The Rudolf Steiner Archive

The second subject on which we have said occult teachers instruct their pupils is Imagination. With this, the individual does not go through life in the ordinary everyday way but in accord with Goethe s words ‘All things corruptible are but a parable’. Pupils will see something else in every animal and every plant. Thus the autumn crocus will be the image of a melancholy mind, the violet an image of being quietly in harmony with God, the sunflower an image of life bursting with energy, independence, ambition. Living in this way, pupils rise to imaginative perception. They’ll see something like a cold flame rise from a plant, a colour image that takes them to the astral plane. The pupils are thus guided to see things that are shown to them by spiritual entities from other worlds. It had to be said, however, that the pupils must strictly follow their occult teacher, who alone can tell them what is subjective and what is objective. The occult teachers are able to give their pupils the necessary security. The world of the senses gives this of its own accord by continually correcting our errors. The situation is different in the astral world. There one is easily deluded; there someone with greater experience has to be at one s side.

The teachers give their pupils who want to follow the Rosicrucian way a number of instructions. In the first place they give them a particular instruction once they have begun to reach the level of imaginative development. A teacher will then say: ‘Endeavour first of all to love not just individual animals, to develop a particular relationship to individual animals, to learn one thing or another from one animal or another, but try to develop a living inner feeling for whole groups of animals; you will then gain an idea of the nature of the group soul. The individual soul of man is on the physical plane, the individual souls of animals are on the astral plane. An animal cannot say 'I' to itself here on the physical plane.’

A question that is often asked is if animals do not have the kind of soul that human beings have. They do have such a soul, but the animal soul is up above on the astral plane. The individual animal relates to the animal soul the way individual organs relate to the soul in human beings. If your finger hurts, it is the soul which feels it. All the sensations of individual organs go to the soul. The same is the case for a group of animals. Everything an individual animal feels inwardly is felt inside it by the group soul. Let us take all the different lions, for example. The sensations felt by the lions all go to a soul they have in common. All lions have a common group soul on the astral plane. If you cause an individual lion pain, or if it feels inner gratification at something, this goes all the way to the astral plane, just as the pain in a human finger goes all the way to the human soul. Man is able to gain insight into the group soul if he is able to create a form for himself that contains all individual lions, just as a general concept contains all the individual forms belonging to it.

Plants have their soul in the rupa part of the devachan plane.⁶⁷ By gaining an overview of group of plants and developing a particular relationship to the plant’s group soul, human beings learn to penetrate to the group souls of plants on the rupa plane. When it is no longer the individual lily, the individual tulip that is special to them, but when the individual plants merge for them in living, concentrated Imaginations that become images, human beings experience something completely new. It is important to have a very real image, individually created in one’s powers of imagination. One will then find that the earth’s plant cover, a flower-bedecked meadow, for instance, becomes something completely new and that the flowers become a genuine revelation of the earth’s spirit. That is the revelation of these different plant group souls. Just as human tears become a reflection of sadness felt in the soul, and the physiognomy comes to reflect the soul of a person, so does the occultist come to see the green of the plant cover as a reflection of inner processes, of the earth’s true life in the spirit. Some plants will then be like the earth’s tears for him, with the earth’s inner sadness welling forth. As in the case of someone who shares in the tremors and sorrow of others, so does a new, imaginative content enter into the pupil’s soul.

These are the moods a person must go through. If you go through the mood relating to the animal world, you find your way up to the astral plane. If you enter into the mood I have described for the plant world, you find your way up to the lower part of the devachan plane. You will observe the flame forms rising from the plants. The earth's plant cover will then be covered with a sum of configurations, the incarnations of light rays, that come down upon the plants.

We can also approach a dead stone in the the same way. There is a basic inner feeling relating to the mineral world. Let us take a rock crystal with the light shining through it. Looking at it we can say to ourselves that in a way this is an ideal picture of the human being himself. Just as the human physical body is physical matter, so a stone, too, is physical matter. But there is a future prospect, and the occult teacher guides his pupils towards this. Today human beings are still full of drives, passions and appetites. This fills our physical nature. But the occultist has an ideal before him. He will say to himself: ‘Our animal nature is gradually cleansed and purified until a level is reached where this human body can stand before us as chaste and free from desire as the mineral which desires nothing, with no wishes stirring in it when something comes near it. The inner material nature of the mineral is chaste and pure.’ This chastity and purity is the inner feeling pupils should have on looking at the world of rocks and minerals. These inner feelings are differentiated according to the different shapes and colours in which that world shows itself, but the basic inner feeling present in the mineral world is one of chastity.

Our earth has a quite specific configuration, a quite specific form today. Let us go back to earlier stages of its evolution. It once had a completely different form. Let us go back to Atlantis and earlier. There we come to increasingly higher temperatures, with the metals running about the way water runs on earth today. All metals have turned into those veins in the earth today because they were originally running streams. Just as lead is solid today and mercury liquid, so lead was liquid once, and mercury will one day be a solid metal. The earth is thus changing, and humanity has always been part of the different evolutional stages. The physical human being did not yet exist at the times of which we have been talking. But the ether body and the astral body were there, being able to live at even higher temperatures. As the earth cooled down, the outer bodies gradually developed around the human being.

New things were developing all the time in the human being in the course of evolution, and correspondingly new things also developed in the natural world around him. The beginnings of the human eye developed at the Sun stage of the planet. The ether body developed first, and then in turn created the physical human eye. Our physical organs developed from the more subtle ether body the way a piece of ice develops in water as it freezes. Physical organs developed inside the human being, and out there the earth grew solid. The development of an organ in the human being and the development of specific configurations in the natural world outside always ran parallel. When the potential for the eye developed in man, the chrysolite evolved in the mineral world. We can thus think of the same creative powers putting together chrysolite nature in the world of nature and creating the human eye.

We cannot be satisfied with general phrases in a given case, saying that man is microcosm and the world macrocosm, for occult studies have shown the true relationship between human being and world. When the physical organ for the ability to connect thoughts developed in Atlantean times, lead solidified in the outside world; it changed from the liquid to the solid state. Thus the same powers are active in the solidification of lead and the organism of rational thinking. We will only understand the human being if we are able to see the connections between the human being and the powers of nature. There is a particular group within the socialist movement which thinks differently from the other social democrats, being extremely moderate. This group within the socialist movement are the printers. And the reason is that printers work with lead. The tariff community between workers and employers developed first among the printers.⁶⁸ Lead taken in small quantities creates such an inner mood.

Another example taken from experience also shows how the nature of a metal influences a person. A gentleman had noticed that he found it easy to see analogies between all kinds of things. It was possible to conclude from this that he had frequent contact with copper. And that was indeed the case. He played the French horn in an orchestra, an instrument that contains a great deal of copper.

Once you study the relationship between the inanimate world outside and the human organism you find that the relationship between human beings and the world that surrounds them takes many different forms. An example is the relationship between the senses and precious stones. We have already seen the relationship between the eye and the chrysolite. In the same way a relationship exists between the organ of hearing and the onyx. This stone has a peculiar relationship to the movements of the I-life in man. Occultists have always made this connection. The stone represents life arising from death, for instance. Thus in Goethe’s Tale, the dead dog is changed into an onyx by the old man’s lamp. Goethe had an intuition here that came from occult knowledge. The relationship between the onyx and the organ of hearing is connected with this. Occult relationships also exist between the organ of taste and topaz, the sense of smell and jasper, the skin sense as man’s sense of temperature, and carnelian, the power of productive thought and carbuncle. The latter was used as a symbol of the productive powers of thought which arose in man at the time when the carbuncle developed in the natural world.

The occult symbols come from the depths of profound and real wisdom. Wherever you consider occult symbolism, you find genuine insight. Knowing the significance of a mineral you gain access to the upper parts of the devachan plane. Seeing a precious stone and gaining a real feeling of what this precious stone can tell us, we gain access to the arupa parts of the devachan plane. The occult student's horizons thus widen, with more and more worlds opening up to him.

He must not make do with general suggestions, but must gain access to the world-whole—bit by bit.

Looking at German literature we can also see that writers who know about mining have an instinctive intuition concerning the powers of minerals. Thus Novalis had studied mining science.⁶⁹ Körner⁷⁰often made miners the people with occult knowledge in his works. As to Ernst Theodor Amadeus Hoffmann,⁷¹ that strange individual who sometimes went deep into the secrets of nature in his art, especially in his short story The Mines at Falun, you can often sense echoes of occult relationships between the mineral world and the human being. This also shows the strange way in which great occult powers influence the artist’s imagination.

The true birth place of art were the mysteries. They were real and alive in astral space, where you had a synthesis of truth, beauty and godliness. This was very much the case in the mysteries of ancient Egypt and those of Asia, and also the mysteries of ancient Greece, especially in Eleusis. There the pupils would truly see spiritual powers coming down into the different forms that exist on earth. There was no other knowledge at that time than knowledge which was seen in this way. There was no other godliness than the harmony with God felt in the visions gained in the mysteries. Nor was there any other beauty than the beauty seen when the gods descended.

We live in a barbaric age, a chaotic age, an age lacking in style. In all the great periods in the arts creativeness came from most profound depths of the spirit. Looking at the images of Greek gods, you see exactly three types. Firstly there is the Zeus type, with Pallas Athene and Apollo also belonging to it. The Greeks were characterizing their own race in this. It was a specific shape given to the oval of the eye, to the nose, the mouth. Secondly you see the group that may be called the Mercury type. The ears are positioned quite differently, the nose differently, and the hair is woolly and crinkly. Thirdly there is the Satyr type, where we see quite a different shape to the angles of the mouth, a different nose, eyes and so on. These three types are clearly evident in Greek sculpture. The Satyr type is meant to represent a very ancient race, the Mercury type the race that followed it, and the Zeus type the fifth race.

Spiritual views of the world were part of everything in earlier times. During the Middle Ages this still showed itself in the work of craftsmen, with every door lock something of a work of art. Outer culture still showed us something that had been created by the soul. Our modern times are very different. The present time has only produced one style, and that is the style of the mercantile store. The large store will be just as characteristic of our age as Gothic edifices such as Cologne Cathedral are of 13th and 14th century medieval times. The new life comes to expression in these forms. As the knowledge given through the science of the spirit spreads, the world will have spiritual content again. And when this life of the spirit later comes to expression in outer forms we shall have a style that reflects this life of the spirit. The things that live in the science of the spirit must later come to expression in outer forms. We thus have to see the mission of spiritual science to be a cultural mission.

• 67. Rupa lokas (worlds) on the devachan = lower spheres in the world of the spirit, where forms still exist.
• 68. Tariff community, general labour contract.
• 69. In Novalis' novel Heinrich von Ofterdingen.
• 70. Körner, Karl Theodor (1791–1813), German lyric poet. In his poems Bergmannsleben (miner's life) and Berglied (mountain song) and his play Der Kampf der Geister mit den Bergknappen (struggle between the spirits and the pitmen). Notes taken of the lecture give the name as 'Kernig', clearly misheard. See Picht C. S. 'Theodor Körner and seine Beziehungen zum Reich der Steine', Das Goetheanum 1940; 19: Nr. 21.
• 71. Hoffmann, Ernst Theodor Wilhelm (or Amadeus) (1776–1822), German writer, music critic and caricaturist. Reference here to 'Die Bergwerke von Falun' in his anthology Die Serapionsbrüder, 1. Teil, 1819.

Translated by Diane Tatum, revised

Among the various instructions which the teacher gives the pupil, Imagination was the second named. This consists in man's not passing through life as happens everyday, but in the sense of Goethe's saying: “All that is transitory is but a likeness;” behind every animal and every plant something that lies behind should arise for him. In the meadow saffron, for example, he will discover a picture of the melancholy soul, in the violet a picture of calm piety, in the sunflower a picture of strong, vigorous life, of self-reliance, of ambition. When a man lives in this sense, he raises himself to imaginative knowledge. He then sees something like a cold flame ascend out of a plant, a color picture, which leads him into the astral plane. Thus the pupil is guided to see things which present to him spiritual beings from other worlds. It has already been said, however, that the pupil must strictly follow the occult teacher, for this alone can tell him what is subjective and what objective. And the occult teacher can give the pupil the necessary steadiness which is given of itself by the sense-world, as it continuously corrects errors. It is different, however, in the astral world; there one is easily subject to deceptions; there one must be supported by one who has experience. The teacher gives a series of instructions to a pupil who wishes to follow the Rosicrucian path. In the first place, he gives him precise instruction when he has begun to reach the stage of imaginative development. He tells him: strive first of all to love not merely a single animal, nor form a particular relationship with a single animal, or to experience this or that with one or another animal. Seek rather to have a living feeling for whole animal groups. Then you will receive through this an idea of what the group-soul is. The individual soul which with men is on the physical plane is with the animals on the astral plane. The animal cannot say “I” to itself here on the physical plane.

The question is often asked: “Has the animal no such soul as man?” It has such a soul, but the animal-soul is above on the astral plane. The single animal is to the animal-soul as the single organs are to the human soul. If a finger is painful, it is the soul that experiences it. All the sensations of the single organs pass to the soul. This is also the case with a group of animals. Everything that the single animal experiences is experienced in it by the group-soul. Let us take, for instance, all the various lions: the experiences of the lion all lead to a common soul. All lions have a common group-soul on the astral plane, and so have all animals their group-soul on the astral plane. If one inflicts a pain on a single lion or if it experiences enjoyment, this continues up to the astral plane, as the pain of a finger continues to the human soul. Man can raise himself to a comprehension of the group-soul if he is able to fashion a form that contains all individual lions, just as a general concept contains the individual images belonging to it.

The plants have their soul in the Rupa region of the Devachanic plane. By learning to survey a group of plants and gaining a definite relationship to their group-soul, a man learns to penetrate to plant group-souls on the Rupa plane. When the single lily, the single tulip is no longer something special for him, but when the individuals grow together for him into living, densified imaginations, which become pictures, then the pupil experiences something quite new. What matters is that this is a quite concrete picture individually formed in the imagination. Then man experiences that the plant-covering of the earth, that some meadow strewn with flowers, becomes something completely new to him, that the flowers become for him an actual manifestation of the spirit of the earth. That is the manifestation of these different plant group-souls. Just as the human tears become the expression of the inner sadness of the soul, as a man's physiognomy becomes an expression of the human soul, so the occultist learns to look on the green of the plant covering as the expression of inner processes, of the actual spiritual life of the earth. Thus certain plants become for him like the earth's tears, out of which wells forth the earth's inner grief. There pours a new imaginative content into the soul of the pupil just as someone may tremble and feel moved at the tears of a companion.

A person must go through these moods. If he endures such a mood vis-à-vis the animal world then he raises himself to the astral plane. When he immerses himself in the mood of the plant world he raises himself to the lower region of the Devachanic plane. Then he observes the flame-forms that ascend from the plants; the plant-covering of the earth is then veiled by a sum of images, the incarnations of the rays of light which set upon the plants.

One can also approach- the dead stone in this way. There is a fundamental experience in the mineral world. Let us take the mountain crystal, glittering with light. When one looks at this, one will say to oneself: In a certain way this represents physical material, so too is the stone physical material. But there is a future perspective to which the occult teacher leads the pupil. The man of today is still penetrated by instincts and desires, by passions. This saturates the physical nature, but an ideal stands before the occultist. He says to himself: Man's animal nature will gradually be refilled and purified to a stage where the human body can stand before us just as inwardly chaste and free of desire as the mineral that craves nothing, in which no wish is stirred by what comes near it. Chaste and pure is the inner material nature of the mineral. This chastity and purity is the experience that must permeate the pupil on gazing at the mineral world. These feelings vary as the mineral world shows itself in different forms and colors, but the fundamental experience which permeates the mineral kingdom is chastity.

Our earth today has a quite particular configuration and form. Let us go back in the evolution of the earth. It once had a completely different form. Let us immerse ourselves in Atlantis and still further back: we come there to ever higher temperatures, in which metals were able to flow all around as water runs along today. All the metals have become these veins in the earth because they first flowed along in streams. Just as lead is hard today and quicksilver is fluid, so lead was at one time fluid and quicksilver will one day become a solid metal. Thus the earth is changeable, but man has always participated in these various evolutions. In the ages of which we have spoken, physical man as yet was not in existence. But the etheric body and astral body were there; they could live in the higher temperatures of that time. The sheaths gradually began to form with the cooling process, enveloping man.

While something new was always being formed in man during the earth's evolution, something correspondingly new had also been formed outside in nature. The rudiments of the human eye had first arisen in the Sun evolution. First the etheric body formed itself and this again formed the human physical eye. As a piece of ice freezes out of water, so are the physical organs formed out of the finer etheric body. The physical organs were formed within man while outside the earth became solid. In every age the formation of a human organ took place parallel with the formation of a particular configuration outside in nature. While in the human being the eye was called for, in the mineral kingdom the chrysolite was formed. One can therefore think that the same forces which outside articulated the nature of the chrysolite in man formed the eye.

We cannot be satisfied in the particular case with the general saying that man is the microcosm and the world is the macrocosm; occultism has demonstrated the actual relationship between man and the world. When the physical organ for the reasoning faculties was formed in the Atlantean age, outside lead solidified; it passed from the fluid to the solid state. It is the same forces which hold sway in the solidifying of lead and in the organ of intelligence. One only understands man when one can recognize the connections between the human being and the forces of nature. There is a particular group within the socialist movement, a group that has distinguished itself by its moderation from the socialists. It is the temperate ones who have always retained a good deal of the reasoning faculties. This special group in the socialist movement consists of the printers, and this is so because printers have to do with lead. The tariff-union between workers and employer was first worked out among the printers. Lead brings about this frame of mind if it is taken in small quantities.

Another case can be cited from the experience where, in a similar way, one could observe the influence of the nature of a metal upon a man. It had become noticeable to a man how easily he discovered analogies in every possible thing. One could conclude that he had much to do with copper, and that was the case. He blew the bugle in an orchestra and therefore had to with an instrument that contains much copper.

When someday the relationship of the external lifeless world to the human organism is studied, it will be found that a relationship exists between man and the surrounding world in the most varied ways: for instance, the relationship of the senses to the precious stones. There exist certain relationships of the senses to precious stones based on the evolution of the senses. We have already found a relationship between the eye and the chrysolite. There is also a relationship between the onyx and the organ of hearing. The onyx stands in a remarkable relation to the oscillations of man's ego-life, and occultists have always recognized this. It represents, for instance, the life that goes forth from death. Thus in Goethe's “Fairy-tale,” the dead dog is changed into onyx through the old man's lamp. In this intuition of Goethe's lies the outcome of an occult knowledge. Therein lies the relationship of the onyx to the organ of hearing. An occult relationship exists further between the organ of taste and the topaz, the sense of smell and jasper, the skin-sense as man's sense of warmth and the cornelian, the productive power of imagination and the carbuncle. This was used as the symbol for a productive power of imagination, which arose in man at the same time as the carbuncle in nature.

Occult symbols are drawn deep out of real wisdom and if one only penetrates into occult symbolism one finds genuine knowledge there. He who knows the significance of a mineral finds entry to the upper region of the Devachanic plane. When one sees a precious stone and is permeated by the feeling of what the precious stone has to say to us, then one finds entry to the Arupa regions of Devachan. Thus the gaze of the student widens and more and more worlds dawn for him. He must not be satisfied with the general indication, but little by little he must find entry into the whole world.

One finds also in German literature how an instinctive intuition regarding the mineral forces is shown by poets who were miners, for example by Novalis, who had studied mining engineering. Kerning has chosen many miners as types for his occult personalities. There is also the poet, Ernst Theodor Amadeus Hoffman, that remarkable spirit who from time to time immersed himself artistically in the secrets of nature, particularly in his tale, “The Mines of Falun.” One will feel many echoes here of the occult relationships between the mineral kingdom and man, and much too that indicates how occult powers take hold in a remarkable way of artistic imagination.

The mystery-center is the essential birthplace of art. In the astral realm the mysteries were actual and living. There one had a synthesis of truth, beauty, and goodness. This was so to a high degree in the Egyptian mysteries and those in Asia, as well as in the Greek mysteries, especially the Eleusinian. The pupils there actually beheld how the spiritual powers submerged themselves in the various forms of existence. At that time there was no other science than what one thus beheld. There was no other goodness than that which arose in the soul as one gazed into the mysteries. Nor was there any other beauty than that which one beheld as the gods descended.

