one can get an overview of how the matter progresses from the simplest. All the individual columns are formed individually for each column, and symmetry is only found in relation to the main axis of symmetry of the building.      Here are the figures on the pedestals. I also tried to give the pedestals a metamorphic appearance. I would like to ask you to take a look at something that is not quite finished yet: the room in which the organ is built. The idea was to avoid making the organ look as if it had simply been placed in the room, and instead to make the whole structure appear to grow out of the room. That is why the architecture around the organ is designed to match the way the organ pipes have to be constructed. It is not finished, as I said. There are still things to be added here.  This is what you see when you enter the small domed room from the auditorium. The end of the small domed room. A number of forms have been carved out of the wood. All of them have been carved out of the rounded surface of the wood, a number of forms that are a summary of the forms found on the capitals and architraves. So that, standing in the auditorium, one has the forms of capitals and architraves, and when one looks up into the small domed space, as a conclusion to all this on a spherical surface, which is like the formal synthesis, the formal synthesis of what can be seen on the individual forms of the architraves and capitals. And now I have to move on to something about which I will have to say a few words.  This is what the small domed room looks like when it is painted. Both domed rooms are painted with motifs that actually only arise when you live very inwardly with what we call anthroposophically oriented spiritual science. When you live very inwardly with this, then, I would like to say again, picturesqueness also emerges all by itself. Just as the word is formed by wanting to express the inner spiritual experience through the word, so this inner spiritual experience, which is truly not so poor that it could only express itself in abstract thoughts and ideas, but can express itself in everything that is a form of life and the purpose of life, is transformed. And motifs that are just as much alive in the one who lives in the inner contemplation of the spiritual world, as it is conveyed through spiritual science, are also painted in the large and small dome in such a way that one does not have the feeling of being closed off by the dome, but rather that one has the feeling, through what is painted on the wall, that the domes form themselves far out into infinity. I want to discuss, because I can't explain everything, only what is painted here in the small domed room, so that you can see it immediately when you look from the auditorium into the small domed room.  There is a central figure. It represents to me, as it were, the representative of humanity as such. At the same time, it is the artistic expression of that which lives in the human form. So that even in its natural human form, the human being must constantly seek balance between two extremes. What the human being actually is is something that should be expressed by the content of all anthroposophically oriented spiritual science. This cannot truly be said in one or even many lectures, but comes to expression in the fullness of all spiritual science. But one can say the following, which is still somewhat abstract but already points to what is experienced as human essence in the human being. One can express it in soul terms as follows: In fact, human beings are always engaged in an inner battle between something that works in him in such a way that he wants to rise above his station. All that is fanciful, enthusiastic, mystical, theosophical, that seeks to lift man in the wrong way above himself, so that he no longer remains on the firm ground of reality, all that is one extreme. This is what some people tend towards, what every human nature secretly tends towards, and what every human nature must overcome through its health. Enthusiasm, fantasy, one-sided mysticism, one-sided theosophy, in short: everything that makes man want to rise above himself, is one thing in the soul. The other thing that is in the human soul and must be overcome through inner struggle is what constantly pulls him down to earth; expressed in spiritual terms: the philistine, the bourgeois, the materialist, the merely intellectual, the abstract, the calculating. And that is the essence of man, that he seeks to find harmony between the two opposite poles. In physiological terms: the same thing that appears physically when a person wants to go beyond themselves is also expressed physiologically in the fact that a person can become feverish, develop pleurisy, that human nature is led into dissolution. The other extreme, that which develops in the soul as mere intellect, as narrow-mindedness, as philistinism and materialism, is what causes the ossification of human nature and leads to one-sided calcification, to ossification. Between these two physiological extremes, human nature fluctuates and seeks balance. The intention is not to present an idea, but rather – both pictorially up there and sculpturally in the group of figures down here – to show how the representative of humanity lives in the middle between the two extremes that I have depicted. And so, above the central figure, which expresses the representative of humanity, there appears, at the top, a luciferic figure that expresses everything that is enthusiastic, fanciful, feverish, and pleurisy-ridden, etc., that wants to lead people beyond their heads. And at the bottom, protruding out of the cave, is the representative of everything ossified, everything philistine, everything that leads to sclerosis in its one-sidedness. This central figure is designed in such a way that there is nothing aggressive about it. The left arm points upwards, the right downwards. Every effort has been made to represent love embodied in this representative of humanity, right down to the fingertips. And just as I am convinced that the trivial figure of Christ, as we usually see it, bearded, only came into being in the fifth or sixth century, so I am convinced, from spiritual scientific sources, which I can't talk about, but only because of lack of time, I am convinced that the figure that is depicted here is a real image of the one who walked in Palestine at the beginning of our era as the Christ-Jesus figure. And there should be nothing aggressive about it, even if the figure of Lucifer is painted, poetically shaped, falling and even breaking into pieces, not through an attack on the part of Christ Jesus, but because in his Luciferic nature he cannot bear the proximity of embodied love. And if Ahriman, down there, the representative of the ossifying principle, the being that carries within itself everything that seeks to bind human beings to the earth, everything that does not want to let them go, suffers torment, ground. This is not because the figure of Christ hurls lightning bolts, but because this ahrimanic entity, through its own soul condition, so to speak, out of embodied love, casts lightning bolts for its own torment.  Here I really tried to depict love both plastically and pictorially in this central figure. And in a similar way, the inner experiences of spiritual science are given in the pictures on either side of this central group. But I can only show you the content of what is painted here. But that is not the main thing. In the first of my Mystery Dramas it is stated that in truth only that corresponds to modern ideas about painting in which the form of the color is the work. And here in this small dome an attempt was once made to create everything that was to be created out of color. If someone asks about the meanings, they are at most what one has tried to attach to the color scheme. I have to keep saying: one sees the color spot there or there, and what is in its vicinity as color spots, that is more important to me than what is meant there in a novelistic way. An attempt has been made to realize this – I know all the counter-arguments – but it has been made, to realize what appears to me to be the case: I actually perceive every line in nature, when it is reproduced by drawing or painting, as a lie. The truth in nature is color. One is not concerned with the horizon line, but above with the blue firmament, below with the green sea, and where the two colors meet, the line and the form arise by themselves. This is how I have tried to paint here: everything from the color. The line should be the creature of the color.  Here you can see a section of the painting more clearly.  Here is a kind of rule of thumb. Here is the only word written out with letters that can be seen as a word in the whole structure. Nowhere is there anything symbolic that could be expressed in words; only here at this point, where an attempt has been made to convey the sensation as an experience through color, which occurred around the 16th century, when humanity developed more and more towards an individualistic soul life; there, knowledge took on very special forms. Those who speak of knowledge in such abstract terms, as many epistemologists do, really know nothing of the inner experience of knowledge. Today, knowledge is only known by those who can see before their soul how, in the process of limiting human life, childhood emerges from the spiritual world.   Here the child and on the other side, death. In the middle, the realization, the realization that brings it to the individualism of the ego-grasping. That which humanity has felt as actual cultural thoughts, for example in the 16th century, is attempted here to be expressed through color. I can only show you the content, which is not the main thing. But I think that precisely because this content is imperfectly depicted here, it evokes the feeling that something is still missing here, without which this thing cannot truly be what it should be. Anyone who sees this should feel that there should be color: here the child in its particularity, here the self, there a kind of fist-like figure, and below that death.  Here a little further. With the first figure we were still touching the auditorium. Here we come to the middle of the small domed room. There we have a figure that is supposed to represent how the spiritual was experienced by a cognizant human being in ancient Greece. The sensations, as they pass through human spiritual culture, should be seen in colors on the wall.  Here is the figure, which is, as it were, the inspiring figure above the Faust figure. You always see the inspired below, with a kind of genius above. Here is the genius of Faust, who appears as a kind of inspirer of Faust.  