We live in a barbaric age, in a chaotic age, in an age devoid of style. All great epochs of art were working out of the deepest life of spirit. If one observes the images of the Greek gods one plainly sees three distinct types: first there is the Zeus type, to which Pallas Athena and Apollo also belong. In this type the Greeks characterized their own race. There was a definite modeling of the oval of the eye, the nose, the mouth. Secondly, one can observe the circle that may be called the Mercury type. There the ears are completely different, the nose is completely different, the hair is woolly and curly. And thirdly there is the Satyr type, in which we find a completely different form of the mouth, a different nose, eyes, and so on. These three types are clearly formed in the Greek sculpture. The Satyr type is to represent an ancient race, the Mercury type the race following, and the Zeus type the fifth race.

In the earlier times, the spiritual world view permeated and saturated everything. In the Middle Ages it was still a time when this came to expression in handicraft, when every door-lock was a kind of work of art. In external culture we were still met by what the soul had created. The modern age is entirely different; it has brought forward only one style, namely, the warehouse. The warehouse will be as characteristic for our time as the Gothic buildings—for instance, Cologne Cathedral—were for the Middle Ages of the thirteenth and fourteenth centuries. The cultural history of the future will have to reckon with the warehouse as we have to with the Gothic buildings of the Middle Ages. New life comes to its expression in these forms. The world will be filled again with a spiritual content through the diffusion of the teachings of spiritual science. Then later, when spiritual life comes to expression in external forms, we shall have a style which expresses this spiritual life. What lives in spiritual science must stamp itself later in external forms. Thus we must look on the mission of spiritual science as a cultural mission.

[ 1 ] The time that I consumed in the setting forth of Goethe's natural-scientific ideas for the introduction to Kürschner's Deutsche National-Literatur was very protracted. I began this task in the year 1880, and I had not finished even when I entered upon the second phase of my life with the removal from Vienna to Weimar. The reason for this lay in the difficulties I have described in connection with the natural scientific and the mystical form of expression.

[ 2 ] While I was labouring to reduce to correct forms of thought Goethe's attitude to the natural sciences, I had to advance also in the formulation of that which had taken shape before my mind as spiritual experience in my perception of the world process. I was thus constantly driven from Goethe to the representation of my own world-conception and back again to him, in order the better to interpret his thoughts by means of the thoughts to which I myself had attained. I felt that the most essential thing in Goethe was his refusal to be content with any sort of theoretically easily surveyed thought-pictures as contrasted with the knowledge of the illimitable richness of reality. Goethe becomes rationalistic when he wishes to describe the manifold forms of plants and animals. He struggles for ideas which manifest themselves as active in the evolution of the earth when he wishes to grasp the geologic building of the earth or the phenomena of meteorology. But his ideas are not abstract thoughts; they are images living in the form of thoughts within the mind.

When I grasped what he has set forth in such pictures in his natural-scientific works, I had before me something which satisfied me to the bottom of my soul. I looked upon a content of ideal images of which I could not but believe that this content – if followed further – represented a true reflection within the human spirit of that which happens in nature. It was clear to me that the form of thought in the natural sciences must be raised to this of Goethe's.

[ 3 ] But at the same time, in this grasping of Goethe's knowledge of nature, there came the need for representing the content of ideal images in relation to spiritual reality itself. The ideal images are not justifiable unless they refer to a spiritual reality lying at the foundation of the things of sense. But Goethe, in his holy awe before the immeasurable richness of reality, refrains from entering upon a presentation of the spiritual world after having brought the sense-world to the form of a spiritual image in his mind.

[ 4 ] I had now to show that Goethe really experienced the life of the soul in that he pressed forward from sense-nature to spirit-nature, but that anyone else can comprehend Goethe's soul-life only by going beyond him and carrying his own knowledge on to ideal conception of the spiritual world itself. [ 5 ] When Goethe spoke of nature, he was standing within the spiritual. He feared that he would become abstract if he proceeded further beyond this vital standing-within to a living in thoughts concerning this standing-within. He desired the experience of being within the spirit; but he did not desire to think himself within the spirit.

[ 6 ] I often felt that I should be false to Goethe's way of thinking if I only gave expression to thoughts concerning his world conception. And in regard to every detail which I had to interpret concerning Goethe I had again and again to master the method of speaking about Goethe in Goethe's own way. [ 7 ] My setting forth of Goethe's ideas consisted in the struggle, lasting for years, gradually to achieve a better understanding of him with the help of his own ideas. When I look back upon this endeavour I have to say to myself that I owe to this in large measure the evolution of my spiritual experience of knowledge. This evolution proceeded far more slowly than would have been the case if the Goethe task had not been set by destiny on the pathway of my life. I should then have followed my spiritual experiences and have set these forth as they came to light. I should have broken through into the spiritual world more quickly; but I should have had no inducement to sink down by actual striving into my own inner self.

[ 8 ] Thus by means of my Goethe task I experienced the difference between a state of soul in which the spiritual world manifests itself, so to speak, as an act of grace, and one in which step by step the soul first makes its own inner self like the spirit, in order that, when the soul experiences itself as true spirit, it may then stand within the spiritual of the world. But in this standing-within man first realizes that the human spirit and the spiritual world may come into union one with the other within the human soul.

[ 9 ] During the time that I was working at my interpretation of Goethe, I had Goethe always beside me as an admonisher who called inaudibly to me: “Whoever too rashly moves forward on the spiritual way may attain to a narrowly restricted experience of the spirit, but he enters into a content of reality impoverished of all the richness of life.”

[ 10 ] In my relation to the Goethe work I could observe clearly “how Karma works in human life.” Destiny is made of two forms of fact-complexes which grow into unity in human life. The one streams from the struggle of the soul outward; the other comes from the outer world into man. My own mental impulses moved toward the perception of the spiritual; the outer spiritual life of the world brought the Goethe work to me. I had to reduce to a harmony within my consciousness the two currents which there met. I occupied the last year of the first phase of my life in justifying myself alternately in the eyes of Goethe and then in my own eyes.

[ 11 ] The task I set myself in my doctor's dissertation was an inner experience: that of bringing about an “understanding of man's consciousness with itself.” For I saw that man can understand what the genuine reality in the outer world is only when he has perceived this genuine reality within himself.

[ 12 ] This bringing together of the genuine reality of the outer world and the genuine reality of the inner life of the soul must be achieved for the knowing consciousness through tireless spiritual activity; for the willing and the acting consciousness it is always present when man in action experiences his own freedom.

[ 13 ] That freedom exists as a matter of fact for the unprejudiced consciousness and yet becomes a riddle for the understanding is due to the fundamental fact that man does not possess his own true being, his genuine self-consciousness, as something given from the beginning, but must first achieve this through an understanding of his consciousness with itself.

That which makes man of the highest worth-freedom can be won only after appropriate preparation.

[ 14 ] My Philosophy of Spiritual Activity is based upon an experience which consists in the understanding of human consciousness with itself. In willing, freedom is practised; in feeling, it is experienced; in thinking, it is known. Only, in order to attain this last, one must not lose the life out of thinking.

[ 15 ] While I was working at my Philosophy of Spiritual Activity, it was my constant endeavour in the statement of my thoughts to keep my inner experience fully awake within the very thoughts. This gives to thoughts the mystical character of inner perception, but makes the perception like the perception of the outer physical world. If one forces oneself through to such an inner experience, then one no longer finds any contradiction between knowledge of nature and knowledge of spirit. It becomes clear to one that the second is only a metamorphosed continuation of the first. Since this appeared thus to me, I could later place on the title-page of my Philosophy of Spiritual Activity the motto: Seelische Beobachtungsresultate nach naturwissenschaftliche Methode.¹ For, when the natural-scientific methods are truly followed in the spiritual sphere, then these lead one in knowledge into this sphere.

[ 16 ] There was great significance for me at that time in my thorough-going work upon Goethe's fairy-tale of The Green Snake and the Beautiful Lily, which forms the conclusion of his Entertainments of the German Wanderers. These “riddle tales” have had many interpreters. I was not at all interested in the “interpretation” of the content. I wished simply to take that in its poetic, artistic form. I always had an antipathy to shattering the dominant fantasy with intellectual interpretation.

[ 17 ] I saw that these poems of Goethe's had arisen out of his spiritual intercourse with Schiller. When Schiller wrote his Briefe fur Förderung der aesthetischen Erziehung des Menschen,² his mind was passing through the philosophical phase of its evolution. The “understanding of human consciousness with itself” was a mental task which occupied him most intensely. He saw the human mind on the one side wholly absorbed in intellectual activity. He felt that the mind dominant in the purely intellectual was not dependent upon the bodily and sensible. And yet he found in this form of supersensible activity something unsatisfying. The mind is “in the spirit” when it is given over to the “logical necessity” of the reason, but in this activity it is neither free nor inwardly spiritually alive. It is given over to an abstract shadow-image of the spirit, but is not weaving and ruling in the life and existence of the spirit. On the other side, Schiller observed that, in an opposite sort of activity, the mind is wholly given over to the bodily – the sense-perceptions and the instinctive impulses. Then the influence out of the spiritual shadow-images is lost from the mind, but it is given over to natural law, which does not constitute its being. [ 18 ] Schiller came to the conclusion that man is not “true man” in either of these activities. But he can produce through himself that which is not given to him by nature or by the rational shadows of the spiritual coming to existence without his effort. He can take his reason into his sense-activities; and he can elevate the sensible into a higher realm of consciousness so that it acts like the spiritual. Thus he attains to a mood midway between the logical and the natural compulsion.

Schiller sees man in such a mood when he is living in the artistic. The aesthetic conception of the world directs its look upon the sensible, but in such a way that it perceives therein the spirit. It lives in shadows of the spirit, but in its creating or its enjoying it gives to the spirit a sensible form so that it loses the shadow existence.

[ 19 ] Years before had this endeavour of Schiller's to reach a conception of the “true man” attracted my attention; now, when Goethe's “riddle fairy-tale” became itself a riddle to me, Schiller's endeavour occurred to me again. I saw how Goethe had taken hold of Schiller's conception of the “true man.” For him no less than for his friend this was a vital question: “How does the shadowy spiritual find in the mind the sensible-corporeal, and how does the natural in physical bodies work itself upward to the spiritual?”

[ 20 ] The correspondence between the two friends and all that can be learned otherwise about their spiritual relationship indicates that Schiller's solution was too abstract, too one-sidedly philosophical for Goethe. He created the charming picture of the stream which separates two worlds; of the will-o'-the-wisps who seek the way from one world to the other; of the snake which must sacrifice itself in order to form a bridge between the two worlds; of the beautiful lily who can only be surmised as wandering in the spirit on the “far side” of the stream by those who live on “this side,” and of much more. Over against Schiller's philosophical solution he places a poetic vision in fairy-tale form. He had the feeling that, if one attacked with philosophical conceptions the riddle of the soul which Schiller perceived, such a person impoverished himself while seeking for his true being. He desired to approach the riddle in all the wealth of the soul's experience.

[ 21 ] The Goethe fairy-tale images hark back to imaginations which had often been set forth before the time of Goethe by seekers for the spiritual experience of the soul. The three kings of fairy-lore are found in some resemblance in the Chymische Hochzeit³ by Christian Rosenkreutz. Other forms are revivals of those which had appeared earlier in pictures of the way of knowledge. Only in Goethe these pictures appear in a more beautiful, noble, artistic form of fantasy, whereas they had until his time borne a less artistic character.

[ 22 ] In these fairy-tales Goethe carried this fanciful creation near to the point at which it passes over into the inner process of the soul which is a knowing experience of the real world of spirit. I felt that one could see to the utmost depths of Goethe's nature when one sank down into this poetry.

[ 23 ] Not the interpretation, but the stimulus to the experience of the soul, was the important result that came to me from my work upon the fairy-tales. This stimulus later influenced my mental life even in the shaping of the mystery dramas which I afterward wrote. As to that part of my work which related directly to Goethe, I could gain but little from these fairy-tales. For it seemed to me that Goethe in their composition had grown beyond himself in his world-conception, as if impelled by a half-conscious life of the soul. In this way there came about for me a serious difficulty. I could set forth my interpretation of Goethe for Kürschner's Deutsche National-Literatur only in the style in which I had commenced this; but this in itself did not suffice me at all. For I said to myself that, while Goethe was writing the “fairy-tales,” he had, as it were, looked across the boundary and had seen into the spiritual world. But nevertheless what he wrote about natural processes gave no attention to this glimpse. Therefore he could not be interpreted on the basis of this insight.

[ 24 ] But even though I obtained nothing at once for my Goethe writings from sinking down into the fairy-tale, yet I gained much mental stimulus from it. What came to me as mental content in connection with the fairy-tale became most important material for meditation. I returned to this again and again. By this activity I prepared myself beforehand for the temper of mind into which I entered later during my Weimar work.

• 1. The Results of Spiritual Observation According to the Methods of Natural Science.
• 2. Letters on the Advancement of the Aesthetic Education of man.
• 3. Chemical Marriage.

The theme of this lecture has been taken from the impulses arising in the times through which we are passing. Now that so many nations are fighting, we seem to be called upon to turn our inner vision upon such living forces and realities as are found among the nations. And in so far as it is possible to mention these forces and realities, these “folk-souls,” they shall be the subject of our talk to-night.

It is already hard enough nowadays to speak (as we intend to do) of the individual soul in a spiritual-scientific manner. It is no easy task in the face of the widespread materialism of our day to uphold the true inner and genuine existence of the individual soul; for this is nowadays doubted and denied on every hand. Materialistic thought, because of its determination to remain on the firm ground of natural science, often deems it its duty to reject the psycho-physical in its true meaning. And remote as is the conception of the life of the individual from this way of thinking, that which can be designated as “folk-soul” is still further removed from its grasp. For, says the naturalistic school, can the soul of a people be anything more than the manifestation of all its confluent individual souls, anything more than which binds together a given community of men and women while having no real existence except in separate human individuals? In the first lecture which I delivered this winter¹ I pointed out that the great events of our times, the sacrifice of so many lives obliged us to turn our eyes to the “folk-souls” as to something real. Whether he is fully conscious of it or not, the man who sacrifices himself in obedience to the destiny of the day, does believe the sacrifice which he makes to the folk-soul to be made to something real, something true, something that lives and has an inner being of its own. Even our modern philosophers, who are so averse to the spiritual attitude, cannot, when they come to enquire more deeply into the relations of history and human life in communities; dispense with the idea of a group soul, cannot, that is to say, do without the idea of a “folk-soul.” Thus Wundt, the Leipzig philosopher, who is so highly esteemed, and who certainly cannot be accused of any inclination towards the spiritual-scientific view of things, cannot avoid seeing in the group spirit something real, something to which he attributes an organism and even a personality.

Facts like these make one realise that the man who concerns himself with philosophical matters must at least draw near to what Spiritual Science has to give, and that it is simply for lack of familiarity with Spiritual Science that people hold the spiritual life and spiritual reality to be mere appendages of external reality. Wundt sees in the language, customs and religious views, as lived by a whole people, a certain organism; he even says that this life expresses a certain personality. But ordinary philosophy has not yet achieved a genuinely spiritual-scientific approach to the problem. To do this it would have to start from the fundamental principles to which attention was drawn in yesterday’s lecture. {i.e., The Human Soul in Life and Death, Berlin, 26th November, 1914, already available on your website; in the first paragraph of the lecture on 26th (note 1) is also reference to this lecture.}

It was pointed out that there exists a method of developing the human soul by the quickening of its inner powers and by the conquest of its inner conflicts. In this way the human soul is prepared for the vision of the spiritual world and is raised to the experience which can he expressed by saying that in the spiritual world one feels oneself to be living as a thought in the mind of a higher being. Just as our own thoughts live in us, so through soul development can we feel ourselves to be living as the thought of spiritual beings of a higher order. And it was also pointed out that that which is comprised by the psycho-spiritual element in man, that which throughout ordinary sleep lives outside the human body, is clarified and illumined by this soul development. Man can then know himself to be in that state wherein he generally lives in unconsciousness from the moment he goes to sleep till the moment when he wakes; he knows himself to be living in his own spiritual mode of being, and therefore in his own higher existence, just as he ordinarily knows himself to be living in his physical mode of being in external nature. But we also showed why in his heavy sleep life, the soul of man cannot be illumined with the consciousness of his spiritual mode of being. From the moment he drops asleep to when he awakes, man is filled with the desire to sink back into his physical body. And this desire has the effect of clouding over and obscuring that which the soul would experience if, freed from the body in sleep, it were at rest in the heart of the spiritual world. For Spiritual Science has grasped the fact that the soul is an independent entity which knows itself to be free of the body, that this soul cannot know anything of the condition in which it enters the state of sleep every day, cannot know why in this state its consciousness is obscure and dim. But in learning to know the peculiar character of the body-free human soul the Spiritual Investigator also learns to know what it is to sink back into the body at the moment of awaking. And at this point we must state a very important tenet of Spiritual Science, a very important result of Spiritual Investigation.

The Spiritual Investigator experiences consciously this act of sinking down into the physical body. He contrives to experience consciously what in sleep is unconscious, and, in the same way, he experiences the manner in which the soul, sunk again into the body, lives in this body. And he knows that while the soul’s consciousness is clouded in the state of sleep, yet when it sinks down into the body and lives in the body, it is then more “awake” than it could be through its own powers. Just as in sleep, owing to the desire of which we spoke, the soul is duller and less clearly conscious than it could be by its own powers, so during the day is it more awake, brighter, more illumined than it could be through its own strength. By sinking down into the body, the soul can participate in that which it experiences in the body. But through this process of sinking down, the soul’s life becomes a more awakened one than it would be with the help of only such forces as it could itself bring to the task.

And thus is shown to the Spiritual Investigator the truth of the saying that whatever appears in the external world as purely “physical” is in reality permeated with the spiritual, that fundamentally the spiritual inhabits everything physical. As man enters the inner light of his soul, so does he sink down into his body and know that he is not only body, but soul and spirit throughout. And the psychic element which he apprehends as he sinks down into his body, is something that leads not only a personal, but a supra-personal spiritual life, something that eludes us in the state we traverse between falling asleep and awaking, but which we actually live through when we sink down into the body. In our body we come in contact, amongst many other spiritual entities, with what may be called the “folk soul.” This “folk-soul” animates our body through and through. With our body we are not given only corporeal materiality. No, with the body which we use as our instrument between birth and death, we are also given that which animates our body and which is not one and the same thing as our own “personal soul.” That which unites itself with our personal soul when we sink down into the body is the “folk-spirit,” the “folk-soul.” When we fall asleep we abandon, in a sense, the habitation of the folk-soul to which we belong. The Spiritual Investigator is not afraid of the charge of Dualism (which would contradict Monism) which is brought against him when he points out that man is dual, that every time he goes to sleep he falls apart from unity into duality. He fears this charge of dualism as little as does the chemist when he says of water that it consists of hydrogen and oxygen. In men, regarded as external physical forms, there exists not only the individual soul that goes from one life to another, re-embodying itself in successive lives on earth; no, in the physical forms we see walking about there lives yet another psychic element—the folk-souls, actual and conscious through and through. But consciousness permeates the folk-soul in a different manner from what it does in the case of the individual human soul; and in order to show how different in kind is this folk-soul, we wish to draw attention to the following considerations.

Faced with external reality man’s response is determined by his whole character, by the particular colouring of his soul life, and is expressed in one of two ways. Either he will give himself up at once, in the observation of things, to the objectivity of the external world, or else, feeling but little inclination to cast his eye towards the horizon of the external world, he will live in increasing familiarity with the ebb and tide of his own soul. We meet this contrast in Goethe and Schiller. Goethe’s thought, which has rightly been named “concrete,” lights upon things and spreads itself over them. It lives in suchwise that Goethe shares the life of things and at the same time breathes in their spirit like a draught of spiritual air. Schiller’s gaze did not rest so much on the things around him, but was turned inwards on to his own soul with its secret pulsations, its own incessant rise and fall. Now, what lives in history as folk-soul is so constituted that the external world is not presented to it as it is to the individual human soul. As the objects around us in nature are present to us, so are we ourselves present to the folk-soul. Our souls, which re-enter our bodies when we awake from sleep, are at the same time “objects of observation” for the folk-souls that enter into us, just as the things in nature are our objects of observation. When we sink down into the body, I will not say that we are “seen” by the folk-soul, but its strength and activity pulsate as though voluntarily through our being. The folk-soul is focussed upon us.

But a distinction now arises, for the folk-soul may be directed more towards what enters the body than towards what enters the individual soul of man. The distinction was made clear by the example of Goethe in the case of the individual human soul in relation to nature. In the same way, the will impulse of tle folk-soul may, as it were, seize upon the individual soul, may give itself up to the individual soul; or it may live more within itself, as was illustrated by the case of Schiller; it may withdraw into what it regards as its own possession and give itself up to that with the help of human corporeality. Thus we can recognise in the folk-soul a consciousness of personality for which our souls are, as it were, what nature is for us. Much more could be said about folk-souls and their special characteristics in relation to certain peculiarities of the human soul. But this much is clear. Just as individual human souls vary amongst themselves and in their relation to the world according as their gaze is fixed outwards or inwards, so will the folk-souls be related in different ways to the human souls comprised in their several peoples. And the manner in which the folk-souls are related to the individual souls of men is what determines the course of history, of what actually happens in the world. In this way are the folk-souls differentiated from one another, in this way do they live their invisible lives within what we call human history. I should like to try and tell you what Spiritual Research has to say about the nature of folk-souls—at least in connection with a few genuine and real folk-souls. Those of my listeners who have attended the lectures designed for a smaller circle of students, will know that this interpretation has not been called forth by the great events of the present time, but that I have always presented these ideas in the same way, as the outcome of Spiritual Investigation into the folk-souls. I have done this for many years, before the impulse of the present caused the minds of men to look more closely into the inner life of nations.

In considering the life of folk-souls as they have been lived in history, we could go a long way back in the evolution of humanity, as this evolution is revealed by Spiritual Research. But we shall only go back to that point in the history of mankind which is more or less fitted to throw light on the topics that interest us most to-day. We come upon the track of a special kind of folk-soul if we go back to the life of Ancient Egypt, which was related to Chaldean, Babylonian and Assyrian life and was the forerunner of the life of Greece and Rome in the evolution of mankind. Now the Spiritual Investigator speaks of actual folk-souls which fulfilled themselves in the life of Egypt, Chaldea, Assyria and Babylon just as the individual soul fulfils itself in the human body. When we say that folk-souls have an organism and a personality, we are not speaking symbolically. For just as in the individual human body a personal and self-conscious soul lives out its life, so (equally surely) does a self-conscious folk-soul, supernaturally apprehensible, live out its life in the manner we have described. Moreover, in preparing one’s soul in the manner I have frequently explained how one can sink down into the folk-soul.

The peculiar characteristic of the folk-souls that formed the foundation of life in Egypt, Chaldea, Babylon and Assyria was this: these souls led their own lives to a very full extent—an extent only distantly approached by the lives of the peoples of Asia and Africa to-day—so that they gave themselves up but little to the individual, separate souls of men. The individual soul of man, living its own bodily life identified itself with the folk-soul by a certain extinction of its own individuality. The folk-soul fulfilled itself far more completely in what men accomplished than in the individual lives of these men. And this is what gives the Egyptian and the Chaldean-Babylonian-Assyrian culture its peculiar character.

Spiritual Science shows that the folk-souls, being invisible, are related to the spiritual element pervading all material things. Because man has of late withdrawn into his own soul, nature has come to stand at the opposite pole, and to appear to him as something inanimate, bereft throughout of soul and spirit. When the Ancient Egyptian or the Ancient Chaldean looked out upon the world, he saw with a clarity of vision that could never be equalled in later periods, that the material was everywhere the expression of the spiritual—he saw this in the progress of the stars, in the movements of the heavenly bodies, in the movements reflected in cloud and sea, and in the formation of dry land out of the watery element. just as one human being looking at another sees the movements and changes in the face before him as the expression of its possessor’s soul, so did the Egyptian or the Chaldean who was united with his folk-soul in the manner we have described, perceive what is nowadays called the “astrological” aspect of the world as the outcome of the fact that all outer, all material things do but reveal the physiognomy of what lies behind them and speak but of the spirit within. Thus heaven and earth became endowed with soul; or rather, since the folk-soul still found utterance in him, man saw in all the gestures of nature, in all her outer physiognomy a spiritual element at work.

After this, the inner progress of mankind consisted precisely in the fact that in the course of time the activity of the Egyptian and Chaldean folk-soul was replaced by that of the Greek and Roman folk-souls. The Greek and the Roman folk-souls are distinguished from the Egyptian and the Chaldean in that they are less absorbed in themselves and give themselves up lovingly to human individuality. Thus in Greek culture we see the first glimmerings of what may be called the valuation of the human individual, even if this individual sinks down into the bosom of the folk-soul; and as a result of this peculiar relation of the individual soul to the folk-soul we can point to the great things achieved by the Greek folk-soul in art, and poetry and philosophy. In order to make my views fully comprehensible I must now introduce a short survey of what can be said about the individual human soul.

Spiritual Science is hardly likely to regard this human soul with such primitive simplicity as is done by ordinary science. The Spiritual Investigator does indeed regard the human soul as a living unity that fulfils itself in the life of the Ego. But just as light passing through a prism breaks up, as it were, into different colours, from red and gold through green into blue and violet, so with equal truth can it be said that through contact with the outer world which is, as it were, the prism of the soul, man’s unified psychic life is divided into its three most important manifestations. In Spiritual Science these are designated as the “Sentient Soul,” the “Rational Soul”² and the “Consciousness Soul.”³ It is easy—a child can see how easy—for those who believe themselves to be safely entrenched in a genuinely scientific system to mock at such a “dismembering” [Gliederung] of the human soul. But just as it is impossible to acquire any knowledge of light without observing it in relation to the matter of the prism and seeing it broken up into the band of the rainbow of colours, so is it impossible to know the individual soul if we do not see its light broken up into separate rays by contact with the external world; into the ray of the Sentient Soul, the ray of the Rational Soul, and the ray of the Consciousness Soul. If we consider the Sentient Soul then we shall realise that the soul develops as Sentient Soul when it lives primarily within itself, when its own psychic forces, even when they reside in the body, strive, as it were, to break loose from the external world. Just as the light that has been decomposed by the prism is at its strongest in the yellow-red part of the spectrum, so does the soul live most intensely in the Sentient Soul. The Consciousness Soul, on the other hand, resembles that part of the light that is weakest, that is most like darkness—the blue-violet portion of the spectral band. The Consciousness Soul fulfils itself primarily in experiences where there is an effort to break loose from the inner life of the soul, where the body and the forces of the body play the outstanding part. The Sentient Soul, which embodies the actual life of the psyche, with its impulses, its instincts, and its passions, is thus quite untouched by the Consciousness Soul, whose sovereignty holds only within its subjection to the body. But between these two there lives the Rational or Mind Soul, which stands to the total life of the psyche in much the same relation as does the green in the spectrum to the red-yellow portion on one side of it and to the blue-violet on the other. Just as the physicist cannot know the nature of light without learning how it can be analysed into its separate colours, so the Spiritual Investigator cannot come to any knowledge of the human soul without first analysing it into the separate prismatic rays of the Sentient, the Rational and the Consciousness Souls.

This breaking-up of the psychic life into the separate rays does not occur everywhere in the same way. It must be remembered that man does not pass from one life to another in the same way all the world over. As we have often said, the souls that have appeared in our days have in their earlier lives known, say, the period of Egypt, Chaldea and Babylon, the period of Greece and Rome, and have thus had occasion to live through the various early civilisations. But even within the historical sequence, the human soul does not everywhere fulfil itself in the same way. On the contrary, how a soul fulfils itself depends upon how (when it sinks down into the body) it responds to the claims made upon it by the folk-soul. Such a folk-soul as was present, for instance, in Ancient Egypt or Chaldea is particularly favourable to the development of the Sentient Soul in man, and in point of fact we find the most powerful assertion of the Sentient Soul in the individual lives of the Ancient Egyptian and of the Ancient Chaldean and Babylonian period. These folk-souls preserved themselves and prepared the body of the individual in such a way that they permeated this body with their own mode of being. Owing, therefore, to the racial constitution of their bodies, these peoples could fulfil their souls in accordance with the particular colouring of the Sentient Soul. We see that the most powerful and intensive fulfilment of human individuality occurred in the Sentient Soul under the influence of the Egypto-Chaldean folk-soul.

If, now, we follow the path of historical development that leads to the Greek and then to the Roman civilisation (resembling each other in a way, though Roman law as something that is not dependent upon separate isolated individuals, but is brought about by the folk-soul living itself into the bodies of Greek and Roman citizens. We have thus in historical time three successive spheres of development, sharply divided from one another by the folk-souls whose province they are. First, the work of the Egypto-Chaldean folk-soul which gave the souls of men (which at this time were once again appearing clothed in bodies) special opportunities for developing their Sentient Souls. Then in the life of Greece and Rome, the folk-souls were so fashioned that men were able to fulfil their Rational or Mind Soul. And to-day we live in a period (Spiritual Investigation places its beginnings between the fifteenth and sixteenth centuries) in which human development has the opportunity of fulfilling itself primarily in the Consciousness Soul. This fulfilment is particularly favoured by the folk-souls of the present day. Our own time must naturally be of special interest to us, and in general it would seem that our particular period had as its task the education of the Consciousness Soul. In other words, the folk-souls set themselves the task of so permeating the bodies of men and women that the soul is enabled to bind to its own service the body in which it lives. Our period is therefore one which lends itself to the development of external science, of external observation. And because in this period of the education of the Consciousness Soul, the bond uniting soul to body is stronger than it has ever been before, there has arisen in our times the urge to observe that external reality with which the body is so closely connected through the senses. The urge arose to promote scientific and cultural tendencies which should aim primarily at the co-operation of body and soul. A Spiritual Investigator can see as a legitimate outcome of the times this growth and development of the Consciousness Soul—the rise of materialism, the tendency to look more and more from the body to the things and facts of the senses. But here again the prevailing colour in the life of the modern world admits, as it were, of different “shades.” The shades are represented by the lives of the various folk-souls of modern times. And it is interesting, from the point of view of Spiritual Science, to bring some at least of these folk-souls before our mind’s eye for examination.

To take, as an example, the folk-souls of Southern peoples—the Italian and the Spanish folk-soul. When the Spiritual Investigator tries to sink himself into the essence of the Italian or the Spanish folk-soul, into these very real and living modes of being, he finds himself compelled to take account of a certain law of world-evolution, hardly known to ordinary science and held by it of little account. We referred to this law yesterday from another point of view. We said: When man has passed through the gates of death, when, therefore, he has entered the supra-sensible world and lives again in higher beings, he stands (with regard to what he has experienced in the body) in the same relation to those mighty super-beings as he stood on earth towards his memories. He looks back on his bodily state, and that gives him “consciousness of self,” just as the act of sinking into the physical body at the moment of waking gives consciousness of self. Thus when we are raised into the spiritual world we find a similar relation holding in the “progression of time,” as obtained in the world of space between soul and body. Through our body we are bound to space; our souls, however, enter a relationship that is temporal. When we have become spirit, when we have passed through the gates of death, we live with our memories, and this life we share with our memories in the spiritual world is like the life shared by body and soul in the physical world. This brings us to the law of periodicity in the spiritual world. What we go through when we raise ourselves to the spiritual world is law for the worlds of the spirit. The spiritual beings do not only experience the rhythmic alternation that we know as we pass from sleep to the waking state, but they go through a number of different states of consciousness in accordance with the periodicity of the times. Only when one has learnt adequately to reflect upon this law can one hope to understand the sway exercised by the folk-souls. Let the Spiritual Investigator study, for example, the Italian folk-soul (and the same thing applies to the Spanish), he will find in it something that consciously looks back to the Ancient Egyptian and Chaldean times. Man keeps his Self-consciousness kindled in his physical existence by the process of sinking down into the body; he preserves this Self-consciousness after death by looking back at his experiences on earth; and in the same way there is a sort of interchange between the folk-soul element that rises to the surface in the Italian people and the ,,Egypto-Chaldean folk-spirit. The Italian folk-spirit looks back on the experiences it had as the Egypto-Chaldean folk-spirit; it sinks down into the Egypto-Chaldean folk-spirit as we sink down into the body on awakening when we retain our consciousness of self. The law of periodicity, rhythmically graded, determines the sequence that extends from the folk-spirit’s activities in Egypto-Chaldean life, through its fulfilment in Italian civilisation, right down to the present times. And the results reached in this way by Spiritual Science from rhe data of Spiritual Investigation can be verified down to the smallest detail if we look at the way the folk-spirit, in which every separate human soul is embedded, fulfils itself.

But time has moved on. The folk-spirit has not retained all the characteristics it acquired in the life of Ancient Egypt and Chaldea. In the course of its development the soul, as we have already had occasion to point out, withdraws into itself. Nature therefore no longer appears to it as she did in the Egypto-Chaldean times, animated throughout with spirit. What the human soul experienced under the influence of the folk-soul in the civilisations of Ancient Egypt and Chaldea is experienced by the Italian folk-soul, only more inwardly in a renewed form of the same folk-spirit. And how can we realise this more clearly than by looking at one of the greatest creations of the Italian spirit ? May we not surmise that a creation such as is evinced by the Egyptian conception of the stars appears before us again in Italian culture, but in a deeper way, more interiorised, more self-contained? Spiritual Science obliges us to expect such a repetition, and the expectation is realised in Dante’s Divine Comedy. The Egyptian saw the whole world as animated with spirit. Dante recreates this conception but in an intenser, more inward form. The ancient folk-spirit lives again and remembers earlier times. In the co-operation of psychic beings in the Egypto-Chaldean and in the Italian folk-souls we can see the super-personal consciousness of the folk-soul at work. The Italian folk-soul is living again a kind of rhythmical recurrence of the Ancient Egyptian folk-spirit. And this living again, even in its more interiorised form, is particularly favourable to the development of the Sentient Soul in the separate human individual living at the heart of the folk-soul. Just as in the time of Egypt and Chaldea the Sentient Soul was given special opportunities for development by the folk-soul, so in modern Italy does the soul live anew as Sentient Soul in the Italian folk-soul, but in a deeper key, coloured as it were with a different shade. Thus does the folk-soul live on, and in those individuals on to whom it is directed (as the human soul is directed on to nature) it calls forth all the forces of the Sentient Soul. We shall understand all the great artistic creations of Italy, rooted as these are in the Sentient Soul, when we have learnt how the folk-soul works in the bodies of Italian men and women. We shall be able to understand the work of Raphael and Michelangelo down to its smallest detail, in so far as it arises from the activity of the folk-soul, when we have learnt the particular shade of colouring which the individual soul will take on under the influence of the folk-soul. Italian culture, under the influence of the folk-soul is a “Culture of the Sentient Soul.”

The culture of every folk-soul has its own peculiar mission. Upon each devolves the task of expressing with special force and intensity some particular aspect of the life of the soul. This has nothing to do with the development of the individual soul. But the national quality which at certain times is realised in the individual soul reveals itself in such a way that it must bring about the intensification of a particular colour in the life of the soul.

In the same way—and I beg my hearers to listen impartially, as to a purely scientific exposition, to the analysis I am putting before them—in the same way as the Ancient Egypto-Chaldean folk-soul lived anew in the Italian folk-soul and stamped its creations as of yore with the character of the Sentient Soul, so does the ancient civilisation of Greece, coloured with that of Rome, live on in the folk-soul of France. But here the spirit of Greek civilisation is expressed in such a way that the individual soul living at the heart of the French folk-soul, is freer from the body, seeks to permeate the body less than was the case in Greece. And just as the Greek folk-soul was particularly favourable to the fulfilment of the Rational or Mind Soul, so in the recrudescence of Greek culture in the French folk-soul we find that special care is taken of the Rational Soul. The inner state of consciousness of the French folk-soul, moreover, rests upon a kind of “remembering” that looks back to the achievements of the Greek and Roman folk-soul. It is difficult but of infinite importance for the understanding of the true course of history to examine the peculiar structure of the mind and consciousness of the folk-soul. The Rational Soul is what is peculiar to the French folk-soul. In Greek civilisation the Rational Soul, though it had torn itself free from the body, could still express the outward beauty of the body, the spiritual quality of what appears to us as corporeal. But as it became intensified and interiorised in French culture, the folk-soul took on another form. The national spirit is no longer translated straight into bodily form in space, as in the Greek statue; it fulfils itself in an “etherised” body that remains a thought-body and can only be “inwardly conceived” [vorgestellt]. This is at the foundation of the whole French character, of the French folk-soul. It absorbs the individual human souls into itself in such a way that these feel compelled so to develop their inner forces that they can imagine them strongly in the outer world. Now, how does one imagine oneself powerfully into the outer world? If the folk-spirit can no longer, as it could in Ancient Greece, realise plastically the spirit that animates the body, then all we have is the mere picture of this spirit in the body, as it has been shaped in man’s conception by his phantasy. And this is why the French folk-soul can only create an inner picture of man and why it tends to set most value on what one projects of oneself into the world, on what one imagines one wants to be in the world, on what is always called “la gloire,” on what one carries in one’s own phantasy.

This is the fundamental characteristic of French culture as it arises from its own folk-soul. And this is why it devolves upon French culture to impose upon the world this conception which the folk-soul has called forth in the phantasy of the individual French mii1. The Rational or Mind or Mood Soul [Gemütseele] works in pictures which it creates for itself in separate individualities. We may therefore surmise that the degree of greatness which the individual soul can achieve under the influence of the folk-soul will be manifested on the occasions when the folk-soul reaches an exceptional degree of development in the Rational Soul [Gemütseele]. The folk-soul comes most fully to life in the creations of those individual minds (its instruments) where feeling animated with understanding enquires searchingly into the appearances presented by the world. Feeling [Gemüt] animated by understanding tends in a peculiar way to work itself free and to command freely. This shows particularly in cases where complete control can be exercised over understanding and feeling; and French civilisation reaches its peak when this particular circumstance occurs—as in Moliere and Voltaire. In Voltaire we have dry understanding permeated with feeling, in Moliere, feeling that rests on understanding. A folk-soul exhibits its characteristic features in those of its utterances which correspond to it so closely that they can also supply the material in which the individual soul will express itself in its own particular colour. French culture is, then, something in the nature of a reminiscence of the Greek, as can be further ascertained by anyone who cares to study with a certain degree of penetration the inner history and development of French culture.

If we consider the French poets as giving individual colouring to the French folk-soul, we shall always find in this folk-soul (not in the individual Frenchman) a harking back to the civilisation of Greece. It finds expression in the deeds and thoughts and poems of individual Frenchmen. It appears in their question: How did the Greeks set about to write a proper tragedy? What did Aristotle say about it? Hence the discussions on the Unities of Time and Place in the Drama. This reacted even on Lessing. Drama was to be made to correspond to the Greek ideal. Moreover, the findings of Spiritual Science in this matter can be illustrated down to their smallest detail. A Greek spoke of himself as a Greek in the conscious conviction of being the represe1itative of mankind. All other nations were “Barbarians.” He had a special justification for this opinion because he expressed in an idealised way the promptings of the spirit. His attitude lives on and comes to the surface in the harking back of the French folk-soul. But because here it is a “remembering,” and because not every remembering is justified (there emerge many memories that are no longer fully justified) this claim of the French folk-soul to be the sole representative of humanity is now out of place. The very word “Barbarian” which is on everyone’s lips points to the recrudescence of this particular feature of Greek culture in the French folk-soul.

Now, just as French soul is particularly favourable to the culture of the Rational or Mind or Mood Soul [Gemütseele], so it is to the British folk-soul that there falls in modern times the task of cultivating the Consciousness Soul or Spirit Soul as such. The education of the Consciousness Soul appears in the history of mankind’s development as something that does not admit of repetition. The Italian folk-soul repeats in an altered form the life and experience of the Egypto-Chaldean folk-spirit, the French folk-soul those of the Graeco-Roman. But the British folk-soul enters the scene of modern evolution as something new. It is the most vivid expression of modern times in so far as these mark that phase of the soul in which it thoroughly permeates itself with the life of the body. The British folk-spirit is so constituted that it favours more than anything else a mode of co-existence with the body. It is therefore favourable also to what is effected through the body and especially what enters the soul through the body. Its mission is to care for the Consciousness Soul, and connected with this is the mission of materialism, which had at a certain point in history to enter into the development of mankind. It is, indeed, the special task of the British folk-soul to give expression to materialism. The individual soul is more or less independent of this, but it remains the characteristic of the folk-soul. We shall return in a moment to the peculiar character of the British folk-soul. But first, in order to throw light on the tasks belonging to the folk-souls, we must cast a glance on the folk-soul that dominates Central Europe and which is called the German folk-soul. And it may be useful to point out that these views of mine are not being brought forward now for the first time as the outcome, so it might seem, of the warlike events of the moment. No—what I say now is only what I have always said.