Here is the figure that can be seen above the Greek figure as an inspiring figure. It was a natural development that the genius of the sentient and cognizant entity was depicted as Apollo with the lyre. This is a higher inspiring entity that is always above the one who is down below, who is sitting down below, as it were, on the column. The inspiring figures are painted in the dome space.  Here below is an Egyptian figure, leading the Egyptian soul-life. The two figures shown before (Fig. 75) stand above her and represent the inspirers; the entities that are meant to pour the soul-life into them. Fig. 44 (Fig. 77): Here I have tried to show how the civilization that I would describe as that of the Persian Zarathustra culture, which dates back to primeval times and has a view of the world as dual, ambivalent, as a world in which light and darkness cast their effects, how this view of the world has spread from Asia through Central Europe, and how it is still expressed in Goetheanism, where man experiences it. That is the essence of our Germanic-German culture: we always experience this contrast between light and darkness, which is already expressed in the old Zarathustra culture, this contrast that cuts so deeply into our souls when, on the one hand, we feel something that wants to grow beyond us like light; on the other hand, something that, like heaviness, wants to pull us into the earth. This is how the dualism that is felt should be expressed.  Above them you can see two figures. Sometimes you get fed up when you have been working on something like this for months. I got fed up while forming these two figures, in these figures, in which the inadequate and the ugly come to life, to recreate something like Mr. and Mrs. Wilson. That was something like a bugbear. But the other thing is that, basically, something lives in the Germanic-German soul when it experiences the thought of realization, which can only be endured if one recognizes full life in harmony with where life innocently enters physical existence from spiritual worlds.  Here you have, so to speak, an inspiring summary of everything that appears as duality: the being of light, the Luciferic, that which tempts people to fall into raptures; the other is the pedantic, the philistine, the Ahrimanic, which would like to drag people down. No civilization experiences this dualism as deeply and dramatically as the one within which there is a transitional context for contexts that go back to ancient times to the Zarathustra culture and find their expression in all that has become Goetheanism, which we still feel by spiritual science itself compels us to present the representative of humanity as he must seek the balance between the Luciferic, the mystical, the enthusiastic, the theosophical, and the Ahrimanic, the pedantic, ossified, philistine, sclerotic, and so on.  Here is the one figure, the ahrimanic, philistine, pedantic one, with the forehead set far back; the whole built as man would become if he were pure intellect. Only by the heart working its way up into the head do we avoid one extreme, how we would become if we only developed the things that form the skull, but which cannot form themselves according to their own inner forces because this is counteracted by the heart and the whole of the rest of the human being.  Here the other aspect, counteracting the Ahrimanic aspect. Between these two aspects, man must always seek his equilibrium. Christ is the great Master who leads us on the path to find this balance.  Here we come up against the central group. This is what will arise when dualism has developed to the point where the human being feels himself to be twofold, as a higher and a lower human being; that he has his shadow within himself, but as a shadow that he digests spiritually and mentally.  As a kindly genius that is above him.  Here a centaur, inspiring him what needs to be overcome in us as animality. Up here the centaur form, inspiring a future culture, next to the genius, the angelic, what approaches man on the other side. Here is the central figure, Christ, not by attaching a vignette to him, but by placing him as the central figure. One should feel artistically: this is the figure in which the divine has appeared on earth. One should feel it from the form, from the line, from the surfaces and here from the color. Figure 53 (illustration unclear): Here, at this point, it has, so to speak, been completely successful, even if it is only an attempt, to create everything out of color, without line.  Here is the head of the Representative of Man. Above it, Luciferic; below, Ahrimanic. This is the head that appears to me, from the spiritual vision – as far as one can form it – as the true form of the one who lived in Palestine at the starting point of Christianity as the Christ. Here is the figure of Lucifer, collapsing into himself. It is painted in red and worked out of red. Picture 56 (Fig. 86): Below, the figure of Ahriman.  Here is the head, as the human head would be if it were not softened by the rest of the human being.  Here is the lightning bolt that must be drawn from the Christ principle. Here I then move on to showing an illustration of a group of people. This group of people now also represents the representative of humanity. Above them are two figures, one again representing the rapturous, the mystical and so on. And as paradoxical as it may sound, this is designed in its forms as it presents itself in an inner spiritual vision if one wants to represent what man would be like if he formed himself according to the feverish, the pleuritic, the enthusiastic-fantastic.  Here the head, here the arm, and the peculiar thing that arises: that the larynx, ear and chest come together and merge into the wing. You feel what becomes an expressionist work of art. This is something that the non-understanding person might call symbolic. It is not symbolic, it is observed as only an organic-physical form can be observed.  Here again this figure, and here the figure at the very top on one side of the group of wood. It turned out that we needed something purely to balance the gravity conditions so that the whole group would support itself. It became so that I had to dare to create something quite asymmetrical, a kind of elemental spirit, growing out of the rock form, but here made of wood. If you abandon yourself to the rock formations, look at them and let your imagination create, saying to yourself: nature has decided on their formation, but if they were to continue, what would arise? You end up with something that approaches the higher form but is not it. I tried to create that in this figure. Above are two luciferic figures, below two ahrimanic figures, and up there this entity, which was dared to be formed completely asymmetrical, because it occurs in a place where the symmetrical would be in contradiction to the whole, and which looks somewhat mischievously humorously at what is forming there as the human struggle. I say “mischievously humorous” because there are indeed entities in the spiritual world that look with a certain humor at the inner tragedy of the human soul struggle. Picture 62 (Fig. 94): Here you see a photograph of my original wax model of the Ahriman figure, the Ahriman head, the original pedant, the original philistine, the head that would have formed if the other human-forming forces had not counteracted the head-forming forces. Once you have created something like this, you know that you have nothing more to add to it. If you then want to create the head for Ahriman, who lives down in the rocky cave and is in conflict with Lucifer, this head also undergoes a metamorphosis, and the place where it needs to be in the body goes through a corresponding metamorphosis.  Here, seen from the side, is the head of the central figure, of whom I have just shown the painted form; that figure, carved out of wood, is, in my opinion, supposed to represent Christ Jesus walking in Palestine. It is remarkable; while I was creating this, it became clear to me once again that one should actually create all Christian motifs in wood. The warmth of the wood – this statue is made of elm wood – is necessary for Christian motifs. An Apollo, an Athena is better in marble; Christian motifs are better in wood. It was always a real pain for me to see Michelangelo's Pieta in Rome, the mother with the body of Christ on her lap. I would have liked to see this Pieta - which I nevertheless greatly admire, of course - in wood instead of marble. I don't yet know the reasons myself. Such things cannot be easily explained. But I think the Aperçu is correct that everything Christian must be represented in wood. Now, regarding the group that I just showed, which forms the center of the building, there is one more thing. If we follow the development of architecture, and consider only two or three stages, we must say: let us look at a Greek temple. It is not quite complete if it does not have its god inside. You cannot think of a Greek temple in general, but only of a temple of Apollo, a temple of Athena. It is the god's dwelling. Let us move from Greek architecture to Gothic. The Gothic cathedral is not complete unless the community is within it. We live in an age in which the community is becoming individualized. Therefore, the social question is the most important question of our time, because people live according to their individuality. Grasping the deepest nerve of our contemporary culture, we must look at what a building that belongs to a community must be a framework for today: for the people themselves. Therefore, the representative of human self-knowledge, the trinity between man, as he struggles in his soul between the enthusiastic-mystical and the pedantic-philistine, materialistic, this trinity should be placed at the center of the building, just as the god stands in the Greek temple, as the community praises in the Gothic cathedral. In this way, the spectator area should be pervaded by the pictorial and plastic sound of the “know thyself,” not in abstract forms, but artistically embodied in the Trinity of which I have so often spoken and which, in my opinion, is the Trinity of the culture of the future of humanity. Therefore, this wooden figure did not have to be erected at the center of the building, but as the central figure of the building.  