The German folk-soul is not especially fitted to call forth the particular shades of character of the Sentient Soul, nor of the Rational or Gemütseele, nor again of the Consciousness Soul. It is fitted, on the contrary, to give expression to the unity of the soul which may be said to live in all its three members. I am saying this, not in praise of any particular nation, but I say it in all objectivity, without love or hate, because it is the result of Spiritual Investigation, just as the appearance of light as red or green is the result of an experiment with the spectroscope. It is an objective fact. Just as the Italian, French and British folk-souls encourage the Sentient, the Rational and the Consciousness Souls respectively, so does the German folk-soul nurture man’s Ego, the individual seed within his soul that fulfils itself in his earthly life, the element that sinks lovingly into the body, with which it unites itself at the moment of waking up, but from which it detaches itself again on falling asleep; that which seeks to care for and befriend the manifestations that come to it from the external world but seeks also to befriend and care for everything that aspires to the Spirit. This is why I could say in my first lecture: The German folk-soul is that which more than anything else gives to the individual soul the possibility of sinking down into the depths of the Ego, where the secret is to be sought of what moves men’s hearts to anguish or to bliss. Here lies the reason why this German folk-soul can so easily be misunderstood, why, as is only too natural, this misunderstanding of what the German folk-soul really is is now being manifested on every side. For the German folk-soul, unlike the British folk-soul, does not fulfil itself in the external body, does not surrender itself immediately to the mission of materialism, because such a task does not in the least correspond with its nature. But it embarks on the one hand upon the contemplation of the external world of matter, from which it does not seek to withdraw itself, and on the other, gives itself up to the contemplation of the Spirit. And this it does in order to draw upon those deep spiritual sources upon which Meister Eckhardt, Jacob Boehme, Goethe and Fichte drew, communing alone as in a sort of duologue with the spiritual world, and turned aside from outer things. Thus if individual souls of other nations have to turn aside from the folk-souls in which they are embedded in order to sink down into what we call Spirit, the German, through the very nature of his folk-soul is always capable of being raised to spiritual regions. The souls of the other peoples must learn to grow out of their folk-souls before they can commune with the spiritual world. But the folk-soul that speaks to the individual souls of the Central European people, itself sounds a spiritual note, is itself a witness to the Spirit. And because folk-souls express themselves in characteristic features, because they appear to us when they work through men and women, using these as the instruments they select in order to create something characteristic of them, this gives us an opportunity for studying the essence of what a folk-soul really is. We shall find our results confirmed in this study when, on pursuing the progress of the various folk-souls, we discover what are the characteristic symptoms in which their forces come to be expressed. And these characteristic features can certainly best be studied by considering the individual folk-souls at their highest points of achievement.

Now there can be no doubt that Shakespeare’s “Hamlet” is to be regarded as a characteristic expression of the British folk-soul, and one of its mightiest manifestations, and that in the case of the German folk-soul we must look upon Goethe’s “Faust” as the outcome of the most intimate communion of a German with the German folk-spirit. How characteristic is the difference between “Hamlet” and “Faust.” I need hardly enlarge upon the greatness of Shakespeare and of Shakespeare’s “Hamlet.” It will be granted by everyone, and there is no one who would rank Shakespeare’s “Hamlet” higher than I would. But in considering “Hamlet” as the outcome of the British folk-spirit, I would like to ask: What impression does “Hamlet” make on us?

As we have said, it is the mission of the British folk-spirit to introduce the Consciousness Soul, which is bond to the corporeal, into the outer development of historical events. My book, Rätsel der Philosophie (The Riddles of Philosophy) has recently been published as the second edition of my Welt -und Lebensanschauungen im Neunzehnten Jahrhundert (World and Life Conceptions in the Nineteenth Century), which appeared fourteen or fifteen years ago. It is now considerably enlarged and deals with the whole of Western philosophy. At the time of the first edition, in dealing with English philosophy, I tried to find an expression, a word that would be particularly well suited to render its character and the expression that occurred to me was that English Philosophy was the philosophy of an onlooker. An onlooker—and this can be shown particularly well in the work of John Stuart Mill—is one who sinks down into the body with his soul, and seeing the world from the body, lets the world go its own way. Compare with this the philosophy of Fichte. His was no “onlooker’s philosophy” but a “life philosophy,” one that does not “look on” at life but becomes one with it. This is the stupendous difference between the British and the German folk-souls. The British folk-soul tends in all its activities to turn man into an onlooker; it particularly encourages his powers of “looking on” by educating his Consciousness Soul. And in so far as he has cultivated the Consciousness Soul, man stands outside phenomena. He looks at them as it were from the body. Now Shakespeare’s greatness consists particularly in his capacity for standing at a distance and watching life objectively. His attitude to the phenomena of life and his descriptions of them show us that he paints things as an onlooker and describes what he experiences objectively from outside. An “onlooker’s world-concept” the outcome of the folk-soul . . . The truth is that when the individual human spirit, this spirit of the Consciousness Soul, armed with this peculiar characteristic which he gets from the folk-soul, when this individual spirit approaches the inner life of man, then he will see nothing but the play of externals—the inner side will always elude him. And this inability to reach the inner life must be particularly characteristic. In the pictures he draws of life’s external happenings, Shakespeare is a giant. But when it comes to perceiving the inner life through the external physiognomy then the “onlooker’s point of view” makes itself felt. And this onlooker’s point of view (expressed from the artistic greatness of the British folk-spirit) when it is faced with the inner world, shows itself to be that of the sceptic who doubts the very existence of the Spirit. We therefore intend no deprecation of Shakespeare when we say that he presents the Spirit as a ghost, a spook. Externally the spiritual appears as something ghostly. How does the spirit of Hamlet’s father appear? Not as a spirit but as a ghost. The man who believes in ghosts is in fact a spiritual materialist. He wants to perceive the spirit as a materialist would do, who asks that it should appear in some sort of rarefied matter. The spirit of Hamlet’s father appears, therefore, in ghost-like form. This is expressed in the confusion existing with regard to the way in which the spirit appears. As the materialistic mind can only get as far as a ghost, we see its whole teaching concerning the spiritual becoming confused. For example, whereas in the earlier part of the play everyone has seen the ghost, in the scene with his mother Hamlet is the only one to see it. At one moment it is an objective phenomena, at the next merely a subjective phantom. And now this great onlooker (for Hamlet is meant to be a character who looks on at the outer doings of the world), this great onlooker turns his gaze to the world within, and we get the famous speech in which he questions the spiritual world: To be or not to be? What follows after death? First awaking, then sleep, images, dreams; and then again doubt—“the undiscovered country from whose bourne no traveller returns.” All of it typical of the materialistic mind that tries to probe into the depths of the spiritual world and fails. This is why all those who, whether idealistically inclined or otherwise, cannot venture into the spirit, feel an inner kinship with Hamlet. Herman Grimm once said—and, for many, said truly—that when people probe too deeply into questions concerning their spiritual state, they stand as it were on the edge of an abyss and feel, like Hamlet, that they must throw themselves into it. Such, then, is the answer given us by one who, like Shakespeare, inspired by the folk-soul and yet transcending it, sets forth its spiritual essence. This answer shows us the bridge between Hamlet and the spiritual world to be broken and the gulf between filled only with uncertainty heaped upon uncertainty. Thus, even in this great artistic creation which of its kind remains unsurpassed and unsurpassable, the British folk-soul still reveals its own mission which is to contemplate the outer world and to be brought to a standstill before the abyss of the supernatural.

And now, to show by the description of a single figure how deep is the inwardness of the German folk-soul, so favourable to the life of the Ego and the unity of the soul, let us consider its most outstanding, its most profound manifestation in Goethe’s “Faust.” Does the soul stand here on the edge of an abyss into which it is impelled to cast itself? Far from it. Faust has no doubts about the spiritual world, his vision pierces beyond the material and historical facts that have gone to make up his life, and he stands face to face with the Spirit, he sees the Spirit before him, and he knows beyond the shadow of a doubt that he who probes deeply into the riddle of existence cannot be lost but will surely cross the abyss and be united with the Spirit.

And now let us turn to Hamlet again. He stands irresolute before the abyss with the question “To be or not to be” on his lips, asking of the spiritual world “to sleep, to dream?” And let us compare all this hesitation and uncertainty with the scene in the poem [First Part], where Faust stands face to face with the Spirit (Faust, Scene XIV):—

“Spirit sublime, thou gav’st me, gav’st me all
I ever asked thee. Not in vain didst thou
In flaming fire reveal thy countenance”
and further on
“Then to the cave secure thou leadest me,
Then show’st me mine own self, and in my breast
The deep, mysterious miracles unfold.”

This is union with the Spirit. In such union, in such vision the question whether we sleep, or dream, has no place. There is room only for Faust’s inspired advance into the spiritual world (as we find it described in the Second Part of the drama) and for the certainty which can be reached that the human spirit when it passes through the gates of death becomes united with the spiritual world. Here there is no longer any uncertain question about being or not being; there is the certainty that the soul is already in this world a citizen of the world of the Spirit, and that when it passes through the gates of death it stands face to face with the sublime Spirit who, if we but merge ourselves in it sufficiently during this life, will give us all we ask. But this Spirit is no ghostly apparition of the spirit world, for in the scene in the Witches’ kitchen spooks are treated with humour and with befitting irony. Mephistopheles, again, does not appear to Faust as a ghost, but is so conceived that one cannot imagine him otherwise than in human form. How meaningless it would be’ if, like Hamlet’s father, he were visible only to one person, or visible at one time and not at another. And the reason for this is that in “Faust” we are standing on solid ground.

Figures like Faust arise out of the folk-spirit, they are the fruit of the folk-soul. In Goethe’s Faust we have only a type and image of what has really taken place. For while Goethe was creating Faust, the whole of the folk-soul was active; it created itself in the book and created something that was alive, not only in Goethe, but in the spirit. Goethe’s Faust is but the copy of a creation of the German folk-soul, which moves in the spirit and which, as Goethe knew full well, is only at the beginning of its activity. Faust we know to be the symbol of an unconquerable force, of a reality that looks to the future. In Faust Goethe has planted a seed, and with equal truth it may be said that there is in the German folk-soul a power, a germinating force that will ever grow and ever spread in its activity. For Faust stands before us as one who must strive, and as one for whom all striving is only a beginning.

In order to bring out the characteristic feature of the German folk-spirit, we must mention another of its peculiarities. As I said, when we consider the French folk-spirit, we see that it is reminiscent of the culture of Ancient Greece. This reminiscence is visible in every department of French culture, but it works under the threshold of consciousness, it does not enter consciousness. The French folk-spirit shapes the individual in accordance with the influence exercised by this reminiscence, but this influence is not consciously felt. If the folk-spirit influences the individual soul in such a way as to bring out its ego-hood, then—since only in the Ego can Sentient, Rational and Consciousness Souls be united—the harmony of these united members of the soul will enter consciousness; whereas the essence of “reminiscence” is that it binds the folk-spirit to earlier cultural periods. Thus Greek culture enters into the German folk-spirit in quite a different manner from that in which it enters the French folk-soul. If Greek culture is introduced at a particularly characteristic point in the history of the German folk-soul and if in so doing it is to influence the isolated individual, then everything must happen consciously and not as it does in French culture, where the process is subliminal and only appears in the form of aesthetic debate. In the case of the German spirit, which is a mirror for the deeper events of history, the process must enter the consciousness of the man who allows himself to be specially guided by the folk-soul. Thus in the Second Part of “Faust” the union of Faust and Helena which takes place on the physical plane, in consciousness, quite clearly portrays the union with Greek culture. This is not merely entering into the Rational Soul, it is entering into the Ego. Faust stands, in all his completeness as a human being, face to face with Greek culture. In full consciousness of what he is doing, and in all solemnity he celebrates his union with an earlier period. I can naturally only give a few indications of what I mean. But light is thrown on the whole course of history when we consider the folk-souls in this way—dominating the destiny of man, beating, surging in endless interplay throughout the ages.

If now we set the German and the British folk-souls once again side by side, there is much we could point to showing that the Ego is what characterises the German folk-soul, while the Consciousness Soul is the special mark of the British folk-soul. Many of the peculiar features in the development of modern civilisation can be traced to this. It has been one of my tasks to show how Goethe gave birth (from the depths of his soul) to a Theory of Evolution in which he attempted from the depths of his Ego to reconstruct the whole sequence of organisms in their evolution from the simplest to the most perfected forms. This truly scientific theory, springing as it does from Goethe’s soul, is also the outcome of what one might call a “Communing between Goethe and the German folk-soul,” just as another theory is the outcome of a conversation with the British folk-soul. Goethe’s form of the Theory of Evolution, born as it is from the culture of the Ego, remains incomprehensible to many because Goethe delves so deeply into the nature of things in order to bring forth a Theory of Evolution out of the depths of the human soul. Such a theory could not spread rapidly. And then, in the nineteenth century, the British folk-soul seizes upon the Theory of Evolution; but while Goethe had started from the depths of the Ego, the British folk-soul starts from the Consciousness Soul and gives us the external “Struggle for existence” of the Darwinian theory. What Goethe established by means of inward development, Darwinism established outwardly. And as we live in the period of materialism, cultured humanity as a whole has neglected Goethe’s Theory of Evolution which comes from the depths of the Ego-culture, in favour of the form which Darwin has brought forth from the British folk-soul. Up to a certain point we still stand committed to this rejection of Ego-culture. I mean that theory which is scoffed at by all who believe themselves to be experts in this particular subject—I mean Goethe’s Theory of Colour which only those can understand who approach it from the standpoint of the human Ego-character. But humanity has rejected this theory of colour of Goethe’s (which comes from the depths of the Ego-culture) and has accepted Newton’s more materialistic colour theory inspired by the Consciousness Soul from out the British folk-spirit. But the time will come when men will learn to recognise that there is much in Goethe which they yet have to accept. And may I be allowed to say “in parenthesis”: Some of us may have succeeded in sending back to England our orders and marks of distinction; but true worth and dignity will not be achieved until, not only orders and distinctions, but also the materialistic form of the Theory of Evolution and the materialistic form of the Theory of Colour have been sent back to the British folk-soul whence they came.

The man whose thought is so inspired by the folk-soul that it is in the nature of a communing between the folk-soul and his own Ego, lives in such a way that in the most important moments of his life he is conscious of working for a content, of giving life to and realising a content in external life. Thus Goethe gave life to a content which had come to him in a moment of intuition when he founded his Theory of Evolution. But he who, ignoring the depths of his Ego, looks out onto the world from the Consciousness Soul, such an one will see nothing but the struggle for existence in the outward march of events. Every man sees his own inner nature in the external world. You can now all of you imagine what the events of to-day will mean for those who are inspired by the German folk-spirit, and what they will mean for those who are inspired by the British folk-spirit. The latter talks of the struggle for existence. Under the inspiration of the German folk-spirit, one sees in one’s opponent “the enemy,” whom one faces up to, man to man as in a duel. From the point of view of that folk-spirit which in science has inspired the Struggle for Existence, one sees the struggle in the field of battle in the following way: Everything becomes a struggle between “competing forces.”

In my first lecture, I tried in a few words to point to that which the Russian folk-soul stands for. There is no time to-day to enter more deeply into the subject, but a very peculiar characteristic of this folk-soul must be mentioned nevertheless. The curious thing about the Russian folk-soul what occurs to one at once, is that fundamentally it is less fitted than any other to the task it is engaged upon to-day—external struggle, external war. There is a very characteristic book by Mereschkowski, whom I have had occasion to mention before, called The March of the Mob. At the end of the book the author talks of the impression made upon him by the Hagia Sophia, the great basilica in Constantinople. The description he gives of this impression strikes the note which must come from the Russian folk-soul when it understands itself. And at the close of this passage the author tells how, surrendering himself completely to the spell of the great Mosque, he was moved to pray for his people:

“The Hagia Sophia, translucent and melancholy, flooded with the amber light of the ultimate mystery raised up my prostrate and affrighted soul. I gazed up at the dome, so like the vault of heaven, and thought: There it stands, created by the hand of man—man’s approach to the Triune Deity on earth. This approach has lasted, and what is more, will come again. How should those who love the Son not come to the Father who is the world? How should those not come to the Son who love the world, which the Father also loved since He gave His Son for it? For they are giving up their lives for Him and for their friends. They have the Son because they have love. Only His name they know not. And I was impelled to pray for them all, to pray in this heathen shrine that shall yet be the one and only temple of the future, that there be granted to my people the true power of victory, the conscious faith in the God who is Three in One.”

If we can regard the German folk-spirit, expressed in its representative “Faust” as one that is in the midst of the process of becoming, then we must look upon the Russian folk-soul as one that is still waiting for what is to happen. Its prevailing attitude is that of looking into the future, of not having found what it sought in the present. But when the Russian folk-soul becomes conscious of what lives in the depths of its nature, waiting to be brought out to the light, then it will realise that its mission lies in inner development, that this mission can fundamentally best be fulfilled by making its conquests within, by bringing forth that which lies hidden in its own depths and will some day be of great value to the cultural life of humanity. We cannot simply dismiss the Russian folk-soul as “barbaric”; we must think of it as one that will reach its full stature later on but has not yet passed beyond the age of childhood. I know how incomplete is this characterisation of the Russian folk-soul, but lack of time prevents me from describing it with more than a few words. This much, however, I will say. When the Russian folk-soul expresses itself as to-day, when it fails to express that attitude of expectation (which Mereschkowski represents as the spirit of prayer lying deep within the folk-soul) then it can be nothing but a wrecker of spiritual culture and of human culture in general. In turning outwards, the Russian folk-soul seems to be doing the opposite of what it really befits it to do.

This is why we feel, when we look towards the West, that however terrible the things that are at present going on there, they are the inevitable outcome of the impulses existing in the Western folk-souls. With the Russian folk-soul, on the contrary, we feel that it is quite unsuitable for this people to turn against those of the West, whom it ought, if it understood itself aright, to accept as its teachers. It is only because, of recent years, the question at issue has been so little understood that the importance of much that came from this quarter has been overestimated.

We could carry still further our study of the characteristics of folk-souls. Thus the human soul that realises itself in the Ego stands in the most intimate relation to the three members of the soul, the Sentient, the Rational or Mind, and the Consciousness Souls. Sometimes the individual soul rebels against the influences of the three members, sometimes they rebel against the individual soul. Just as the single individual soul shows the relationship of the three soul divisions to the human Ego, so can we see to-day the expressions and relationships of the several European souls to the soul of Europe as a whole. For external events are only a projection of the war waged by the members of the soul against the Ego. The Ego penetrates into the separate members, it establishes a relation with them; and here again we could discover in the outer events a confirmation of the findings of Spiritual Science reached by inner investigation.

The Ego is attracted to the Sentient Soul because it longs to be fertilised and quickened by the experiences of the Sentient Soul. Thus we see the German folk-soul plunging from the middle of Europe into the Italian folk-soul. We can trace this process right through history. If we go back to the time of Dürer and of other artists we see how they steeped themselves in the Italian folk-soul. Later we note that Goethe did not find happiness until he had satisfied his longing for Italy. This process consists on the one hand in the interplay between the Ego and the Sentient Soul, and on the other in that between the German folk-soul and the Italian folk-spirit. If we follow the course of history further we shall see how the individual Ego has to come to an understanding with the Rational and Consciousness Souls. Consider how often, right up till modern times, the German folk-soul has adjusted itself to the French, how Leibnitz, the most German of philosophers, wrote his works in French, and how Frederick the Great, the founder of Prussia’s greatness, lived almost exclusively in an atmosphere of French culture. This shows how strong is the inclination of the German spirit to be international, to fulfil itself in all the different nationalities. And this being its fundamental characteristic, to fulfil itself everywhere, we find the German folk-spirit also coming to an understanding with the British folk-soul, since nowadays it accepts, not Goethe’s Theory of Evolution and Theory of Colour, but Darwin’s and Newton’s. This shows how deep a bond there exists between the German folk-spirit and the British. And if to-day British voices are roused in anger against everything German, the German folk-soul cannot from the depths of its being return the hate which the British folk-spirit has shown towards it. The British folk-soul hates from sheer materialism. But the German folk-soul cannot maintain this position. It will have to come to an understanding with materialism. It is doing so now with force of arms in the fight that has been forced upon it, and in the future it will do so by liberating the spiritual within an epoch of materialism. Thus do we look through the external events of the moment into what is being revealed at the centre of Europe.

It is not, I think, a useless task to probe in this way into the fundamental nature of the folk-souls. For it seems to me that if the folk-souls are so illumined, the light may also be cast upon the fateful happenings of to-day and make their meaning clear. If we go deeply into the nature of these folk-souls then we shall feel the present-day events to be the inevitable outcome of their relations to each other. And this surely is the right way of coming to an understanding. And if it is true—as surely it is—that the events that are taking place east and west of us are of so mighty a nature that they must be the heralds of a new epoch, then from these events will develop a new phase in the history of the human spirit. For only a new phase of the human spirit can be fought for with such mighty sacrifices. And if this is so, then it is also true that much that up till now has been won only with petty sacrifices will in the future have to be achieved at a greater price. For the sacrifices made by Spiritual Science which I mentioned yesterday in connection with the development of the human soul are really far greater than all the sacrifices that are expended on external observations and experiments. Let us see to it that the great sacrifices made in the cause of another science be linked up to all the heroism and to all the suffering we see around us. I told you in my lecture yesterday how the forces of the unfinished lives now being sacrificed will unite with beings of the spiritual world and pours down their influence into the world of history here below. This picture, which corresponds nevertheless to a reality, I shall try to complete. Yes. We are entering upon a time when many will have to pay for the advent and development of a new world-phase of the human spirit with their blood and their lives, in suffering and in dangers. But those who have been called upon to do this will not know their sacrifice to have really been worth while till the future, when they will look down upon a humanity which will know how to live more worthily of the new era that has set in. If it is the folk-spirit that now demands the blood of our generation, it will be the folk-spirit that in the new era thus brought in will demand a new form of life. The folk-spirit will call upon those—and it will be for the humanity of the future to hear this call—who will liberate from their bodies the youthful forces of their souls for the quickening of the new humanity. Those, however, who preserve their lives and their health will feel that the child of humanity’s spiritual life, born of suffering and death, will need those who can tend it and who can receive the inspiration of the folk-soul aright. And no one will understand the German folk-soul who does not understand the German language, and this language shall not be the language of the external material life, but the language of the spirit. May the new spirit [Zeitenwesen], then, which is being born to-day of blood, of wounds and of death, find a humanity which, through the powerful unfolding of human spiritual power, will show itself worthy to be the guardian of the new age so hardly fought for, so hardly won.

• 1. “Goethe’s Mentality in our Fateful Days, and German Culture,” delivered on 29th October, in the “Architektenhaus” in Berlin.
• 2. The “Rational Soul” is also Called “Intellectual or Mind Soul.”
• 3. The “Consciousness Soul” is also called “Spirit Soul.”

The German Section of the Theosophical Society was responsible for organizing this year's congress of the “Federation of European Sections”. It is therefore more fitting that here, from within the circle of the organizers, there is less talk of what has been achieved than of what has been intended and striven for. For the organizers know only too well how little of what can be set as a goal on such an occasion has been achieved. Therefore, the following should be taken with a grain of salt, as a mere description of the underlying ideas.

Munich was chosen as the venue; the time was the days of Pentecost, May 18, 19, 20 and 21, 1907. The questions that the organizers asked themselves in preparing for the event were: How can such a congress express the task of the Theosophical movement in the present spiritual life? How can it present a picture of the ideals and aims of the theosophical work? Since the event is, of course, limited by the circumstances, it can only provide a limited actual answer to these questions. It now seems particularly important that the comprehensive character of the theosophical movement be emphasized on such occasions. The central point of this movement is the cultivation of a world view based on knowledge of the supersensible. And at such a congress, people come together who, in the spirit of such a world view, work across all national and other human boundaries on spiritual ideals that are common to all of humanity. Mutual inspiration in the best sense will be the most beautiful fruit of such events. In addition, it will be shown how the theosophical work should really be integrated into the whole of life in our time. For the spiritual basis of this movement cannot be called upon to express itself only in thoughts and ideas, in theories, etc.; rather, as a content of the soul that has emerged in our time, it can have a fruitful effect on all branches of human activity. Theosophy can only be properly understood if we set it the ideal of stimulating not only the imagination and the human soul, but the whole human being. If we wish to interpret its mission in this way, we may recall how, for example, the world view of the time found expression in the buildings and sculptures (such as the Sphinx) of the Egyptians. The ideas of the Egyptian worldview were not only thought by the souls; they were made visible to the eye in the environment of the human being. And consider how everything known of Greek sculpture and drama is the worldview of the Greek soul, shaped in stone and depicted in poetry. Consider how medieval painting presented Christian ideas and feelings to the eye, how Gothic art gave form and shape to Christian devotion. True harmony of the soul can only be experienced where the human senses are reflected in form, shape and color, etc., as the environment that the soul knows as its most valuable thoughts, feelings and impulses.

From such thoughts arises the intention to also give a picture of the theosophical striving in the external form of the event at a congress. The Rauzz, where the gathering takes place, can reflect the theosophical feeling and thinking around the visitor. According to our circumstances, we could not do more than sketch out what could be an ideal in this direction. We had decorated the assembly hall in such a way that a fresh, stimulating red formed the basic color of all the walls. This color was intended to express the basic mood of the celebration in an external view. It stands to reason that many will object to the use of “red” for this purpose. These objections are justified as long as one relies on an esoteric judgment and experience. They are well known to the esotericist, who nevertheless must use the color red for the purpose in question, in accordance with all occult symbolism. For him, it does not depend on what the part of his being feels that is devoted to the immediate sensory environment, but on what the higher self experiences in secret while creating in the spiritual, while the external environment is seen physically in red. And that is the exact opposite of what the ordinary sensation about “red” says. Esoteric knowledge says: “If you want to attune yourself in your innermost being as the gods were attuned when they gave the world the green plant cover, learn to bear ‘red’ in your environment as they had to.” This indicates a connection between the higher human nature and the color red, which the genuine esoteric has in mind when he represents the two opposing entities of the creative world-ground in occult symbolism in such a way that downward the green as a sign of the earthly, upward the “red” as a sign of the heavenly (elohistic) creative powers. Much more could be said about the reasons for opposing this color red, and much more could be said in refutation. However, it may suffice here to note that this color was chosen in accordance with occultism.

On the walls (on both sides and at the back wall) were placed the so-called seven apocalyptic seals in a size corresponding to the room. They represent certain experiences of the astral world in pictures. There is a reason for this. At first, some viewers may think that such pictorial representations are ordinary symbols. But they are much more than that. Anyone who simply wants to interpret what is depicted in them symbolically with the mind has not penetrated the spirit of the matter. One should experience the content of these seven pictures with one's whole soul, with one's undivided mind; one should shape it inwardly in one's soul according to form, color and content, so that it lives inwardly in the imagination. For this content corresponds to very specific astral experiences of the clairvoyant. What he wants to express in such pictures is not at all an arbitrary symbol, or even a straw-thin allegory, but something that is best illustrated by way of comparison. Take a person in a room illuminated by a light in such a way that his shadow is visible on a wall. The shadow is in some respects similar to the person casting the shadow. But it is a two-dimensional image of a three-dimensional being. Just as the shadow relates to the person, so what is depicted in the apocalyptic seals relates to certain experiences of the clairvoyant in the astral world. The seals are silhouettes of astral processes, of course in a figurative sense. Therefore, they are not arbitrary representations of a single person, but anyone who is familiar with the corresponding supersensible processes will find their silhouettes in the physical world. Such things cannot be invented in their essential content, but are taken from the existing teachings of the secret scientists. A student of these matters may have noticed that some of our seals correspond with what he finds in this or that work, but not others. The reason for this is that some of the imaginations of occult science have already been communicated in books; but the most important part, and the true part, may only now, in our time, be made public. And part of the theosophical work must consist in handing over to the public much that has hitherto been kept strictly secret by the appointed custodians. This is demanded by the evolution of the spiritual life of our time from the exponents of occult science.

It is the evolution of humanity, the expression of which in the astral world must form one of the most essential foundations of occult knowledge, as expressed in these seven seals. The Christian esotericist will recognize them in a certain way in the descriptions of the “Revelation of St. John”. But the form they presented in our festival hall corresponds to the secret-scientific spiritual current that has been the leading one in the West since the fourteenth century. The mysteries of existence, as depicted in these pictures, represent ancient wisdom; the clairvoyants of the various epochs of humanity see them from different points of view. Therefore, according to the necessary developmental needs of the times, the forms change somewhat. In the “Revelation of St. John” it is “set in signs” what is to happen “in brief”. He who is able to read a secret-scientific form of expression aright knows that this signifies nothing other than a reference to the secret-scientific signs for certain imaginations that can be experienced in the astral world and that are connected with the nature of man as it reveals itself in time. And the Rosicrucian seals also represent the same thing.

Only very sketchily, with a few words, shall the infinitely rich content of the seals be interpreted. Basically, everything – even the seemingly most insignificant – in these pictures means something important. – The first seal represents man's entire evolution on earth in the most general way. In the Book of Revelation, this is indicated in the words: “And having turned I saw seven golden lampstands; and in the midst of the seven lampstands one like unto the Son of Man, clothed with a garment down to the foot, and girt about the paps with a golden girdle. His head and hair, however, were white like wool, as white as snow, and his eyes like a flame of fire. His feet were like brass glowing in a furnace, and his voice like the sound of rushing waters. He had seven stars in his right hand, and out of his mouth came a sharp, two-edged sword; and his face shone like the bright sun.” In general terms, such words point to the most comprehensive secrets of human development. If one wanted to describe in detail what each of the deeply significant words contains, one would have to write a thick volume. Our seal depicts such a volume. Only a few hints are given: Among the physical organs and forms of expression of man, there are those that, in their present form, represent the downward stages of development of earlier forms, and which have thus already exceeded their degree of perfection. have already passed their peak of perfection; others, however, represent the initial stages of development; they are now, so to speak, the rudiments of what they are to become in the future. The esotericist must know these secrets of development. The organ of speech represents an organ that will be something much higher and more perfect in the future than it is at present. When pronouncing this, one touches on a great secret of existence, which is often also called the “mystery of the creative word”. This gives a hint of the future state of this human speech organ, which will one day, when the human being has spiritualized, become a spiritual organ of production (procreation). In myths and religions, this spiritual production is indicated by the appropriate image of a “sword” coming out of the mouth. Thus, each line and each point on the image means something that is connected with the mystery of human development. The fact that such pictures are made does not merely arise from a need for a sensualization of the supersensible processes, but it corresponds to the fact that living into these pictures – if they are the right ones – really means an arousal of forces that lie dormant in the human soul, and through the awakening of which the representations of the supersensible world emerge. It is not right for the supersensible worlds to be described only in schematic terms in Theosophy; the true way is to evoke such images as are given in these seals. (If the occultist does not have such images at hand, he should give a verbal description of the higher worlds in appropriate images.)

The second seal, with its corresponding accessories, represents one of the first stages of development of humanity on earth. In its primeval times, humanity on earth had not yet developed what is called the individual soul. What still exists in animals today is still present: the group soul. Anyone who can follow the old human group souls on the astral plane through imaginative clairvoyance will find the four types of group soul that are represented in the four apocalyptic animals of the second seal: the lion, the bull, the eagle, and the man. This touches on the truth of what is often so dryly allegorized in the four animals. The third seal represents the mysteries of the so-called harmony of the spheres. Man experiences these mysteries in the interval between death and a new birth (in the “spirit realm” or what is called “Devachan” in the usual theosophical literature). However, the presentation is not given as it is experienced in the “spirit realm” itself, but as the processes of this realm are reflected in the astral world, as it were. It must be emphasized that all seven seals are experiences of the astral world; but the other worlds can be seen in their reflections in the astral. The angels blowing trumpets in the picture represent the spiritual primal beings of the world phenomena; the book with the seven seals indicates that in the experiences illustrated in this picture, the riddles of existence are “unsealed”. The “Four Horsemen of the Apocalypse” represent the stages of human development through long earth cycles.

The fourth seal represents, among other things, two pillars, one rising from the sea and the other from the earth. These pillars hint at the secret of the role played by red (oxygen-rich) blood and blue-red (carbon-rich) blood in human evolution, and how this blood changes in line with human evolution from distant primeval times to distant future times. The letters on these pillars hint at this evolutionary secret in a way known only to the initiated. (All interpretations of the two letters given in public writings, or even in certain societies, remain only a superficial exotic interpretation.) The book in the cloud points to a future state of man in which all his knowledge will be internalized. In the “Revelation of St. John” we find the significant words: “And I took a little book out of the angel's hand and devoured it...” The sun in the picture points to a cosmic process that will take place at the same time as the marked future stage of humanity; the earth will enter into a completely different relationship with the sun than the present one in the cosmos. And everything is depicted in the picture in such a way that all the arrangements of the parts, all the details, etc., correspond exactly to specific real processes.

The fifth seal represents the further development of man in the future in a cosmos in which the conditions just indicated will have occurred. The future human being, who will have a different relationship to the sun than the present one, is represented by the “woman who gives birth to the sun”; and the power that he will then have over certain forces of the world, which today express themselves in his lower nature, is represented by the “sun woman” standing on the beast with the seven heads and ten horns. The woman has the moon under her feet: this points to a later cosmic relationship between the sun, earth and moon.

The sixth seal represents the evolved human being with even greater power over the lower forces of the universe. The way the image expresses this is reminiscent of Christian esotericism: Michael holds the dragon bound.

Finally, the seventh seal is that of the “Mystery of the Grail,” as it was in the esoteric current beginning in the fourteenth century. In the picture, there is a cube representing the spatial world, from which the world serpent rises on all sides, insofar as it represents the higher forces acting in the lower; from the snake's mouth comes the world line (as a spiral), the symbol of the purified and refined cosmic forces; and from it, the “holy grail”, which is faced by the “dove”: all this points - and quite appropriately - to the mystery of the world's creation, of which the earthly is a lower reflection. The deepest mysteries lie in the lines and figures, etc. of this seal.

Between each two seals, a column was inserted. These seven columns could not be executed in three dimensions; they had to be painted as a substitute. However, they are definitely intended as real architectural forms and correspond to the “seven columns” of the “true Rosicrucian Temple”. (Of course the arrangement in Munich does not correspond exactly to that in the “Rosicrucian Temple of Initiation,” for there are two of each column, so that if one walks from the back wall toward the front, one passes through fourteen columns, two of which are always facing each other. This is only a hint for those who know the true facts; we should only give a general idea of the meaning of this column secret.) The captains of these columns represent the planetary evolution of our solar system. Our Earth is, after all, the fourth embodiment in a planetary evolutionary system, and in the ways in which it is configured, it points to three future embodiments. (More exact details about this can be found in the articles in this journal that are headed “From the Akasha Chronicle”. The seven successive embodiments of the earth are designated by the Saturn, Sun, Moon, Earth, Jupiter, Venus and Vulcan conditions. In the usual esoteric descriptions, the Vulcan condition is omitted as being too far in the future. For reasons which it would take too long to explain here, the evolution of the earth is divided into a Mars and Mercury condition. (These reasons can also be found in the Essays on the “Akasha Chronicle”. These seven embodiments of the Earth: Saturn, Sun, Moon, Mars, Mercury, Jupiter and Venus are now expressed in esotericism by seven pillared capitals. The inner life of each of these stages of development is expressed in the forms of these capitals. Here too, the intention is that one should not study the forms of the capitals intellectually, but entirely through the feelings, in real artistic experience and in the imagination. For every line, every curve, everything about these forms is such that when you immerse yourself in them, you awaken dormant powers in your soul; and these powers lead to ideas about the great mysteries of the world, which underlie the cosmic and the related evolution of humanity on earth. Anyone who might criticize the design of such columns should consider that, for example, the Corinthian and the Ionic columns have also emerged from the embodiment of the secrets of existence, and that such facts are only unknown to the materialistic way of thinking of our time. From the way the motifs of world evolution are expressed in these column capitals, one can gauge how esotericism is to have a fruitful effect on art. The ancient columns, too, are born out of esotericism. And the architecture of the future will have to present to people what the esoteric world view of Theosophy can give as a hint today.

In Munich, for example, an attempt has been made to sketch out an interior in the spirit of the Theosophical worldview; of course, only some of the relevant information could be provided, and even that only in general terms, and above all not in the appropriate arrangement. But the aim was only to evoke something of what is essential. Among the esoteric devices in our meeting room were two columns standing at the front of the hall. What they suggest can be seen from the description of the fourth seal, on which the two columns can also be found. They point to the mystery of blood and contain the “mystery of the development of humanity”. The color of the pillars is connected with the blood secret. One is red; the other is a deep blue-red. Esoteric science writes four deeply significant sayings on these two pillars. When the human soul immerses itself in these four sayings, then whole secrets of the world and of humanity well up from their depths. Many books would have to be written to exhaust the full meaning of these sayings, for not only is every word significant, but so is the symmetry of the words, the way they are distributed among the four sayings, the intensifications that lie within them, and much more, so that only long, patient devotion to the matter can exhaust what lies within. The four proverbs of “Pillar Wisdom” in English are:

"In pure thought you find
the self that can sustain itself.

"If you turn your thoughts into images,
you experience the creative wisdom.

"Condense feeling into light,
you reveal the forming power.

"If you objectify the will to essence,
you create in the world's being.

We also tried to express the basic mood that we wanted to express in our “inner space” in the program book that was given to visitors. There is no need to say anything more about the red color of the cover of this book, after the significance of the red color in esoteric symbolism has been discussed above. On this cover (in the upper left corner) there is a black cross entwined with red roses in the blue oval field; to the right of it are the letters: E.D.N. - J.C.M. - P.S.S.R. — These are the first ten letters of the words by which true Rosicrucianism is summarized in a single sentence: “Ex deo nascimur, in Christo morimur, per spiritum sanctum reviviscimus.” The cross symbol, entwined with roses, expresses

exoterically expresses the meaning of Rosicrucianism. In view of the attitude of our Society to Rosicrucianism, it seems necessary to point out the serious misunderstandings which have been brought against it. Here and there, on the basis of historical tradition, an attempt has been made to form a conception of Rosicrucianism. Of those who have thus formed an opinion of it, some look upon it with a certain benevolence; but most regard it as charlatanry, enthusiasm, or something similar, perhaps even worse. It may readily be conceded that if Rosicrucianism were what it appears to those who know of it only from historical documents and traditions, it would certainly not be worthy of the attention of any rational man. But at present nobody knows anything at all about true Rosicrucianism who has not approached it through the means of occult science. Outside the circle of occult science there are no real documents about it, which is the name of the spiritual current mentioned here, that has set the tone in the West since the fourteenth century. Only now may we begin to share some of the secrets of Rosicrucianism with the public. By drawing from this source in Munich, we naturally did not want to present it as the only true source of the theosophical movement, but only as one of the paths by which spiritual knowledge can be sought. It cannot be said that we have given preference to this source in a one-sided way, while the theosophical movement should take into account all forms of religion and paths to truth equally. But it can never be the task of the theosophical movement to study the variety of religions as a pastime; it must use religious forms to arrive at their unity, at its essence; and we did not want to show what Rosicrucianism looks like, but through it we wanted to show the perspective to the one core of truth in all religions. And this is precisely the true mission of the Theosophical movement.

In the program book, there are five drawings. These are the motifs of the first five of the seven capitals mentioned above, converted into vignettes. In these five drawings, too, there is something of what is called “occult writing”. Those who immerse themselves in the line forms and figures with all their soul will inwardly perceive something of what are known as the important states for the knowledge of human development (Saturn, Sun, Moon, Mars and Mercury states).