Here an adjoining building, a neighboring building. Again a metamorphosis of the two domes. Here the architectural idea has been developed into a different form. The main building has windows for which a special type of glasswork has been invented. What I said earlier – that those inside this building feel at one with the whole universe, not closed off – should be expressed through the windows. That is why all the windows are large panes of glass in a single color. These panes – red, green, blue – are engraved, etched out of the glass, which then gives the glass its visual effect. This visual effect is there when the sun shines through the windows. This glass etching was tried for the first time in this building. And here, with the glass window in front of you without sunlight, you can physically feel a kind of score; together with the sun, it becomes a work of art. And you feel in the building: when the sunlight floods in through red, green, and blue panes, what the sun paints with its light lives in these windows, so that it is a representation of human death, sleep, waking, and so on; but nowhere is it symbolic, rather these states of consciousness are experienced vividly within. These glass windows were to be made in this smaller building. And because the first person to work there was called Taddäus Rychter, this house was called “the Richter house”. So it does not have this name because we want to implement the threefold social order, as some people have said, and so we would have built a legal building in which we would have had our own jurisdiction. That is not the case. This should be noted by those who have done something wrong; they will be convicted according to Swiss law.  This is the entrance gate. Everything about it, down to the locks and door handles, is designed in line with the organic architectural concept, so that everything has to be the way it is in its place. Hence the need for a separate lock for these structures.  Here you can see the one that has experienced the most challenges. One day I said to myself: there must be a heating house, a firing plant, near the building. One could have done something that would not have been in the spirit of the overall architectural concept of the Goetheanum; a red chimney would have stood there. But I tried to create a utilitarian building out of concrete. I tried, in turn, to form a shell around the heating elements and the firing machines that are inside, just as the nut fruit forms a shell around itself. Also around what comes out as smoke. The whole is only complete when smoke comes out. So there, too, an attempt is made to carry out a building idea in such a way that, despite the utilitarian idea being carried out, what is created out of the utilitarian form is that which, in utilitarian building, the artistic form-giver currently strives for. The same building from the side. By now, enough time has passed and I have kept you waiting for a long time with a large number of pictures that were intended to show you something that is being built in Dornach as the Goetheanum, as a free university for spiritual science. What I have shown you in a series of pictures is intended to provide an initial framework for the work that has arisen from the spirit of spiritual science, which I have now been able to present in Stuttgart for almost two decades. A building was to be erected in Dornach that would not only have an external connection to this spiritual science, in that it serves the cultivation of spiritual science, but that would also be an expression in every detail of life in this spiritual science, just as the word that is formed and through which this spiritual science is proclaimed is intended to be a direct expression of the ideal that can be experienced in this spiritual science. This spiritual science should not be abstract, theoretical, unworldly or unreal. This spiritual science should be able to intervene in reality everywhere. Therefore, it had to create a building style, a framework that emerged from itself just as a nutshell emerges from a nut. Of course, one will rightly be able to object to some things that are also before my mind's eye. But there was always a certain sense of encouragement while I was working on this building idea and all its details, what went through my mind when I was a very young man in the 1880s and heard the Viennese architect von Ferstel, who built the Viennese Votivkirche, give his inaugural address on the development of architectural styles. With a certain emphasis, Ferstel, the great architect, exclaimed: “Architectural styles are not invented, architectural styles arise. I always said to myself: But then we live today in a time in which everything spiritual must change in the human soul in such a way that a new architectural style must necessarily arise from this change of the spiritual. And that something like this must be possible was always before me. I believed that it must be possible, and therefore I did not shrink from seeking such an architectural style, even if it was initially in a very imperfect design, from anthroposophically oriented spiritual science. A second time, if I were ever to supervise such a building again, it would be quite different. But one only learns by approaching reality, when one wants to deal not with abstract ideas, with something symbolic and allegorical, but with something vividly artistic and real in life. Spiritual science needs at least the beginning of a new architectural style, a new artistic formal language. No matter how imperfect it may be, present-day human civilization demands it! And those who have stood by me in such great numbers have seen it with me and have submitted to the first attempt at realizing this aspiration. And even if many still look with a sneer at what rises up as the Goetheanum, as a free college on the Jura hill in northwestern Switzerland — which is now difficult to reach from here, but otherwise easy to reach because it is only half an hour across the border — what stands there is already visited by thousands and thousands from all countries, especially from Switzerland itself. The eurythmy performances are also well attended, every Saturday and Sunday, and the lectures that I already give for the public in this school enjoy a certain interest even in circles that do not belong to the Anthroposophical Society. Dornach is beginning to open up to the world. It will still cost great sacrifices. We will still need many resources to really develop what is intended. But from what is there today, what is still unfinished, it can be seen that there can be a world view that not only thinks but also builds. On the other hand, we would like to show the world through the Federation for Threefolding that this world view can also have a socially constructive effect on the immediate life of the individual and of humanity. However great the faults of this structure, which is the external representative of our world view, our spiritual-scientific world view, and however much it is still rightly subject to criticism today, it had to be ventured. It had to be placed in our present civilization. And in the face of all contradictions - or rather in the face of all approval of the present - I would like to say, in harmony with all the friends who have helped me in such great numbers in erecting this building, in the face of what is intended here, the modest, summarizing word: What has been willed must first become the right thing in later times, but a start had to be made. And speaking on behalf of all those who have been active in Dornach, I can summarize the attitude out of which flowed what I have tried to show you today: we dared to do it despite the difficulties, and we will continue to dare to do it! |
| 321. The Warmth Course: Lecture V
05 Mar 1920, Stuttgart Tr. George Adams, Alice Wuslin, Gerald Karnow Rudolf Steiner |
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| Yesterday I endeavored to illustrate this by asking you to imagine yourselves living, thinking rainbows with your consciousness in the green, in consequence of which you did not perceive the green but perceived the colors on each side of it, fading into the unknown. |
| 321. The Warmth Course: Lecture V
05 Mar 1920, Stuttgart Tr. George Adams, Alice Wuslin, Gerald Karnow Rudolf Steiner |
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My dear friends, I would have liked to carry out for you today some experiments to round out the series of facts that lead us to our goal. It is not possible to do so, however, and I must accordingly arrange my lecture somewhat differently from the way I intended. The reason for this is partly that the apparatus is not in working order and partly because we lack alcohol today, just as we lacked ice yesterday. We will therefore take up in more detail the things that were begun yesterday. I will ask you to consider all these facts that were placed before you for the purpose of obtaining a survey of the relationships of various bodies to the being of heat. You will realize that certain typical phenomena meet us. We can say: These phenomena carry the impress of certain relations involving the being of heat, at first unknown to us. Heat and pressure exerted on a body or the state of aggregation that a body assumes according to its temperature, also the extent of space occupied, the volume, are examples. We are able on the one side, to see how a solid body melts, and can establish the fact that during the melting of the solid, no rise in temperature is measurable by the thermometer or any other temperature-measuring instrument. The temperature increase stands still, as it were, during the melting. On the other hand, we can see the change from a liquid to a gas, and there again we find the disappearance of the temperature increase and its reappearance when the whole body has passed into the gaseous condition. These facts make up a series that you can demonstrate for yourselves, and that you can follow with your eyes, your senses and with instruments. Yesterday, also, we called attention to certain inner experiences of the human being himself which he has under the influence of warmth and also under the influence of other sense qualities such as light and tone. But we saw that magnetism and electricity were not really sense impressions, at least not immediate sense impressions, because as ordinary physics says, there is no sense organ for these entities. We say, indeed, that so far as electrical and magnetic properties are concerned we come to know them through determining their effects, the attraction of bodies for instance, and the many other effects of electrical processes. But we have no immediate sense perception of electricity and magnetism as we have for tone and light. We then noted particularly, and this must be emphasized, that our own passive concepts, by which we represent the world, are really a kind of distillation of the higher sense impressions. Wherever you make an examination you will find these higher concepts and will be able to convince yourselves that they are the distilled essence of the sense impressions. I illustrated this yesterday in the case of the concept of being. You can get echoes of tone in the picture of the conceptual realm, and you can everywhere see showing through how these concepts have borrowed from light . But there is one kind of concept where you cannot