This should describe the intentions of the conference organizers in preparing the framework within which the festivities were to take place. The venue for the event was the Tonhalle (Kaim-Säle), which seemed particularly suitable for this event.

The account of the proceedings of the congress must be preceded by the expression of the deepest dissatisfaction felt by all the participants at the presence of Mrs. Besant. The much-admired woman had just returned to Europe after spending two years in her Indian field of activity; and Munich was the first place where the European members were allowed to greet her again and hear her powerful speech. The German committee of the Congress had invited Mrs. Besant to preside over the honorary committee; and so the esteemed leader gave the assembly its consecration and imparted to it the mood that her whole being radiates to all those around her and to whom the magic of her words penetrates.

Our visit to the congress was a thoroughly satisfying one. We had the great pleasure of welcoming many members of the other European sections, as well as those of the Indian section. The members of the German section were present in large numbers. Officially the British Section was represented by its General Secretary, Miss Spink; the French Section by its General Secretary, Dr. Th. Pascal; the Dutch Section by its General Secretary, Mr. Fricke; the Italian Section by its General Secretary, Prof. Dr. Penzig; the Scandinavian Section by its General Secretary, A. Knös; and the Hungarian Section by its General Secretary, D. Nagy.

The opening of the congress took place on May 18, 1907 at 10 o'clock in the morning. It began with a musical introduction. Emanuel Nowotny played the Toccata in F major by Joh. Seb. Bach on the organ. — Thereupon the Secretary General of the German Section had to greet the participants on behalf of the German committee. He greeted Mrs. Besant and emphasized the significance of the fact that the Munich Congress enjoyed her visit. After greeting the representatives of the other sections and the German visitors, the speaker spoke words of love, appreciation and thanks to the founding president H. S. Olcott, who had passed away in February. In this opening address, reference was also made to the comprehensive mission of the Theosophical movement in the spiritual life of the present day, and the necessity was emphasized that the cultivation of spiritual life must form the basis of the Theosophical work. After that, the representatives of the European sections and the other fields of work spoke: from England (Mr. Wedgwood), from France (Dr. Th. Pascal), from the Netherlands (Mr. Fricke), from Italy (Prof. Penzig), from Scandinavia (Mr. A. Knös ), Hungary (Mr. D. Nagy), Bohemia (Mr. Bedrnizek), Russia (Miss Kamensky, Mrs. Forsch, Miss N. v. Gernet), Bulgaria, Belgium (and 2 others).

As at previous congresses, each speaker spoke in his or her national language.

Mrs. Besant then took the floor to greet the German section and to emphasize the essence of the Theosophical movement, as well as to point out in a few forceful sentences the spiritual life and its fundamental importance for society.

The Saturday afternoon was dedicated to lectures and talks by Mr. Alan Leo, Dr. Th. Pascal, Michael Bauer, Mr. James Wedgwood and Miss Kamensky. Mr. Alan Leo read his essay on 'Astrology and Personal Fate'. It dealt with the esoteric nature of astrology and spoke luminously of free will in relation to predetermined fate, showing the way in which planetary forces influence human life. Dr. Th. Pascal set out the results of his long inner research in the theosophical field in a thoughtful essay. It was fascinating to follow the subtle arguments of intimate trains of thought. Michael Bauer spoke about the relationship between nature and man. This very meritorious leader of our Nuremberg branch showed in his soulful and spirited way how the inner essence of nature and man's own inner being are interlinked in their depths. Mr. Wedgwood read his essay on “The Value of the Theosophical Society”. He explained how the study of occultism elevates man to an awareness of his higher destiny by giving him a knowledge of his place in the world process. What matters is the perspective that occultism gives the human soul. (No summary of the contents of the individual lectures and papers will be given here, as these will appear in detail in the “Congress Yearbook”. Miss Kamensky read her fascinating paper on “Theosophy in Russia” that same afternoon. Her brief but meaningful remarks showed how many Theosophical ideas are to be found in Russian literary and intellectual life. The work was a prime example of how to identify the seeds in a nation's intellectual life that only require spiritual light in order to grow into theosophy in the right way. The first day of the congress came to a close with the artistic performances of the evening. Joh. Seb. Bach's Prelude and Fugue in B minor, performed by Emanuel Nowotny on the organ, opened the evening. Marie von Sivers then recited the monologue from the beginning of the second part of Goethe's Faust, “Des Lebens Pulse schlagen frisch lebendig...” as an example of poetry arising from esoteric sources. The two members, Mrs. Alice v. Sonklar and Toni Völker, presented Robert Schumann's “Pictures from the East” on the piano, which seem quite suitable for promoting mystical moods. Miss Gertrud Garmatter then sang two songs by Schubert in her charmingly sensitive way: “To Music” and “You are the Peace”. And Miss Toni Völker concluded the evening with her beautiful artistic performance on the piano: Scarlatti's “Pastorale and Capriccio”.

On Sunday, May 19, the morning assembly was introduced by the atmospheric Trio in E-flat major by Joh. Brahms (1st movement), played by Miss Johanna Fritsch (violin), Marika v.Gumppenberg (piano) and Hermann Tukkermann (French horn). Mrs. Besant then gave her momentous lecture: “The Place of Phenomena in the Theosophical Society.” She explained the role played by phenomena through H.P. Blavatsky at the beginning of the Theosophical Society, and how important they were at a time of doubt about higher worlds. She emphasized how the observation of phenomena related to higher worlds can never be dangerous if approached with the same spirit of research that is applied to observations in the physical world. She emphasized how little good it would do for the Theosophical Society if, for fear of the danger posed by psychic powers, it left the pursuit of the goal of “studying those forces in the world and in man that are not accessible to sensory observation” to other societies. It would be quite impossible to convey the manifold content of this lecture within the framework of a short report. Therefore, as with all earlier and later lectures of the congress, reference must be made to the “Yearbook” of the “Federation of European Sections”, which will appear following this lecture.

The second lecture of the morning was Dr. Rudolf Steiner's lecture on “The Initiation of the Rosicrucian”, in which the method of attaining knowledge of supersensible worlds in the sense of esotericism, which has set the tone in the West since the fourteenth century, is discussed and at the same time the necessity of these methods for the present period of development of humanity is shown.

On Sunday afternoon (5 p.m.), Edouard Schuré's “Sacred Drama of Eleusis” was performed. The German organizers considered this performance to be an especially important part of the congress. After all, it was able to show in an impressive way how theosophical ideas and feelings come to life in true, high art. Edouard Schuré is the great French artist and writer who, through his works in so many directions, communicates the theosophical spirit to our contemporaries. Schuré's works 'Les Grands Inities' (the great initiates) and 'Sanctuaires d'Orient' (the sanctuaries of the Orient) are completely 'Theosophy in the noblest sense of the word'. And Schuré's theosophical way of looking at things is fully transformed into a vital creative power when he works as an artist. He has that relationship between imagination and fantasy that is the basic secret of all great art. Edouard Schuré's truly mystical drama “The Children of Lucifer” is a shining example of how a world view striving for the heights of knowledge is completely transformed into artistic figures. Only a mind of this kind could undertake what Schuré did, to resurrect the “sacred drama” of Eleusis before the soul and the eye of the present man. This drama leads us to the door of that ancient time, where knowledge, religion and art still lived in one, where imagination was the faithful witness of truth and the sacred guide to piety; and where the reflection of imagination fell on this imagination in a transfiguring and revealing way. In Edouard Schuré there lives a modern artistic soul, in which the light of that mystery time shines, and so he was able to recreate what the priestly sages showed the audience in the “Drama at Eleusis” in Greece's distant past: the deep mystery of the world, which is reflected in the meaningful events of Eros' seduction of Persephone and her abduction by Pluto; of Demeter's pain and the advice she from the “Goddess of Transformations”, from Hekate, to go to Eleusis; from Demeter's initiation of Triptolem to the priesthood in Eleusis; from Triptolem's daring journey into Pluto's realm to the liberation of Persephones and from the emergence of a “new Dionysos”, who arises from Zeus' fire and the light of Demeter through the sacrifice of Triptolemos.

The congress organizers tried to present the drama evoked by Schuré to the visitors in German. It was made possible by the dedicated work of a number of our members and by the beautiful, loving kindness of Bernhard Stavenhagen, who created a wonderful musical accompaniment to the Schuré drama. Stavenhagen sent a musical introduction to each of the four acts, which prepared the audience for the dramatic action in an atmospheric way. With true congeniality, this important composer has absorbed the basic motifs of the mystery and rendered them musically. This musical performance was received with great enthusiasm by the participants of the congress. The willingness to make sacrifices with which members of the German section worked on this performance can be judged from the fact that all the roles were played by members. Miss v. Sivers played the part of Demeter, Miss Sprengel was Persephone, Miss Garmatter Eros, Frau v. Vacano Hekate, Mr. Stahl Pluto; for the part of Triptolemus we were able to the participation of our member, the excellent actor Mr. Jürgas, who created an impressive figure; Baroness v. Gumppenberg played Metanira, Dr. Peipers played Zeus, and Miss Wollisch played Dionysos. These are only the main roles, however; the choruses that intervene in the plot were also composed of members. Special recognition must be given to our esteemed member, Mr. Linde, who took on the laborious task of creating the decorations.

The morning of Monday began with the recitation of Goethe's poems “Song of the Spirits over the Waters” and “Prometheus” by Richard Jürgas, whom the participants now got to know as an excellent reciter, just as they had become acquainted with his acting skills the night before. Then the participants had the great joy of hearing the second lecture by Mrs. Besant, in which she spoke about the relationship of the Masters to the Theosophical Society. From her rich spiritual experience, she described the relationship of great individuals to spiritual progress and the way such individuals participate in the progress of the Theosophical Society. It is also impossible to give a picture of the far-reaching content of this lecture in a few words. Again, we must refer you to the Yearbook for more information. After this lecture, our member Frau Hempel delighted the participants with an excellent performance of her vocal art. This was followed by a lecture by Dr. Carl Ungers, who spoke very interestingly about working methods in the theosophical branches and explained the relationship of the non-clairvoyant theosophist to the messages of the clairvoyants, showing how the writing “Theosophy” by Dr. Rudolf Steiner can provide a basis for shaping this relationship in the right way. Later that morning, Mrs. Elise Wolfram gave her lecture on the occult basis of the Siegfried saga. She showed subtly and vividly how the deeper spiritual development of Europe is expressed in the myth, how Germanic and even older mystery wisdom has taken shape in Siegfried. The speakers' insightful interpretations were suitable for allowing the audience to enter into the mysterious life of part of the Nibelungen saga.

In the afternoon, Mrs. v. Gumppenberg read Mr. Arvid Knös's essay, “Absolute and Relative Truths”; then Dr. Rudolf Steiner gave his lecture, “Planetary Evolution and Human Evolution”. He described the development of the earth through three planetary conditions that preceded its present form and then pointed to the connection between the development of the earth and that of man. He also showed how one could know something about the future of development.

The evening was again devoted to purely artistic performances. The Sonata in G minor by L. van Beethoven was performed by Chr. Döbereiner (cello) and Elfride Schunk (piano). Afterwards, Gertrud Garmatter's excellent singing performance could be heard again (two songs: Weylas Gesang by Hugo Wolf and Frühlingsglaube by Franz Schubert). This was followed by solos for viola da gamba with piano, namely ı. Adagio by Händel and 2. the Aria con variazioni composed by A. Kühnel in 1645. Both pieces were performed by Chr. Döbereiner (Viola da Gamba) and Fräulein Elfride Schunk (piano). A brilliant performance on the piano by the Italian member Mr. Kirby closed the evening.

On Tuesday morning, the program began with Johanna Fritsch and Pauline Frieß performing the “Adagio from the Violin Concerto” op. 26 by Max Bruch. Mr. Richard Jürgas then recited some poems full of intimate feeling and mystical moods by our dear member Mia Holm. -— The rest of the morning was filled with a free discussion on the topic: The necessity of cultivating occultism within society. Mr. Jules Agoston from Budapest, Bernhard Hubo, Ludwig Deinhard, Dr. Carl Unger, Michael Bauer, D.Nagy, Mr. Wedgwood, Miss Severs and Mrs. Elise Wolfram took part in the discussion. The discussion was introduced by Jules Agoston, who emphasized the necessity of maintaining the spiritualist experiment; following on from this, Bernhard Hubo developed a contrary point of view based on his many years of experience; Ludwig Deinhard discussed the necessity of acquainting theosophical circles with scientific attempts to penetrate into the deeper foundations of the soul. It is impossible to report here on the rich and varied addresses of the above-mentioned speakers. Nor is it possible to do so with regard to the stimulating points of view that Mr. Nerei from Budapest gave in the afternoon during the discussion on “educational issues”. Following these points of view, Dr. Rudolf Steiner also spoke about education. — Mrs. Douglas-Shield spoke about the relationship between “Theosophy and Christianity”.

The closing act of the congress took place on Tuesday at 9 p.m. It began with the spirited and heartfelt Adagio in D major by our dear member and head of the Stuttgart lodge I: Adolf Arenson, which was performed by Mr. Arenson himself (piano), Dr. Carl Unger (cello) and Johanna Fritsch (violin). This was followed by: Tröstung (Consolation) by Felix Mendelssohn-Bartholdy, performed by Hilde Stockmeyer, Ave verum by Mozart performed by Gertrud Garmatter, the recitation of a poem by Mrs. Ripper, solos for violin by J.S.Bach, by Johanna Fritsch and Pauline Frieß, and variations on the chorale Sei gegrüsst, Jesu gütig, for organ by J.S.Bach, by Emanuel Nowotny. The Congress then drew to a close with short closing addresses by the representatives of the individual sections: Mr. Wallace spoke for the British section, Mlle Aime Blech (representing Dr. Pascal, who had to leave earlier due to his state of health) for the French section, Mr. Fricke for the Dutch section, and Prof. Dr. Penzig for the Italian section. Mrs. Besant then addressed some deeply moving words to the participants, and finally Dr. Rudolf Steiner spoke the closing words, in which he thanked the participants, especially those from foreign sections, for coming, and also expressed his warmest thanks to all those whose selfless work had made the congress possible.

And these thanks must be expressed to many, especially to Miss Sofie Stinde, who, as secretary of the congress, has done tireless and important work; to Countess Pauline Kalckreuth, who has worked tirelessly on all the preparatory work and tasks. Above all, we have these two to thank for the fact that we were able to pursue the above-mentioned intentions at all, and that we were able to achieve what has been achieved. Adolf Arenson took care of the musical part of the program. Our dear member Clara Rettich devoted herself selflessly to the task of painting the seven apocalyptic seals according to the occult instructions given to her; in the same way, Karl Stahl took on the task of painting the seven pillars in the hall. It is impossible to mention all the numerous workers individually by name. But it should not go unmentioned that dear members had set up a buffet in an adjoining room and did the necessary work, which greatly enhanced the convivial get-together, through which members are to come together after all.

Dr. Rudolf Steiner was authorized, at his request, and indeed unanimously and out of the enthusiasm of the audience, to thank Monsieur Ed. Schuré, the poet of the “Drama of Eleusis”, and Bernhard Stavenhagen, the composer of the musical part, on behalf of the congress.

The sculptures by our highly talented member, the sculptor Dr. Ernst Wagner, who strives for the highest artistic goals, were an excellent artistic presentation for the congress. The sculptures he provided for our exhibition were placed in the area around the main hall, and, with the red wall of the hall providing an atmospheric background, they had an inwardness. The following works of art were present: Portrait bust, Woman praying, Portrait bust, Relief for a sepulchral chapel, Bust, Sepulchral relief, King's child, Dissolution, Sibyl, Relief for a sepulchral niche, Portrait bust, Pain, Christ mask, Mask “Death”, Bronze statuette. Except for these works of art, only the following could be accommodated in the main hall: the interesting symbolic painting “The Great Babylon” by our member Mr. Haß, which was placed above the boardroom, and a carpet by Ms. Lehmann, which fascinating utilization of mystical ideas in the applied arts, and finally a relief by M. Gailland depicting Colonel Olcott, and a sketch of H.P. Blavatsky by Julia Wesw-Hoffmann.

The exhibition of a series of artworks and reproductions of such artworks that have a particular connection to theosophical thought took place in the adjoining room. Here you could see: etchings by Hans Volkert; reproductions of two pictures by Moreau; reproductions of two pictures by Hermann Schmiechen; a statuette: The Master, by Heymann; a picture: From Deep Distress, by Stockmeyer; reproductions of various pictures by Watts; three reproductions of works by Lionardo; pictures by Kalckreuth the Elder, by Sophie Stinde (landscapes); by Haß (After the Storm, Fairy Tale: The King's Daughter, The Storm Cloud, Five Fir Tree Studies); a reproduction of Knopf, the painter. The next congress of the Federation will take place in Budapest in two years (1909), at the kind invitation of the Hungarian members.

Whoever follows the history of human development, not only in the usual documents and traditions, but goes rather deeper into things which though at first appearing only symptomatic of that development, really point the way to the inner and therefore true forces of evolution, will find renewed significance in a memorable scene at the end of the eighteenth century. An address based on the highest contemporary Science was given to the Natural Science Society at Jena by a very important Botanist of the day called Batsch. Two men, one some ten years older than the other, listened to this address, and it happened that they left the place together and fell into conversation. The younger said to the elder: ‘When one considers such an address, it shows once again how the scientific method of observation picks things to pieces, sets one by the side of another, and scarcely takes into consideration the homogeneous spiritual bond existing in all the different units.’ In other words it seemed wrong to the younger man that plant should be put side by side with plant without any reference to a higher something, which must also exist in the world, uniting the various plants.

The elder man replied: ‘It might perhaps be possible to find a method of studying nature, which goes to work differently, and which in spite of being a study which must lead to knowledge, has, as its aim, the unifying element, namely that which is absent in external observation by the various senses.’ The man took a pencil and a piece of paper from his pocket and at once drew a remarkable shape, a shape that resembled a plant, but no existing plant, to be seen or perceived by the outward physical senses, a shape which, as it were, exists nowhere and of which he said that it existed indeed in no individual plant, but was the ‘plant-hood,’ the proto-plant type which existed in all plants and represented the unifying element. The younger man looked at it and said: ‘Yes, but what you have drawn there is not an experience, not observation, that is an idea’—having in mind that only the human spirit could form such ideas, and that such an idea had no significance for external, so-called objective nature.

The elder man was unable to understand this objection at all, for he replied: ‘If that is an idea, then I see my ideas with my eyes!’ He meant that just as an individual plant is visible to the external sense of sight, and is an experience, so his proto-plant, although invisible by means of an external sense, was objective, existent in the outer world, living in all plants, the archetype in all individual plants. You know that the younger of these two men was Schiller, the elder Goethe.

This conversation is a symptomatic, significant indication of modern spiritual science.

What really prompted that reply of Goethe's to Schiller? There spoke in him the consciousness that one does not only grasp an external objective truth with that representation given by the external sense, and furnished by a limited understanding from external sense-perceptions, but that the human being, when he sets in motion higher spiritual forces, which are not applied to separate sense-observations, arrives at truth and reality just as one does by means of external sense perceptions.

We may well say that Schiller, who at that moment was incapable of realizing what lay behind, when he believed that Goethe had made his drawing in terms of subjectivity, has left us the finest testimony of man's capacity to scale the heights as revealed to him by Goethe. From that moment we see Schiller's ever increasing comprehension of Goethe's ideas. A letter of his provides a psychological document of the first importance, where he says: ‘For a long time, although from a distance, I have watched the progress of your spirit with ever renewed admiration, and noticed the path you have set yourself. You seek the necessity of nature, but on the most difficult road, from which indeed any weaker power would draw back. You take all nature as one in order to obtain light on each separate part, and you seek the explanation of the individual in the “all” of its phenomena. You ascend from the simple organism, step by step to the more complex, in order finally to erect genetically from the materials of all nature's structure the most complex of all, the human being. You seek to penetrate into his hidden technique, by re-creating him in the manner of nature. A great and truly heroic idea which sufficiently shows to what extent your spirit holds together the rich totality of its conceptions in a beautiful unity.’

Thus we may regard as a testimony to the objectivity of Goethe's idea-world that which in his consciousness brought forth such a reply, and which Schiller later confirmed in this letter.

It is remarkable that Heinroth, a psychologist who lived in the twenties of the nineteenth century and is to-day forgotten, uttered a very significant phrase about Goethe in his Anthropology, which is really a psychology—one of those phrases which are significant through their application, and throw great light on what they are meant to illumine. He used the phrase, speaking of Goethe's whole method of approach, ‘objective thinking’ and he enlarged upon the phrase by saying: Goethe's thinking is a quite peculiar thinking, really inseparable from the objectivity of things, resting quietly in objects, in which it is raised to ideas.

Now whoever is able to look into Goethe's whole spiritual organism—as we shall to-day and the day after tomorrow, when we shall try to penetrate still deeper into this question, when we shall consider more inwardly what we are to have presented to us to-day outwardly—will see that in this thought he adheres to facts without stopping merely at the surface of things and the experience of the senses, and finds within these facts the spiritual, the world of ideas. We see that for this reason Goethe's thought has become so important for a large part of our modern human development. We may say that there is something exceedingly remarkable in this effect of Goethe's spirit on the most diverse types of people, on the most varied views even on the different successive epochs.

Let us consider for a moment the point at issue and we shall see what unique results Goethe's spiritual standard has in fact produced. If we take three philosophers of German spiritual life, who are quite different from each other in their points of view, Fichte, Hegel and Schopenhauer, we find from a study of their mutual relationships and of their relationships to Goethe something quite remarkable about Goethe's influence on history. Fichte reveals himself as a thinker, wandering on remote heights, especially when he had finished his Foundation of Science at Jena in 1792. It is difficult to rise to an understanding of Fichte's peculiarity, it is difficult to penetrate to him, although everyone who has succeeded must admit that he has gained food for spiritual discipline from him to an extraordinary degree. But it is not for every man to ascend to such spheres of the purest concept. Fichte, who wandered on these heights of abstraction, particularly at that moment, sent his work to Goethe with the following significant words: ‘I see and have always seen in you the purest representative at the present stage of humanity of the spirituality of feeling. To your feeling therefore, philosophy rightly turns. The spirituality of your feeling is the normal standard for philosophy.’ Thus Fichte to Goethe.

Let us look now at another philosopher, at Schopenhauer, and let us see first how Schopenhauer stood to Fichte. They were, in truth, a hostile pair—at least Schopenhauer was very hostile to Fichte. Schopenhauer never wearied of abusing Fichte. To him he is a windbag, thinking and writing empty ideas. He repeatedly emphasizes how unreal and meaningless Fichte's philosophy is. In fact there could not be a greater contrast than these two. And Schopenhauer indeed went to Goethe to be taught. For a time he experimented together with Goethe in order to learn the fundamental physical concepts, and a good deal in his first work, and even in his chief work is derived from the impression Goethe made on him. If you know Schopenhauer, you know also with what homage he spoke of Goethe. Schopenhauer and Fichte—two great contrasts unite in Goethe, and he seems like the unifying force of each.

Let us take finally Hegel and Schopenhauer. Hegel is also difficult to reach with the understanding. He tries to create a fact-world of concepts in a comprehensive, systematic frame, and demands that man should lift himself to a stage where he grasps concept as fact, where he is capable of experiencing it directly. Schopenhauer finds in this something entirely worthless, merely a playing with abstract words. If we wish to know Hegel's relation to Goethe, we need mention only one instance and we shall see how they stand. There is a beautiful letter in which Hegel writes: ‘Goethe seeks behind the sense-revelations the actual spiritual phenomena, which he calls the proto-phenomena, as he calls the proto-plant the proto-phenomenon of the vegetable world. While he speaks from the heights of the spiritual world as philosopher and shows us what we can think and comprehend, he works himself on the other hand up to the point where he comes into touch with spirit-created thoughts. Thus Goethe's proto-phenomenon is united with what the pure, thinking philosophy derives from above.’

Here also we see a harmony between Hegel and Goethe, as between Goethe and Schopenhauer. In Goethe they find themselves united. And when we proceed from these older times to our own, what do we find?

In Goethe's lifetime research in Natural Science was different. More than then the only right method of strict Science to-day is considered to be a research relying on external sense-observations and the formal working out by the mind of what is limited by the obscuration of the results thus obtained. But a Haeckel, as he shows in every book, is determined to stand on the firm ground of Goethean world-conception, and so we see a more materialistically coloured philosophy emphasizing the importance of relying on Goetheanistic world-conception. You can find books to-day written on a basis for which the spirit is an absolute reality in the highest sense of the word, and in them you can trace the debt to Goethe. Spiritualistic and materialistic students can fight from opposite camps, but both believe they may look up to Goethe in the same way. He thus provides something which bridges the gulf between opponents.

These facts testify to the force of Goethe's world-conception, a force which has such an influence on others that though they do not understand each other, they find something in Goethe which they have themselves. Perhaps some of you know how widely apart Virchow and Haeckel stood from each other. But Virchow also, who saw eye to eye with Haeckel in so few things, has in an important address on Goethe equally found support in him. So in Goethe we see a power, which, in face of all the contradictions and struggles of world-conceptions, is able to show, that things are not what these representatives of science consider, and for which they so stubbornly fight.

It is just when you consider the relation of these important people to Goethe, that you realize that it is the same towards what is called knowledge as it is with different painters, sitting round a mountain, and painting it from different points of view. The resultant pictures must also of course be different, though it is the same mountain they paint. You will get a comprehensive idea of the mountain only by comparing the various representations with each other and compounding them into a whole. If you put yourself in the same position with regard to knowledge, you will see that Goethe does not select a single point of view, but rather scales the mountain and shows that it is possible to take up a position on the summit and there to find a comprehensive panorama, in which all views are revealed in their deeper consistency or interconnection.

It is this which makes Goethe's spirit so eminently modern, and if in plunging deep into Goethe we get the feeling that he appears to us a modern, it will be a sufficient justification if in our frequent studies here of spiritual science and a world-conception based on the spiritual, we consider what he did and wanted to do as a kind of invitation to penetrate deeper into his nature. If he is a stimulating spirit in so many respects, why should he not also be a stimulant for that spiritual tendency (Spiritual Stream) one of whose highest and most beautiful aims is a tolerant investigation into the different standpoints of world-conceptions, and which makes it a principle not to stand still on one fixed point, but, in order to find truth, to climb ever higher and higher by means of methods applied to inner development and growth of inner organs of perception, because thus alone can one see the deeper spiritual foundations? We shall now consider how far Goethe coincides with the deepest feelings of modern mankind on a narrowly limited subject. As an example we shall choose a feeling many of you know, which can be described by saying that there are many people to-day who strive to throw overboard old traditions, and create feelings, thoughts and ideas which lead direct to the present time. You will see at once what I mean when I remind you of a picture which many to-day cherish. You can take what attitude you like to the picture, but it is an expression of the contemporary age. I refer to the picture: ‘Komm, Herr Jesus, sei unser Gast’—‘Lord Jesus, come and be our Guest.’ The picture lives not only in its creator, but also in those who would enjoy it; they feel the longing to see the figure of Jesus in their immediate presence, as is represented near the table. One might say that the picture has not only value for this age, but for all ages, that it is there eternally and cannot pass away and that every age has the right to put this figure into its own epoch. These few words alone will indicate the feeling which many have towards this picture.

Now one might believe that in these things Goethe belonged still to the ancients—a conclusion one would draw from his preference for the old art, with its old, sound, artistic traditions, and his preference for the Greeks; one might believe Goethe had no understanding of the emotion expressed in this picture—‘Lord Jesus, come and be our Guest.’ In order to get a glance into Goethe's soul let us refer to a book by Bossi on Leonardo da Vinci's ‘Last Supper.’ Goethe wrote a criticism of this book, and in it there are significant words. Of this picture which is in the refectory of the Santa Maria delle Grazie cloister at Milan and in spite of recent restoration looks as if it would soon disappear, Goethe relates how he stood in front of it at a time when it still had a certain freshness. He describes the impression which he once got from this picture in his youth: ‘Opposite the entrance in the narrower wall, in the body of the hall stood the Prior's table, on each side the monks' tables, all raised from the floor on a dais, and now when you had come in and turned round, you saw the fourth table painted on the fourth wall, above the fairly low doors; and at it Christ and His Disciples, just as if they belonged to the company.’—He, summoned by the Dominicans in their sense and in their place, with the emotional thought ‘Lord Jesus, come and be our Guest.’ The whole, says Goethe, made a unified picture. And not to leave any doubt as to his meaning he adds: ‘It must have been a significant sight at meal-times, when the tables of the Prior and of Christ looked across at each other like two opposite pictures and the monks found themselves in between. And therefore the painter in his wisdom had to take the monks' tables as his model. And it is certain the table-cloth with its creases, its striped pattern and its open corners, was taken from the linen-room of the Cloister, and the dishes, plates, mugs and other utensils were copied from those the monks used. There was thus no question of approximation to an uncertain, old-fashioned costume. It would have been extremely clumsy to have made the Holy Company lie on cushions. No, it had to resemble the present; Christ was to take his Evening Meal with the Dominicans of Milan.’

And now let us ask whether Goethe had this understanding which we must call a modern understanding. He had it in that comprehensive manner which is another proof of how universal his powers are as against the sometimes one-sided powers which mutually exclude and fight each other.

We must put ourselves into Goethe's soul in this way and then we shall understand why Goethe stands so close to us and why we look up to him whenever the current attitude to deeper spiritual questions is under discussion. It was his deep consciousness that it is possible for man to awake in himself spiritual organs in order to ascend to higher conceptions, and thereby to gain something which not merely lives in the human spirit, but at the same time lies deeper.

Were it possible to enter upon Goethe's scientific studies, as you will find them discussed in detail in my book, Goethe's World-Conception, we should be able to show the working of his whole method. But to-day we want to approach him from another side. Goethe has expressed things here and there which indicate the deep foundation of his philosophy. We shall have to speak of this in the last two addresses of this winter's cycle on ‘Faust.’ [See note on publications at end of book. {There is none! - e.Ed}] He once said to Eckermann concerning Faust, that he had drawn him in such a way that the reader who is content only with externals has some satisfaction in the colourful scenes, but that he can also find behind the words the secrets which lie there. Here Goethe is pointing out in Part II that we have to differentiate between the external and the inner essential secret meaning. In accordance with ancient custom we describe the external as the exoteric and the other as the esoteric.

Now we shall approach Goethe by considering to-day in an external, exoteric way a work in which he expressed his whole ‘methodical thinking and willing;’ and the day after tomorrow we shall consider it esoterically.

It is a comparatively unknown little work of Goethe's to which we must go if we want to look into his deepest secrets of knowledge—we merely describe them as such. It is the little piece at the end of the ‘Conversations of German Emigrants,’ under the title, ‘Legends,’ from which the reader, if he strives to get Goethe's world-conception, will get the feeling that Goethe wishes to say more in it than appears from the scenes. For the thoughtful student this ‘Legend of the Green Snake and the Beautiful Lily’ will provide riddle after riddle.

And now allow me to explain the chief features of this story, for I cannot talk about it unless we recall the important points, if we are to look more deeply into Goethe's philosophy. We shall therefore have to give a moment to the content of this little work; and after that we shall understand each other better in what we shall have to say. I have often had it said to me when I have lectured on this story, ‘I never knew there was a “legend” in Goethe's works;’ and so I repeat that it is contained in every edition of Goethe and constitutes the ending of the ‘Conversations of German Emigrants.’

Now to the scenes. A Ferryman lives by a River and to him come remarkable forms—Will-o'-the-Wisps. They want to be put across to the other side by the Ferryman in his boat. The Ferryman agrees to take them across. On the way they behave in a curious manner; they are restless and fidgety, so that he is afraid they will upset the boat. But they arrive safely and then they propose to pay him in an odd way. They shake themselves and golden pieces fall from them, and they are the reward for his trouble in taking them over. The Ferryman is not enthusiastic about the golden pieces and says: ‘It is a good thing that nothing has fallen into the river, for it would have surged up wildly. I cannot take this payment; I can be paid only with the fruits of nature.’ And he demands three Onions, three Artichokes and three Cabbages. They had to pay with fruits of the earth. We shall soon see what deep significance every point and every fact has.

The Ferryman continues: ‘Now you give me the extra trouble of taking down the river the golden pieces you've thrown about and I must bury them.’ Wherefore he takes them actually a short way downstream and buries them in the crevices of the earth. When they have been thus buried, another remarkable being comes along to them—the Green Snake, who crawls in and on and about the earth and through its crevices. Suddenly she sees the pieces of gold falling down through the cracks of the earth and thinks at first they are falling from Heaven. She therefore devours them and becomes, by thus taking the golden pieces into her own body, more and more luminous. As she comes to the surface she notices that she gives off a peculiar light in a marvellous manner and gleams like emerald and precious stones.

Now the Snake and the Will-o'-the-Wisps come together, the latter still shaking themselves and throwing away what they shake out, the Snake, having acquired a taste for gold, taking up and swallowing what the others throw about. The conversation between them is significant. The Snake calls herself a relative of the Will-o'-the-Wisps in a horizontal line, the Will-o'-the-Wisps call themselves relations of the Snake in a vertical line. They ask the Snake moreover if she could not inform them how to come to the Beautiful Lily. ‘Oh,’ says the Snake, ‘the Beautiful Lily is on the other side of the River.’ ‘Well, then we've done a fine thing,’ answer the Will-o'-the-Wisps, ‘we've just had a lift across because we wanted to come to the Beautiful Lily. If we could only find a Ferryman who would ferry us back again!’ And now follow very important words. ‘You will not find the Ferryman again, and if you did, be certain that he may indeed take you across, but not back again. If you want to get to the other side of the River, there are only two ways. Either you try at noon, when the sun is at its highest, to find a bridge over my own body, in order to cross’—The Will-o'-the-Wisps say, ‘We do not like journeying at midday’—‘Or you use the second way; for there is another possibility. At dusk you will find the huge Giant at a certain place. He has no strength in him, but when he stretches out his hand and its shadow falls across the river, you can cross over on the shadow. The shadow gives enough support to walk over on it. So if at midday you will not cross over me, you must find the Giant.’

The Will-o'-the-Wisps let themselves be told this, but the Snake has returned into the crevices, rejoicing in her increasing light-giving power through swallowing the gold.

And now the Snake notices something extremely odd. On descending again into the earth, she notices that where she had formerly found metals and so on, she now sees remarkable forms. Before, she had perceived them only through the sense of touch; now, being luminous, she can also see the things. She was able to feel pillars and also shapes like human beings, but till then she never really knew what there was in the underground caves. Now she enters again and her radiating light serves to illuminate everything.

On entering this large cavern under the earth, the Snake can at once perceive that there are four kingly figures standing in the four corners: a Golden King, a Silver King, a Brazen King, and in the fourth corner a Mixed King, put together in the gayest manner of all kinds of other metals.

The moment the Snake enters the cavern and lights up the figures, the Golden King puts the very significant question: ‘Whence comest thou?’

‘From the crevices, where the gold lives,’ answers the Snake.

‘What is more splendid than gold?’ asks the Golden King.

‘Light,’ is the Snake's reply.

The King asks further: ‘What is more comforting than Light?’

‘Speech.’

No one will doubt that these words are not meant to give just pictures, but that they also have a significant content.

As the Snake enters the cavern a crack opens in the Temple where the four Kings live and there enters the Old Man with the Lamp. He is asked why he comes at that moment, whereupon he says the remarkable words: ‘Do you not know that my lamp may illumine only what is already illumined? that I may not lighten the Darkness?’ After the Snake has lit up the objects in the room he may also come in with his wonderworking Lamp.

Now a conversation takes place between the Kings and the Old Man with the Lamp. He is asked:

‘How many secrets do you know?’

‘Three,’ he answers.

‘Which is the most important?’ asks the Silver King.

‘The open one,’ replies the Old Man.

‘Will you open it also to us?’ asks the Brazen King.

‘As soon as I know the Fourth.’

And now come the most significant words of the whole story:

‘I know the Fourth,’ said the Snake, and whispers something into his ear; whereupon the Old Man with a great voice cries out:

‘The time is at hand!’

There are a great number of attempts to solve the riddles of this story, and many people have tried to explain in one way or another what was felt to be a riddle even in Goethe's and Schiller's time. It is characteristic that Goethe and Schiller agreed about it and pronounced it explicitly in the words: the word that solves the story is in the story itself. So the solution has to be sought in the story itself, and in the course of my address it will be found to be so, though in a remarkable way. The Snake whispers something into the Old Man's ear, and what is whispered, but not spoken, is the solution of the riddle. The Old Man then says: ‘The time is at hand!’ So what we have to find out is what the Snake whispered to the Old Man in the subterranean Temple.

The Old Man now proceeds to the dwelling-place of his Wife. Through the power of the Lamp's light the most diverse materials are metamorphosed: stones into Gold, wood into Silver, dead animals into Precious Stones, but Metals are destroyed. He finds his Wife in an almost unconscious state. When he asks what has happened, she says: ‘There were quite extraordinary people here. One might have taken them for Will-o'-the-Wisps. They behaved pretty badly.’ ‘Well,’ says the Old Man: ‘considering your age, no doubt they were decently polite.’ Then she relates how the Will-o'-the-Wisps went for the Gold and licked it, so that they could shake it out again. ‘If it had been no worse than that—but just look at the Pug-dog. He ate of the golden pieces, was changed into precious stone, and died. Now he's dead,’ the Old Woman continues: ‘Had I known this before, I should not have promised them to pay their debt to the Ferryman, namely, three Cabbages, three Onions and three Artichokes.’

‘Well,’ says the Old Man, ‘take the Pug-dog and carry him to the Beautiful Lily, who has the quality of being able to change precious stone into life by touching it.’ So she takes the three times three fruits, to pay off the debt she has undertaken to the Ferryman, and takes the Pug-dog as well.

Now we come to a very significant point in the story. As she carries the basket, it seems unusually heavy, although anything dead has no weight for her; the basket with the dead dog alone would be no heavier than if it were empty; the living things, the Cabbages, Onions and Artichokes alone weigh down the basket. On the road to the Ferryman, another singular thing happens to her. The Giant holds his arm so that its shadow falls across the River, seizes one Cabbage, one Artichoke and one Onion out of the basket and devours them, so that she has now only two of each kind left. She proposes therefore to pay off only a part of the debt to the Ferryman. But he says that it is absolutely necessary to bring the whole of it at one time.

After considerable argument the Ferryman says there is a possible way out, namely, if she goes bail for the production of the three missing fruits. She must therefore put her hand into the river, as security that she will keep her promise. This she does, but notices that her hand as far as it is immersed in the River has become black and smaller. ‘Now it only looks like it,’ said the Old Ferryman, ‘but if you do not keep your word, it might become a fact. The hand will gradually dwindle and finally disappear, but without your losing the use of it. You will be able to do everything with it, but no one will see it.’ She prefers, however, to have a visible hand, even if it is useless. If she brings the tribute at the agreed time, the Ferryman says everything will be all right.

On the way to the Beautiful Lily, she meets a handsome Youth, who, however, as he says, has lost all his former power and strength, and we learn from their conversation how this has happened. The Youth had conceived the active desire to reach the Beautiful Lily. She had become his Ideal. But her lovely eyes had such a baneful effect that they deprived him of all his strength, and still he was ever attracted to her.

At length the two come to the Beautiful Lily. Everything, indeed, that surrounds her is highly indicative, but we can now select only a few points. The Beautiful Lily is the image of most perfect Beauty, but her touch possesses the power of killing everything that lives, and restoring to life everything that has gone through life and died.

The Old Woman now presents her requests. The Youth has come to satisfy his longing for the Beautiful Lily, but we see that she also feels a longing: she feels herself cut off from all living fruitfulness; in her garden flourish flowers, but only to the point of bloom, not to that of fruit; beautiful she is, but far from all life. The Old Woman then says something significant: she repeats what the Man in the subterranean Temple had said and that gives the Lily new hope. It was indeed the last moment in which she could receive any hope, for she had lost the last living thing, which had been a sort of link between her and the living. She had had a Canary in her neighbourhood, and had taken great care not to disturb it, since that would have killed it. But a Hawk had come near, the Canary fled from it and flew up against the Lily and was killed. And so the Beautiful Lily was reduced to complete spiritual loneliness and isolation from all that human beings have.