do this, as you will soon see. You cannot do it in the realm of the mathematical concepts. In so far as they are purely mathematical, there is no trace of the tonal or the visible. Now we must deceive ourselves here. Man is thinking of tone when he speaks of the wave number of sound vibrations. Naturally I do not refer to this sort of thing. I mean all that is obtained from pure mathematics. Such things, for instance, as the content of the proposition of Pythagoras, that the sum of the angles of a triangle is 180°, or that the whole is greater than the part, etc. The basis of our mathematical concepts does not relate itself to the seen or the heard, but it relates itself in the last analysis to our will impulse. Strange as it may seem to you at first, you will always find this fact when you look at these things from the psychological point of view, as it were. The human being who draws a triangle (the drawn triangle is only an externalization) is attaining in concept to an unfolding of the will around the three angles. There is an unfolding of action around three angles as shown by the motion of the hand or by walking, by turning of the body. The thing that you have within you as a will-concept, that in reality you carry into the pure mathematical concept. That is the essential distinction between mathematical concepts and other concepts. This is the distinction about which Kant and other philosophers waged such controversy. You can distinguish the inner determination of mathematical concepts. This distinction arises from the fact that mathematical concepts are so rigidly bound up with our own selves, that we carry our will nature into them. Only what subsists in the sphere of the will is brought into mathematical operations. This is what makes them seem so certain to us. What is not felt to be so intimately bound up with us, but is simply felt through an organ placed in a certain part of our make-up, that appears uncertain and empirical. This is the real distinction. Now, I wish to call your attention to a certain fact. When we dip down into the sphere of will, whence came, in a vague and glimmering way, the abstractions which make up the sum of our pure arithmetical and geometrical concepts, we enter the unknown region where the will rules, a region as completely unknown to us in the inner sense, as electricity and magnetism are in the outer sense. Yesterday I endeavored to illustrate this by asking you to imagine yourselves living, thinking rainbows with your consciousness in the green, in consequence of which you did not perceive the green but perceived the colors on each side of it, fading into the unknown. I compared the red to the dipping down inwardly into the unknown sphere of the will and the blue-violet to the outward extension into the spheres of electricity and magnetism and the like. Now I am inserting at this point in our course this psychological-physiological point of view, as it might be called, because it is very essential for the future that people should be led back again to the relation of the human being to physical observations. Unless this relationship is established, the confusion that reigns at present cannot be eliminated. We will see this as we follow further the phenomena of heat. But it is not so easy to establish this relationship in the thinking of today. The reason is just this, that modern man cannot easily bridge the gap between what he perceives as outer space phenomena in the world, or better, as outer sense phenomena and what he experiences within. In these modern times there is such a pronounced dualism between all which we experience as knowledge of the outer world and what we experience inwardly, that it is extraordinarily difficult to bridge this gap, But the gap must be bridged if physics is to advance. To this end we must use the intuitive faculties rather than the rational when we relate something external to what goes on within man himself. Thus we can begin to grasp how we must orient ourselves, in observing phenomena so difficult as those arising from heat. Let me call your attention to the following: Suppose you learn a poem by heart. You will, as you learn it, first find it necessary to become acquainted with the ideas that underlie the poem. At first you will always have the tendency, when you recite the poem, to let those ideas unroll in your mind. But you know that the more frequently you recite the poem, especially when there is a lapse of time between the recitations, the less intensely you are obliged to think of the ideas. There may come a time when it is not necessary to think at all, but simply to reel off the recitation mechanically. We never actually reach this point; do not wish to, in fact, but we approach the condition asymptotically as it were. Our feelings as human beings prevent us from reaching this stage of purely mechanical repetition, but it is thinkable that we would get to the point where we needed to think not at all, but when we spoke the first line the rest of the poem would follow without any thinking about it. You recognize the similarity between such a condition and the approach of the hyperbola to its asymptotes. But this leads us to the conception that when we speak a poem we are dealing with two different activities working simultaneously in our organism. We are dealing with a mechanical reeling-off of certain processes, and along with this go the processes included in our soul concepts. On the one hand, we have what we can properly speak of as playing itself out mechanically in space, and on the other hand, we have a soul process which is entirely non-spatial in nature. When now, you fasten your attention simply on that which reels itself off mechanically, and you do this in thought, for instance, if you imagine you recited a poem in an unknown language, then you have simply the mechanical process. The instant you accompany this mechanical process with thinking, then you have an inner soul activity that cannot be brought out into space. You cannot express in space the thinking with which a man accompanies the recitation, as you can the mechanical processes of actual speaking, of the pronouncing of words. Let me give you an analogy. When we follow the heating of a solid body up to the time it arrives at its melting point, the temperature becomes higher. We can see this on the thermometer. When the body begins to melt, the thermometer stands still until the melting is complete. There is an analogy between what we can follow with the thermometer, the outer physical process, and what we can follow physically in the spoken word. And there is an analogy also between what escapes us, and lies in the concepts of the reciter and what happens to the heat while the melting goes on. Here you see, we have an example where we can, by analogy, at least bridge the gap between an outer observation and something in the human being. In other realms than that of speech we do not have such ready examples to bridge the gap. This is because in speech there is, on the one hand, the possibility imaginable, at least, that a person could mechanically speak out something learned by heart. Or on the other hand, that the person would not speak at all but simply think about it and thus remove it entirely from the realm of space. In other spheres we do not have the opportunity to make this cleavage and see precisely how one activity passes over into another. Especially is this difficult when we wish to follow the nature of heat. In this case we have to set out to investigate physiologically and psychologically how heat behaves when we have taken it up into ourselves. Yesterday, by way of illustration, I said to you: “I go into a room that is comfortably warmed, I sit down and write.” I cannot so directly find the inter-relationships between what I experience or feel when I go into the warm room. What goes on within me parallels the outer warmth, when I write my thoughts down. But I cannot determine the relationship so readily as I can between speaking something and thinking about it. Thus it is difficult to find the something within that corresponds to the outer sensation of warmth. It is a question of gradually approaching the concepts that will lead us further in this direction and in this connection I want to call your attention to something you know from your anthroposophy. You know, when we make the attempt to extend our thinking by meditation, to increase its inner intensity, and so to work with our thoughts that we come again and again into the condition where we know we are using soul-forces without the help of the body, we notice a certain thing. We notice that in order to do this, our entire inner soul life has to change. With ordinary abstract thoughts man cannot enter the higher region of human soul life. There thoughts become picture-like and they have to be translated out of the imaginative element in order to get them into abstract form, if they are to be brought into the outer world which is not grasped by the imaginative element. But you need to understand a method of looking at these things, such as is presented, for instance, in my Occult Science. In this book the endeavor is to be as true to the facts as possible, and it is this which has so disturbed the people who are only able to think abstractly. For the attempt must be made to get things over into picture form, as I have done to some extent in the description of the Saturn and Sun states. There you will find purely picture concepts mixed in with the others. It is very hard for people to go over into the pictures, because these things cannot be put into the abstract form. The reason for this is that when we think abstractly, when we move within the narrow confines of concepts, in which people today are so much at home, and especially so in the realm of natural science, when we do this we are using ideas completely dependent on our bodies. We cannot, for instance, do without our bodies when we set out to think through the things set forth as laws in the physics books. There we must think in such a way that we use our bodies as instruments. When we rise to the sphere of the imagination, then the abstract ideas must be completely altered, because our inner soul life no longer uses the physical body. Now you can take what I might call a comprehensive view of the realm of imaginative thought. This realm of imaginative thought has in us nothing to do with what is tied up in our outer corporeality. We rise to a region where we live as beings of soul and spirit without dependence on our corporeality. In other words, the instant we enter the realm of the imaginative, we leave space. We are then no longer in space. Note now, this has an extremely important bearing. I have in the previous course, made a very definite differentiation between mere kinematics and what enters into our consideration as mechanical, such as mass, for instance. As long as I consider only kinematics, I need only think of things. I can write them down on a blackboard or a sheet of paper and complete the survey of motion and space so far as my thinking takes me. But in that case I must remain within what can be surveyed in terms of time and space. Why is this? This is so for a very definite reason. You must make the following clear to yourselves: All human beings, as they exist on earth, are as you yourselves, within time and space. They are bounded by a definite space and are related as space objects to other space objects. Therefore, when you speak of space, you are not able, considering the matter in an unprejudiced way, to take seriously the Kantian ideas. For if space were inside of us, then we could not ourselves be within space. We only think space is inside of us. We can free ourselves of this fancy, of this notion, if we consider the fact that this being-within space has a very real meaning for us. If space were inside of us, it would have no meaning for a person whether he were born in Moscow or Vienna. But where we are born has a very real significance. As a terrestrial-empirical person, I am quite completely a product of space facts. That is, as a human being, I belong to relations that form themselves in space. Likewise, with time, you would all be different persons if you had been born 20 years earlier. That is to say, your life does not have time inside of it, but time has your life within it. Thus as experiencing persons, you stand within time and space. And when we talk of time and space, or when we make a picture of will impulses, as I have explained we do in geometry, this is because we ourselves live inside of spatial and temporal relations, and are therefore quite definitely conditioned by them, and so are able, a priori, to speak of them as we do in mathematics. When you go over to the concept of mass, this is not so. The matter must then be put otherwise. In respect to mass, you are dealing with something quite special. You cannot say that you cut out a portion of time or space, but rather that you live in the general space mass and make it into your own mass. This mass then, is within you. It cannot be gainsaid that this mass with all its activities, all of its potentialities, is active inside of you; at this moment it falls into a different category from time and space so far as its relations to you are concerned. It is precisely because you yourself take part, as it were, with your inner being in the properties of the mass, because you take it up into your being, that it does not allow itself to be brought into consciousness like time and space. In the realm where the world gives us our own substance, we thus enter an unknown region. This is related to the fact that our will is, for instance, closely connected with the phenomena of mass inside us. But we are unconscious of these phenomena; we are asleep to them. And we are related to the will activity and accompany mass phenomena within us in no other way than we are to the world in general between going to sleep and waking up. We are not conscious of either one. Both these things are hidden from human consciousness, and in this respect, there is no immediate distinction between them. Thus we gradually bring these things nearer to the human being. It is this that the physicists shy away from, the bringing of such things near to man. But in no other way can we obtain real concepts except by developing relationship between the human being and the world, a relationship that does not exist at the start, as in the case of time and space. We speak of time and space, let us say, out of our rational faculties, whence comes the remoteness of the mathematical and kinematical sciences. Of the things experienced merely through the senses, in an external fashion, things related to mass, we can at first speak only in an empirical fashion. But we can analyze the relation between the activity of a portion of mass within us and outer mass activity. As soon as we do this we can begin to deal with mass in the same way that we deal with the obvious relation between ourselves and time or ourselves and space. That is, we must grow inwardly into such relation with the world in our physical concepts, as we have for the mathematical or kinematical concepts. It is a peculiar thing that, as we loosen ourselves from our own bodies in which all those things take place to which we are asleep, as we raise ourselves to imaginative concepts, we really take a step nearer the world. We approach always nearer to that which otherwise reigns in us unconsciously. There is no other way to enter into the objectivity of the facts than to push forward with our own developed inner soul forces. At the same time that we detach ourselves from our own materiality, we approach more and more closely to what is going on in the outside world. However, it is not so easy to obtain even the most elementary experiences in this region, since a person must so transform himself that he pays attention to things that are not noticed at all under ordinary circumstances. But now, I will tell you something that will probably greatly astonish you. Let us suppose you have advanced further on the path of imaginative thinking. Suppose you have really begun to think imaginatively. You will then experience something that will astonish you. It will be much easier than it formerly was for you to recite in a merely mechanical way a poem that you have learned by heart. It will not be more difficult for you, but less so. If you examine your soul organism without prejudice and with care, you will at once find that you are more prone to recite a poem mechanically without thinking about it, if you have undergone an occult training than if you have not undergone such a training. You do not dislike this going over into the mechanical so strongly as you did before the occult development. It is such things as this that are not usually stated but are meant when it is said over and over again: The experiences you have in occult training are really opposed to the concepts that are ordinarily had before you enter occult training and thus it is, when the more advanced stage is reached, that one comes to look more lightly on the ideas of ordinary life. And therefore, anyone who advances in occultism is exposed to the danger of afterwards becoming a greater mechanist than before. An orderly occult training guards against this, but the tendency to become materialistic is quite marked in the very people who have undergone occult development. I will, by example, tell you why. You see, in ordinary life, it is really, as the theorists say it is, the brain thinks. But ordinarily, a man does not actually experience this fact. It is quite possible in this ordinary life to carry out such a dialogue as I did in my childhood with a youthful friend who as a crass materialist and became more and more so. He would say, “When I think my brain does the thinking.” I would say to that: “ Yes, but when you are with me you always say, I will do this, I think. Why do you not say, my brain will do this, my brain thinks? You are always speaking an untruth.” The reason is that for the theoretical materialist, quite naturally, there does not exist the possibility of observing the processes in the brain. He cannot observe these physical processes. Therefore, materialism remains for him merely a theory. The moment a person advances somewhat from imaginative to inspirational ideas, he becomes able really to observe the parallel processes in the brain. Then what goes on in the material part of the brain becomes really visible. Aside from the fact that it is extremely seductive, the things a person can observe in his own activity appear to him more and more wonderful to a high degree. For this activity of the brain is observable as something more wonderful than all that the theoretical materialists can describe about it. Therefore, the temperature comes to grow materialistic for the very reason that the activity of the human brain has become observable. Only one is, as has been said, protected from this. But as I have explained to you these steps in occult development, I have at the same time showed you how this development creates the possibility of a deeper penetration into material processes. This is the extraordinary thing. He who functions in the spirit simply as an abstract thing, will be relatively powerless in the face of nature. He grows into contact with other natural phenomena as he has already grown into contact with time and space. We must now set up on the one side, all the things we have just tried to place before our minds, and on the other side, those things that have met us from the realm of heat. What has come to us from the realm of heat? Well, we followed the rise of temperature as we warmed a solid body to melting point. We showed how the temperature rise disappeared for a time, and then re-appeared until the body began to boil, to evaporate. When we extended our observations, another thing appeared. We could see that the gas produced passed over in all directions on its surroundings. (Fig. 1a), seeking to distribute itself in all directions, and could only be made to take on form if its own pressure were opposed by an equal and opposite pressure brought to bear from the outside. These things have been brought out by experiment and will be further cleared up by other experiments. The moment the temperature is lowered to the point where the body can solidify, it can give itself a form (Fig. 1b). When we experience temperature rise and fall, we experience what corresponds externally to form. We are experiencing the dissolution of form and the re-establishment of it. The gas shows us the dissolution, the solid pictures for us the establishment of form. We experience the transition between these two, also, and we experience it in an extremely interesting fashion. For, imagine to yourselves the solid and the gas and the liquid, the fluid body standing between. This liquid need not be enclosed by a vessel surrounding it completely, but only on the bottom and sides. On the upper side, the liquid forms its own surface perpendicular to the line between itself and the center of the earth. Thus we can say that we have here a transition form between the gas and the solid (Fig. 1c). In a gas we never have such a surface. In a liquid such as water, we have one surface formed. In the case of a solid, we have that all around the body which occurs in the liquid only on the upper surfaces.    Now this is an extremely interesting and significant relation. For it directs our attention to the fact that a solid body has over its entire surface something corresponding to the upper surface of a liquid, but that it determines the establishment of the surface on a body of water. It is at right angles to the line joining it to the center of the earth. The whole earth conditions the establishment of the surface. We can therefore say: In the case of water, each point within it has the same relation to the entire earth that the points in a solid have to something within the solid. The solid therefore includes something which in the case of water resides in the relation of the latter to the earth. The gas diffuses. The relation to the earth does not take part at all. It is out of the picture. Gases have no surface at all. You will see from this that we are obliged to go back to an old conception. I called your attention in a previous lecture to the fact that the old Greek physicists called solid bodies Earth. They did this, not account of some superficial reason such as has been ascribed to them by people today, but they did it because they were conscious of the fact that the solid, of itself, takes care of that which is the case of water is taken care of by the earth as a whole. The solid takes into itself the role of the earthly. It is entirely justified to put the matter in this way: The earthly resides within a solid. In water it does not reside within, but the whole earth takes up the role of forming a surface on the liquid. Thus you see, when we proceed from solid bodies to water, we are obliged to extend our considerations not only to what actually lies before us but in order to get an intelligent idea of the nature of water, we must extend them to include the water of the whole earth and to think of this as a unity in relation with the central point of the earth. To observe a “fragment” of water as a physical entity is absurd, just as much so as to consider a cut-off garment of my little finger as an organism. It would die at once. It only has meaning as an organism if it is considered in its relation to the whole organism. The meaning that the solid has in itself, can only be attached to water if we consider it in relation to the whole earth. And so it is with all liquids on earth. And again, when we pass on from the fluid to the gaseous, we come to understand that the gaseous removes itself from the influence of the earth. It does not form surfaces. It partakes of everything which is not terrestrial. In other words, we must not merely look on the earth for the activities of a gas, we must bring in the environment of the earth to help us out, we must go out into space and seek there the forces involved. When we wish to learn the laws of the gaseous state, we become involved in nothing less than astronomical considerations. Thus you see how these things are related to the whole terrestrial scheme when we examine the phenomena that we have up to this time simply gathered together. And when we come to such a point as the melting or boiling point, then there enter in things that must now appear to us as very significant. For, if we consider the melting point we pass from the terrestrial condition of the solid body where it determines its own form and relations, to something which includes the whole earth. The earth takes the sold captive when the latter goes over into the fluid state. From its own kingdom, the solid body enters the terrestrial kingdom as a whole when we reach the melting point. It ceases to have individuality. And when we carry the fluid body over into the gaseous condition, then we come to the point where the connection with the earth as shown by the formation of a liquid surface is loosened. The instant we go from a liquid to a gas, the body loosens itself from the earth, as it were, and enters the realm of the extra-terrestrial. When we consider a gas, the forces active in it are to be thought of as having escaped from the earth. Therefore, when we study these phenomena we cannot avoid passing from the ordinary physical-terrestrial into the cosmic. For we no longer are in contact with reality if our attention is not turned to what is actually working in the things themselves. But now another phenomena meets us. Consider such a thing as the one you know very well and to which I have called your attention, namely that water behaves so remarkably, in that ice floats on water, or, stated otherwise, is less dense than water. When it goes over into the fluid condition its temperature rises, and it contracts and becomes denser. Only by virtue of this fact can ice float on the surface of the water. Here we have between zero and four degrees, water showing an exception to the general rule that we find when temperature increases, namely that bodies become less and less dense as they are warmed up. This range of four degrees, where water expands as the temperature is lowered, is very instructive. What do we learn from this range? We learn that the water sets up an opposition. As ice it is a solid body with a kind of individuality, but opposes the transition to an entirely different sphere. It is very necessary to consider such things. For then we begin to get an understanding as to why, under certain conditions, the temperature as determined by a thermometer disappears, say at the melting or boiling points. It disappears just as our bodily reality disappears when we rise to the realm of imagination. We will go into the matter a little more deeply, and it will not appear so paradoxical when we try to clear up further the following: What happens then, when a heat condition obliges us to raise the temperature to the third power, or in this case to go into the fourth dimension, thus passing out of space altogether? Let us at this time, put this proposition before our souls and tomorrow we ill speak further about it. Just as it is possible for our bodily activity to pass over into the spiritual when we enter the imaginative realm, so we can find a path leading from the external and visible in the realm of heat tot he phenomena that are pointed to by our thermometer when the temperature rise we are measuring with it disappears before our eyes. What process goes on behind this disappearance? That is the question which we are asking ourselves today. Tomorrow we will speak of it further. |
| 270. Esoteric Lessons for the First Class II: Twelfth Hour
11 May 1924, Dornach Tr. Frank Thomas Smith Rudolf Steiner |
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| When speaking is sensed so that it must be moved here [red], you will sense thinking here above [green]. That is, the sense of thinking is moved somewhat up against the back of the head. It is good to practice such an exercise, for it acts as a guide to intimate self-observation. |
| Yes, this I: when we say “I” [drawing: circle with the word “Ich”, yellow], we are looking back at this Ich [red arrows], and say the word “I” [Ich]. But for a being from the ranks of the Exusiai [green line] this I-thought is a real thought. We exist in that we are thought by beings from the ranks of the Exusiai. |
| 270. Esoteric Lessons for the First Class II: Twelfth Hour
11 May 1924, Dornach Tr. Frank Thomas Smith Rudolf Steiner |
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My dear friends, First let us recite the verse which reminds us of what comes from the cosmos itself as an invitation to knowledge: O man, know thyself! Self-knowledge, my dear sisters and brothers, is what, in a spiritual sense, can lead to cosmic knowledge. And it has often been said that understanding must exist for true spiritual cosmic knowledge to stream out of the spiritual world itself; that we must understand that the person who is able to transmit such knowledge from the spiritual world must approach the threshold; that the Guardian of the Threshold stands at the threshold, the Guardian who protects the person in normal consciousness from entering the spiritual world unprepared. But it is just when one gets to know this Guardian – at first by means of healthy human understanding – then later in its true form, in its real essence, then the Guardian makes known to us the admonishments if we wish to enter the spiritual world in the right way, and then to stand within the experiences of the spiritual world. It has also often been said that this living in the spiritual world is mostly mistakenly imagined, because one wants something different than really standing within the spiritual world. One wants something which is similar to the sense perceptible world. It is super-sensible though, and can therefor not lead to envisioning something similar to what is seen through the senses. This imaginative-super-sensible envisioning is only an image. It must lead to a real experience of the spiritual world. And many of you, my dear sisters and brothers, have this experience of the spiritual more so than you think. You are only not aware of it. You do not pay attention to how the spirit acts and weaves within psychic experience. It works and weaves. And it is a matter of mustering the intimate mindfulness necessary for perceiving this working and weaving. Therefore more and more real indications should be given to enable you to feel how the human soul lives in the spiritual world – for knowledge is meant to flow to you directly from the spiritual world through these class lessons, my sisters and brothers. And the following can be such an indication. Take any of the mantras or other verses and recite it. It doesn't matter much which one it is, it can be any mantra you are familiar with. For your meditation select any mantra and recite it in the fairest way you can. Do it therefor not loudly, but in a soft, gentle manner:
And then, once you have recited such a mantra to yourself, try to sense how the reciting reacts within you. Try to come to the point where you can sense the speaking, that you sense the difference in your bodies between when you are silent and when you are speaking. Try to sense the speaking in your organism, how it passes through. You will sense it as all kinds of pressure and wave currents in the speech organs. And when you have sensed this, ask yourselves: When I think something, due to someone talking to me or some other event that makes an impression on me relative to the present: Can I also sense that? Well, if you have learned to sense speaking, then you will easily be able to sense the thinking which is directly induced by the immediate present. It is lighter and more delicate to sense than speaking, but it can be sensed. And you can learn to sense, to feel thinking by sensing speech. Then, just as you can sense speech, you can also sense thinking. Then you will be able to touch, touch internally that is, perceive internally, thus: [draws: white outline of a profile]. When speaking is sensed so that it must be moved here [red], you will sense thinking here above [green]. That is, the sense of thinking is moved somewhat up against the back of the head.
It is good to practice such an exercise, for it acts as a guide to intimate self-observation. And now you proceed, my dear sisters and brothers, to make a thought active, a remembrance-thought, one which you had days, weeks or months ago and which you can activate just as well now, and try to sense, to feel such a remembrance-thought. And you will have the sensation: I feel this under the region of speech, I feel it here below, under the region of speech [yellow]. And you will then say to yourselves: When I speak, I experience it in the region of my speech organs; when I think, I experience it above in the head, when I remember, I experience it under the region of speech. When this becomes an intimate experience for you, when you really feel it, then you have grasped something spiritual, which can be the beginning of a progressively increasing spiritual understanding. But a substantial seclusion from the outer events of the day is necessary in order to sense this. It is not good to say: Yes, but in order to achieve such seclusion I'll have to take a few weeks off and go to where there are no people, where nothing can bother me, where I will have absolute peace and quiet, for example in a hut on Mont Blanc. It is not good to think like that, because you will never progress that way. It is better to stand within the tumult of life, exposed to what life brings from morning to night and nevertheless dedicate by strength of soul a period of time, be it ever so short, when you are completely outside of the world's tumult, but at the same time within it, purely by means of your inner force. That is best. To withdraw in solitude in order to have peace is not what works best, but rather to create solitude through one's own forces. That is what definitely and securely can lead to the goal. This is a good foundation for meditating in the right way. You have learned mantras, my dear sisters and brothers, which are spoken quietly from the soul. The first mantras in these lessons were like that. We have however advanced to mantras which partly ring out to us from the soul and also partly must be imagined as resounding to us from out of the distant universe; where we therefor do not inwardly meditate speaking, but where we inwardly meditate hearing. We imagine ourselves as being transferred to where we hear what is being spoken to us whether it is by the cosmos or by the spirit-beings. And it is just this transferring to a condition in which other beings speak to us that creates the condition which is conducive to feeling that we are in the spiritual world. Today's mantras will be given with this objective. The mind, the soul should imagine itself as being perfectly silent. But the soul should also imagine itself to already be on the other side of the threshold standing before the Guardian in the spiritual world. And, although being perfectly silent itself, it hears three sounds. The first sound comes from the distant universe; the second from the Guardian. And the third comes from the beings who will be identified later in the mantra. That is how the mantra which is presented to your souls today is to be understood. Thus, coming from all sides of the distant universe: Listen to the field of thinking. It's a question of becoming enlightened concerning the true nature of thinking through a spiritually cosmic experience. Then the Guardian speaks. After the resounding to us from the distant universe – we must experience this situation spiritually – the Guardian speaks the next three lines: The one who wants to shows to you The paths from life on earth to life On earth in spirit light does speak. That is the Guardian speaking. Then the angel who shows us the path from earthly life to earthly life speaks: Behold your senses' shining radiance. This is the being who as an angel-being, as angelos, guides us from incarnation to incarnation. It speaks of these goals. We hear them in inner contemplation. Again the Guardian speaks: The one who wants to carry you, Your soul conveyed to souls in regions matter-free, speaks. And the next lines are spoken by the being who watches over us from the hierarchy of Archangels: Behold the forces working in your thinking. That goes above, to where the Archangels are. First we had “Behold your senses' shining radiance.” This means that for the senses the sun shines and the senses do not; in reality, though, our senses also shine, except that while our senses are shining we are not aware of it. So the being who belongs to us from the ranks of angels admonishes us: “Behold your senses' shining radiance.” In general we think in normal consciousness; but we do not apprehend thinking; we do not sense it, we do not feel it. The being who belongs to us from the ranks of the archangels admonishes us: “Behold the forces working in your thinking.” Now we ascend to where the Archai are. The Guardian advises us that we should listen to the admonishment of the being from the ranks of the Archai. The next three lines are those of the Guardian: The one speaks who among spirits in earth-distant fields of creation Desires to give you the ground of being. I could also say the “throne of being”, but “ground of being” is better, for it is what is to be given to you by the one who wants a spiritual ground in the spiritual field for you, just as here in the sensory field you are standing on physical ground. After the Guardian of the Threshold has thus spoken, the being from the ranks of the Archai speaks: Behold the imagery of remembrance. That is third. First we should see the radiance of the senses, then the forces of thinking working in us, then what lies deep down, below speech, in the memory images: “Behold” the imagery of remembrance. Thus have we listened with quiet souls to the threefold voice speaking to us: speaking from the cosmos in the very first lines: “Listen to the field of thinking”. Then to the intervening three lines by the Guardian of the Threshold, and then to the beings who belong to us from the ranks of the hierarchies, always using paradigmatic lines which are meant to speak to the deepest levels of our being. Together it is like this: Listen to the field of thinking: The one who wants to shows to you The paths from life on earth to life On earth in spirit light does speak. Behold your senses' shining radiance. The one who wants to carry you, Your soul conveyed to souls in regions matter-free, speaks. Behold the forces working in your thinking. The one speaks who among spirits in earth-distant fields of creation Desires to give you the ground of being. Behold the imagery of remembrance. [The first mantra is written on the blackboard. The word “thinking” in the first line is underlined as well as the last lines of 1,2,3.] I. Listen to the field of thinking: 1.) The one who wants to show to you The paths from life on earth to life On earth in spirit light does speak. Behold your senses' shining radiance. 2.) The one who wants to carry you, Your soul conveyed to souls in regions matter-free, speaks. Behold the forces working in your thinking. 3.) The one speaks who among spirits in earth-distant fields of creation Desires to give you the ground of being. Behold the imagery of remembrance. Therewith we have inwardly experienced the admonishments resounding from the three lower hierarchies for our self-knowledge: the first from the hierarchy of the Angeloi the second from the hierarchy of the Archangeloi the third from the hierarchy of the Archai. [“Angeloi” is written beside part 1, “Archangeloi” beside part 2, “Archai” beside part 3.] Before the exercise begins, concentration in the soul [mind] can be achieved by imagining a definite image, this image [drawing begins on the image above]: an eye looking upward [eye] and perceiving the higher hierarchies [arc], from which the cosmic forces stream into the eye [upper rays], which then perceives the circle of the lower hierarchies [wavy line], which reach up to the higher hierarchies and send the rays on the human beings [lower rays]. We call this image to mind and hold it there: the eye looking upward, the two lines – the circular one, the wavy one – the descending rays. And while doing the exercise, without thinking about it, the image remains before our soul: the image of the upward looking eye. Then we hear again, resounding from all sides of the cosmos: Perceive the field of feeling. The Guardian then speaks the next three lines: The one who speaks as thought From the sun-rays of the spirit Recalls you to cosmic existence. It is now a higher language, the language that resounds from higher hierarchies. Whereas there [indicates the first mantra] we are made more attentive to what is already within us, in this mantra we are spoken to by the Guardian in a manner which does not only call us to observe our senses, our thinking and our memories, but we are now meant to hear how we are being called into cosmic being itself. This resounds from the hierarchy of the Exusiai. Then the one who belongs to us from the hierarchy of the Exusiai speaks: Feel in your breath life awakening. Again the Guardian speaks the next three lines: The one speaks who gives to you From the stars' living forces Cosmic being in spirit kingdoms. Then the being from the hierarchy of the Dynamis speaks: Feel in your blood's weaving waves. We must feel the world's weaving movement continued in the weaving waves of our blood. And the Guardian speaks once more, now advising us that we should listen to what the being from the rank of Kyriotetes says: The one speaks who wants to create In the light of the divine heights The sense of spirit from earthly will. Then this being from the ranks of the Kyriotetes speaks: Feel the earth's mighty resistance. For only if we feel this mighty resistance of the earth's forces can we enter correctly into the world of pure spirit. Therefore the experience of this mantra must be felt: Perceive the field of feeling: The one who speaks as thought from the sun-rays of the spirit calls you to cosmic existence: Feel in your breath life awakening. The one speaks who gives to you From the stars' living forces Cosmic being in spirit kingdoms: Feel in your blood's weaving waves. The one speaks who wants to create In the light of the divine heights The sense of spirit from earthly will. Feel the earth's mighty resistance. It is the ascent to the rank of the second hierarchy where self-knowledge asserts itself in us, where the Guardian advises us that a being from the ranks of the Exusiai will speak to us. Well, my dear sisters and brothers, we think in earthly life; our thoughts are almost nullities. But when a being from the ranks of the Exusiai thinks, he is thinking us. Our I is being thought. And it, our I, exists as a thought by a being from the ranks of the Exusiai. When on earth we speak “I” to ourselves, where are we looking? Yes, this I: when we say “I” [drawing: circle with the word “Ich”, yellow], we are looking back at this Ich [red arrows], and say the word “I” [Ich]. But for a being from the ranks of the Exusiai [green line] this I-thought is a real thought. We exist in that we are thought by beings from the ranks of the Exusiai. And when we say “I” to ourselves we are confirming that we are being thought by divine beings. And it is in this being thought by divine beings that our higher being consists. Then: A being from the ranks of the Dynamis reminds us that the spiritual existence we receive from him as a gift comes from the life-forces taken from the stars. And a being from the ranks of the Kyriotetes reminds us that what exists in us on earth as will is taken out to the heavenly heights and after the transformation which it undergoes there it is returned to us so that we can then also use it as spirit-will. Earthly will is only a transformation of spirit-will. Earthly will is constantly being taken up and brought down again. Above it is heavenly will; below it is earthly will. Finally the Guardian reminds us that a being from the ranks of the Kyriotetes is saying: “Feel the earth's mighty resistance.” When we feel the earth's resistance, we feel the benefit, the grace inherent in the bestowing of forces from the heavenly heights. [Mantra II is written on the blackboard. In the first line “feeling” is underlined, and the last lines of Parts 1,2 and 3 are also underlined.] II.) Perceive the field of feeling: 1.) The one who speaks as thought from the sun-rays of the spirit calls you to cosmic existence: Feel in your breath life awakening. 2.) The one speaks who gives to you From the stars' living forces Cosmic being in spirit kingdoms: Feel in your blood's weaving waves. 3.) The one speaks who wants to create In the light of the divine heights The sense of spirit from earthly will. Feel the earth's mighty resistance. This, then, is the second mantra (recites it): Perceive the field of feeling: The one who speaks as thought from the sun-rays of the spirit calls you to cosmic existence: Feel in your breath life awakening. The one speaks who gives to you From the stars' living forces Cosmic being in spirit kingdoms: Feel in your blood's weaving waves. The one speaks who wants to create In the light of the divine heights The sense of spirit from earthly will. Feel the earth's mighty resistance. The first resounds from the ranks of the Exusiai The second from the ranks of the Dynamis The third from the ranks of the Kyriotetes [Exusiai is written alongside part1; Dynamis alongside part 2, Kyriotetes alongside part 3.] And finally, in order to remember the image we have placed before us after all this has taken place within us, and in order to have a clear experience of it, we recall the image – although we realize that it has been before us during the whole exercise – but we want to place it once more before our souls. [In the image already drawn on the blackboard, the eye, arc, upper rays, wavy lines, lower rays are drawn again.]  The ascent to the ranks of the Seraphim, Cherubim and Thrones will be added to these in the next class lesson. But now it is appropriate to clarify the meaning of the whole. My dear sisters and brothers, at the beginning of today's lesson the words from cosmic-being instructed us to practice self-knowledge. Self-knowledge, it was said, leads to world-knowledge; but only if the Self can be in connection with the world. But the Self does not exist in relation to an external natural entity or process, but alone in relation to the spiritual world. That is where the beings of the hierarchies are. So if we really wish to penetrate into our Self, into our I, then we must experience it together with the beings from the hierarchies and not with external nature. For what we can call our I in external nature is only the distant echo of the I. The true I exists in the same realms as these beings of the higher hierarchies. Therefore in entering the realm of self-knowledge we must also enter the realm of the higher hierarchies. Then we must hear the speech of the higher hierarchies. The admonishments of the Guardian of the threshold always intervene in order that we do this with all our strength, that we do not make it into a mere bloodless theory. In order that the whole content in the meditation appear before us in all its majesty, we hear the two – and as we will soon hear, three – forceful admonishments from the cosmos: “Behold the field of thinking”, “Behold the field of feeling”. Only if we feel the language in such a living, threefold way, and if we experience ourselves within the spiritual world as described in the mantras, then these things will be able to help us advance. For only then will we feel them with the right attitude. We must seek this mental attitude above all. For inner consecration must be there if the meditation is to contribute to initiation. And this inner consecration comes only from the attitude through which we are displaced from the outer world for a while and live exclusively within the content and elements of the meditation. If we can do this so that self-knowledge is not merely an inner brooding, but is an explicit conversation with the universe, the Guardian and the Hierarchies, then we will find ourselves in possession of true self-knowledge. Basically, we should even avoid thinking about such things if we cannot simultaneously evoke the appropriate mental attitude. We should only think about what has been presented today if we can really evoke this inner attitude in the soul, which consists in simply feeling that the sublime majesty from the universe, from the cosmic distances, comes to us like cosmic thunder; that a softly admonishing voice intervenes which comes from the Guardian of the Threshold; and that then one of the beings of the Hierarchies urgently speaks. Only when we remember this and when we evoke the feeling related to this remembering, should we even think of these mantras or create an inner connection with them, so that we do not desecrate them inwardly, desecrate their force – that we do not think of them with the usual, dry, common way of thinking, which we would think if we did not first evoke the appropriate attitude, the inner mood. And we therefore should achieve the inner mental attitude to feel that human self-knowledge is something solemn, earnest and holy and that these things should only be spoken internally by the soul – let alone externally – when they are felt to be earnest, solemn, consecrated. It is a great hindrance to progress on the esoteric path that so much is spoken about these things in a cliquish manner, even with a whiff of vanity and gossip, when this earnest, solemn attitude of consecration has not been developed. We don't realize then that in esoteric life everything depends on the pure, absolute truth prevailing. Whoever does not recognize this – that in esoteric life truth, absolute truth must prevail – can do nothing in esoteric life; that one cannot merely speak of the truth and then regard things as one does as usual in profane life. That happens when we make these things the object of idle gossip. And this idle gossip which is so much practiced is what throws so many hindrances and obstructions on the esoteric path. And we must necessarily bring together everything related to self-knowledge with an earnest, solemn consecrated attitude. Then we will have allowed the words to correctly work on our souls which were spoken at the beginning of the Class lesson and will be repeated now at the end: O man, know thyself! Yes, that is a guide to self-knowledge: O man, know thyself! Essentially it is a question. The answer is found in the mantras given today. Translators' note: Indeed it is a question. However, all the German originals (see below) here and in future lessons end the last line with a period instead of a question mark. Why, I don't know. Nevertheless, I am using a question mark in English, which seems the correct thing to do. O Mensch, erkenne dich selbst!  |