The Old Woman now gives the Pug to the Lily. The Lily touches him and thereby restores him to life. The Youth tries to calm his longing by embracing the Lily and thereby he is killed. Life is completely annihilated in him.

The Snake next forms a Magic Circle; and the Youth and the Canary are put inside it. By this means—and the Snake points this out significantly—what is hopeless is to be quickly altered, and in fact it is so. We learn that the Old Man with the Lamp now approaches and that through him a solution of the whole situation can be actually attempted. For there is still just time when he arrives; the bodies of the Canary and the Youth have not yet begun to decay.

The Old Man leads them towards the subterranean Temple, which the Snake had already reconnoitred. He says to the Will-o'-the-Wisps: ‘You are also there to help us. When we come to the Gates of the Temple, you will have to be the ones to unlock them.’ The Snake makes a bridge over the River and the whole company proceeds over it. Then we see, when they have arrived on the other side, that through the contact with the Snake, who now decides to sacrifice herself, the Youth becomes alive again, though not yet in possession of his spirit. And because the Snake is prepared to sacrifice herself, the Youth is translated into a remarkable state. He can see, but cannot understand what he sees. The Snake divides up into numerous wonderful precious stones, which the Old Man sinks in the River and thereby a bridge is formed over it. The procession moves on under the guidance of the Old Man into the subterranean Temple. As they enter we see that questions full of meaning are exchanged between the newcomers and the Kings. For instance: ‘Whence come ye?’ ‘From the World.’ ‘Whither are ye going?’ ‘Into the World.’ ‘What do ye want with us?’ ‘You to accompany!’ (i.e. the Kings.)

Now the group, with the Temple, begins to move. They go under the River and rise again, with the whole Temple, on the other side, and as when they have risen something that looks like woodwork falls into the Temple. It is the Ferryman's Hut. It changes and becomes a small Temple inside the large one. And now takes place a scene which is important for the Youth, who, you remember was until now alive, but not spiritualized.

We have seen that the first, the Golden King, represents Wisdom; the second or Silver one, Illusion, Semblance or Beauty; the third Brazen one, Strength or the Will. We now see a symbolic act taking place. The Youth is presented with three different gifts by the three Kings; the Brazen King with the Sword, accompanied by the significant words: ‘The Sword on the left hand, the right free,’—Will-power. From the Silver King he receives the Sceptre, with the words,—‘Tend the Sheep.’ We shall see that the Youth is filled with the feeling of the soul, which expresses itself in Beauty. The Golden King sets the Crown on his head, saying: ‘Recognize, Realize the Highest.’ And the power of imaginative thought enters the Youth. At this instant he is spiritualized, he gains his spirit and may be united with the Beautiful Lily. We are then also told that everything is made young.

What is still specially significant is the part played by the Giant, who has no strength in himself, but in his shadow. He staggers clumsily over the bridge and the King is indignant about it. But it turns out that the Giant's coming has a good meaning. Like the pointer of a great Sun-dial, he is held fast in the middle of the Temple Court. We see what strength we find in the Sun-dial, in the Giant pointing to and harmonizing Time, and we see how the bridge leading to the Temple across the River is made out of the Snake's body. We see also that not only pedestrians, but carts, horsemen and herds can cross to and fro. We are shown how the Youth, on being united with the Beautiful Lily, regains the strength of which her touch had deprived him, how he may now come near to her and embrace her and how happy and blessed they both are.

Who would not say, when he studies the scenes of the fairy tale: ‘These are riddles!’ For the moment we can get only a slight idea of what there is in this legend. But if we proceed historically, if we consider that it arose in the middle of the year 1800 at the beginning of his friendship with Schiller and what took place between Goethe and Schiller, we shall understand what Goethe set out to do in this story.

To this period belongs the production of a work, the fruit of a study of Goethe's world-conception, which became deeply important for the education and cultivation of German spiritual life; Schiller's letters on ‘The Æsthetic Education of Man.’ We can only outline Schiller's intentions in these letters.

He asks himself the question how man can succeed in developing his powers higher and higher, so that he can, in a free and perfectly human manner, penetrate the secrets of the world. This work is written in letter-form to the Duke of Augustenburg, and Schiller wrote this significant sentence in it: ‘Every individual human being, one may say, carries in him according to inclination and his destiny, a pure, ideal person, to find agreement with whose unchangeable unity in all its variations is the great task of his existence.’ And then Schiller tries to examine the means whereby man has to develop himself upwards to the higher stages of human existence.

There are two things that chain man and prevent a free view of the secrets of existence. One is the control by the senses, and the other is the insufficient development of the Reason. And Schiller explains these things thus: Take a person who is unaware of the compelling, logical part of concepts, or even the concept of duty, and follows only his inclinations and instincts. He cannot freely develop the powers of his nature, he is caught in the slavery of impulses, desires and instincts; he is unfree. But he also is not free who struggles with his desires, impulses and instincts, and follows only a purely conceptual and logical necessity of reason. Such a person becomes the slave either of the necessity of nature or the necessity of reason.

By what means can a man develop his inner powers? Schiller answers that he must develop his inner, divine states, strive to cleanse and purify them and make them correspond with what we call logic. When his impulses and instincts are purified so that he does willingly what he considers his duty, when the necessity of reason is no longer felt as compelling, then a man will act reasonably from force of habit, for then reason has led him down to the senses and the senses led him up again to reason.

Consider a man looking at a work of art. He sees something of the senses: but through every sense organ there is revealed to him something spiritual, for in the physical is expressed the spiritual which the artist has put into his work. Spirit and physical senses in the contemplation of beauty—these become the intermediaries. So art, life in beauty, becomes for Schiller a great means of education, a means of aesthetic education, a freeing of nature, so that it can unfold its own powers.

How, therefore, does a man develop himself in Schiller's sense? He must guide his nature down so that it proves true in physical nature, and train the sense up, so that it prove true in rational nature. Goethe uttered wonderful words concerning these letters: ‘Their effect on me is to show what I always lived or wished to live.’

It can be proved that Goethe was stimulated to write his fairy tale by Schiller's words in his aesthetic letters. Goethe expresses the same thing in it, in his own way. He did not wish to express the riddles of the soul in abstract ideas. For him they were too rich and too important to be grasped by natural necessity and in logic. Hence the need grew up in him to personify the different powers of the soul in the figures of his story. Goethe answers Schiller's question in this story and we shall see how wonderfully his psychology is revealed in it. We see in the presentation of the Will-o'-the-Wisps how the soul is always taking in and giving out, how certain powers are personified in the Snake, which works only on the ground like human research, human reason, and experience, which remain in the horizontal plane, while the idealist climbs to the heights. The power of the religious mood is characterized in the Old Man with the Lamp, and finally we see by means of the narrative events how Goethe shows the way in which each soul-power must work.

We shall see the day after tomorrow that Goethe shows how each soul-power must work together with the others, in order to formulate a complete picture of the soul, so that it can develop itself to human perfection, embracing all things. When man tries to grasp knowledge, but is immature, he is killed, like the Youth. There is such a thing as maturing towards knowledge. In the ‘Fairy Tale’ Goethe presents the evolution of the soul in a correct and pictorial way, by creating a parallel work to Schiller's ‘Æsthetic Letters.’ Goethe was aware that there is a goal for the development of the human soul, which in ancient times was called the ‘initiation into higher secrets.’ He knew such a thing is possible and that there are societies which develop the soul in secret places, in the Temples of Initiation. He shows also that humanity in the newer age must make it more and more possible to attain this Initiation, to develop the soul, and in larger spheres. He shows in the events that take place between the separate people, the progress of initiation up to the highest stages, to the point where the soul is capable of grasping the highest secrets. This is viewed exoterically, and purely historically.

By living with Goethe, Schiller experienced what Goethe had done in one of the most important periods of his life. And if Schiller had some difficulty in understanding Goethe, we must admit that what one said in an abstract answer in the Æsthetic Letters, and what the other had to say in a much more comprehensive way, in a way which is attained only by expressing oneself in scenes and persons, is one and the same thing. The Fairy Tale is Goethe-psychology in the deepest sense. We see that Goethe has become so fruitful through this method of his aspiration, that we still gladly take him as guide to-day. He still seems to us a man of the present. We read him as a writer of our time. He is so fruitful, because he has so much that belongs to all time in his work and his whole method. Thus his influence is consistent with that truth which he himself considered the real one, and he once uttered significant words when he said: ‘That which is fruitful alone is true.’

The meaning is that man must acquire such truths that when he enters upon life, they find confirmation by proving themselves fruitful. That was his criterion of truth: ‘That which is fruitful alone is true.’

These addresses, which are meant to bring Goethe nearer, ought to show us that he tested this saying himself, and those who go deeper into him will feel this. You will feel that there is something of genuine truth in Goethe, for he is fruitful, and what is fruitful is true.

I should like, my dear friends, to make a few remarks about the Walpurgis-night performed yesterday, which we shall be playing again tomorrow, because it seems to me important to have a correct idea of how this Walpurgis-night fits in with the whole development of the Faust poem. It is indeed remarkable that, having brought such calamity upon Gretchen—her mother killing herself with a sleeping-draught, her brother coming into his end through the fault of Faust and Gretchen—Faust should then flee, leaving Gretchen completely in the lurch, and knowing nothing himself of what is happening.

An incident of this kind has naturally made no small impression on those who have studied the Faust poem with most sympathy. I will read you what was said on the subject by Schröer who certainly studied Faust with great warmth of heart. (You will find a note on Schröer in my recent publication Riddles of Man.) He says concerning the “Walpurgis-Night”:

“We are to suppose of Faust urged on by Mephistopheles, has fled, leaving Gretchen behind in misery. Her mother was dead, her brother killed. Close upon all this followed her confinement. She lost her reason, drowned her child, and wandered around until she was arrested and thrown into prison. Although Faust could not have known what befell Gretchen after Valentine's death, yet he had parted from her in circumstances that make it appear very unnatural to see him now, two days after, strolling—as it appears in the text—at his ease on the Brocken. It is obvious, however that the Walpurgis-night was not written in close coordination with the poem as a whole. The poet is clearly no longer in a pathetic vein, but attacks his subject with a touch of irony. The underlying idea of linking this scene with the whole is quite clear. Mephistopheles takes Faust away to the Brocken to bewilder him and make him forget Gretchen. But the love in Faust is stronger than Mephistopheles can understand. The witch-apparitions did not attract him; in the midst of the frenzied confusion the image of Gretchen rises before him—this thought certainly does not arise with sufficient insistence in the whole Walpurgis-night take too great a place in relation to the dramatic action. It grew to an independent whole becoming all the more excessive by reason of the addition of the “Walpurgis-night Dream”. This of course applies only to the Walpurgis-night as part of the tragedy.”

Thus, even a man having a real love for Faust cannot explain to his own satisfaction how it comes about that, two days after the calamity, Faust is to be seen full of vigour walking with Mephistopheles on the Brocken.

Now I should like your here to set against against this, something purely external—that the Walpurgis-night belongs to the most mature part of Goethe's Faust. It was written in 1800–1. As a quite young man Goethe began to write his Faust, so for that we may go back to the beginning of the seventies of the eighteenth century—1772, 1773, 1774; it was then he began to write the first scenes. In 1800 or so he was all that older and had passed the great experiences, recorded, for instance, in the story of the Green Snake and the Beautiful Lily written before the Walpurgis-night that he now adds to his Faust. The Walpurgis-night Dream was actually written a year earlier than the Walpurgis-night itself. We may therefore suppose that Goethe took it very seriously the fitting of the Walpurgis-night mysteries into Faust. But the difficulty of understanding it can never be overcome unless we bear in mind that Goethe's meaning was really of a spiritual nature.

I have a pretty considerable knowledge of the commentaries on Faust written up to the year 1900, but not so much of those that were later; but up to 1900 I know them almost all, though since that I have not gone so deeply into what has been written on the subject. This I do know, however, that no one has taken it from a spiritual point of view. It may be objected, no doubt, that is asking too much of us to suppose that, two days after such a great misfortune, Faust should have gone off on a ramble in this carefree way. But Goethe was really not the commonplace, imperturbable Monist he is often pictured; he was a man, as the details of this Walpurgis-night themselves show, deeply initiated into certain spiritual connections. Anyone familiar with these connections, can see that there is nothing dilettante about the Walpurgis-night; everything in it shows deep knowledge. To speak rather trivially, you can see that there is something behind it, that it is not an ordinary poem but written out of understanding for what is spiritual. Anyone with the certain knowledge, can easily judge by details whether realities are spoken of, whether a poet's description is the result of spiritual understanding, or whether he is just thinking out something about spiritual worlds and their connections—for instance, the world of witches. O ne must cultivate a little observation in such matters.

I will tell you a simple story—I could tell you hundred of the same time—to illustrate how it can be seen from details whether, in what one is dealing with, there is anything behind. It goes without saying that sometimes one may be mistaken; it depends on the way the matter is presented.

I was once in a gathering of theologians, historians, poets, and so on. In this assembly the following story was told. (This was all long ago, nearly thirty years, in the eighties of the nineteenth century). Once in a church in Paris a Canon was preaching in a very fanatical way against superstition. He would only concede what the Church conceded. Above all he wished to prevent people from believing things that were objectionable to him in particular. Now this Canon in his fanatical sermon tried to convince his hearers that Freemasonry was a very evil thing. (Catholic clergy, you know, very often preach about Freemasonry and its potential dangers). He now only wished to maintain that it is a very reprehensible doctrine, and that those connected with that are thoroughly bad men. He would not allow that there was anything spiritual in many of such brotherhoods. Now, a man is listening to this who had been taken there by a friend, and it seemed to him very strange that the Canon of a great community should be speaking thus to a large congregation, for he himself believed that spiritual forces do work through such societies. The two friends waited for the preacher after the sermon and discussed the matter with him. He, however, fanatically persisted in his opinion that all this had nothing to do with what is spiritual, that Freemasons were just evil men with a very evil doctrine. Then one of the two, who knew something about the matter said: I suggest, Your Reverence, that you should come with me at a fixed time next Sunday. I will put you in the private seat in a certain lodge, from which you can watch what is going on unseen. The preacher said: very well. But may I take sacred relics with me?—he was beginning, you see, to be frightened! So he took the relics with him and was led to the place where he could sit in concealment. At a given signal he beheld a very strange-looking individual with a pale face moving towards the presidential chair, and he moved without putting one foot before the other, but making himself glide forward.—this was all described very exactly and the man continued: now he set his relics to work, pronounced the blessing, and so on, so that there immediately arose a great disturbance in the assembly, and the whole meeting was broken up.

Afterwards, a very progressive priest, a theologian, who was present, declared that he simply did not believe in the thing, and another priest alleged that he had heard in Rome that ten priests there had taken an oath vouching for the Canon's veracity. But the first priest replied: I would rather believe that ten priests had taken a false oath than that the impossible is possible. Then I said: the way in which it was told is enough for me. For the way was the important thing with regard to the gliding.

You meet with this gliding in the Walpurgis-night also; Gretchen, when she again appears, also glides along. Thus with Goethe even such a detail is relevant. And every detail is presented in this way, nothing is irrelevant from a spiritual point of view.

What is it then we are dealing with? We are dealing with something which shows that, for Goethe, the question was not whether it would be natural for Faust, two days after the catastrophe, to be going for a pleasant country ramble on the Brocken. No, what we are dealing with is a spiritual experience coming to Faust during Walpurgis-night, an experience he could not avoid which came to him as the definite result of the shattering events through which he had passed. We must realize, therefore, that his soul has been snatched out of his body, and has found Mephistopheles in the spiritual world. And it is in the spiritual world that they wandered together to the Brocken, that is to say, they meet with those who are also out of their bodies when they go to the Brocken; for naturally the physical body of those who make this journey remains in bed.

In the days when such things were intensively practiced, those who wished to make this journey to the Brocken (the time for it is the night of April 30) rub themselves with a certain ointment whereby—as otherwise in sleep—the complete separation of the astral body and ego is brought about. In this way the Brocken journey is carried out in spirit. It is an experience of a very low type, but still experience that can be carried out. No one need think, however, that he can obtain information about the mixing of the magic ointment any more easily than he can obtain it about the way in which van Helmont, by rubbing certain chemicals into parts of the body, has contrived consciously to leave it. This leaving of the body has happened to van Helmont. But this kind of thing is not recommended to those who, like Franz in Hermann Barr's Ascension,¹ find it too tedious to do the exercises and to carry out the affair in the correct way. But I know well that many would consider themselves lucky were methods of this kind to be divulged to them!

Well then, my dear friends, Faust, that is, Faust's soul, and Mephistopheles, on the night of April 30, actually find themselves together with a company witches also outside their bodies. This is a genuine spiritual occurrence, represented by Goethe out of his deep knowledge. Goethe is not merely showing how one may have a subjective vision; to him it is clear that when a man leaves his body he will meet with other souls who have left theirs. Mephistopheles indicates this conclusively when he says:

In the realm of dreams and glamour
as it seems we now have entered.

They have actually entered another realm, they have entered the soul-world and there meet with other souls. And we naturally find them within this world as they have to be in accordance with the after effects of their physical life. Faust has to go back into his physical body. So long as the conditions are there are for man to go back into his physical body, that is, while he is not physically dead, so long does he bear about with him, on going out with his astral body, certain inclinations and affinities belonging to his physical existence. Hence, what Faust says is quite comprehensible, that is, how he is enjoying the Spring air of the April night just passing into May; naturally he is perfectly conscious of it since he is not entirely separated from his body, but only temporarily outside it. When a man is outside his physical body, as Faust was here, he can perceive all that is fluid and all that is of an airy nature in the world, though not what is solid. Of solid things he can only perceive the fluid in them. Man is more than 90% fluid, a column of fluid, and has in him quite a small percentage of what is solid. Thus you need not imagine that when outside he is unable to see another man; he can only see, however, what is fluid in him. He can perceive nature too, for nature is saturated with fluid. All that is here pictured that shows deep knowledge. Faust can perceive in this way. But Mephistopheles, that is Ahriman, as an Ahrimanic being has no understanding of the present earth; he belongs relate to what has lagged behind, and hence he feels no particular pleasure in the Spring. You remember how I explained to you in one of my last lectures that in winter a man can remember what is connected with the Moon. But what is connected with the present moon, now that it is Earth-Moon, does not particularly appeal to him. What has to do with the Moon, that unites itself with the former Moon-element, when fiery, illuminating forces issued from the Earth—that is man's element; the Will-o'-the-wisps not the moonlight. This reference to the Will-o'-the-wisps, issuing from the moon element still in the Earth, it is in accordance with the exact truth.

I draw your attention in passing to the fact that the first part of the manuscript of the Walpurgis-night is not clear owing to some negligence; in these editions there is everywhere something almost impossible. It did not occur to me until we were rehearsing that corrections would be needed even in the Walpurgis-night. In the first place, in these copies, the alternated song between Faust, Mephistopheles and the Will-o'-the-wisps, the alternate singing and the alternate dancing, are not assigned to the several characters. Now the learned people have made various distributions that, however, do not fit the case. I have allotted it all in such a way that what we so often find given to Faust belongs to Mephistopheles:

“In the realm of dreams and glamour,
As it seems, we now are entered.
Lead us truly through the clamor (this is said to the will-o'-the-wisps)
Thither where our aims are centered
Through the wide and desert spaces.”

Even in Schröer's version I find this given to Faust, but it really belongs to Mephistopheles—as it was spoken, you will remember yesterday. What comes next belongs to the Will-o'-the-wisps:

“Lo now! Lo! how swiftly races
Tree past tree! How the gigantic
Crags lean over, and the antic
Rocky snouts that stand in cluster
How they snort and how they bluster!”

Then it is Faust's turn where reference is made to these things reminding him of the shattering experience he has passed through:

“Through the stones and turf what lustre,
Stream and streamlet downward springing.
Hark! ’tis murmurs! Hark! ’tis singing.
Hark! ’tis love-plaints sweet and olden,
Voices from yon-days all golden!
All our hope, and love and longing
Echo, too, like tales once told in
Far-off times, comes faintly ringing.”

Then, strangely enough even Schröer assigns what comes next Mephistopheles: it belongs, of course, to the Will-o'-the-wisp:

Woo hoo! shoo-hoo! nearer hover
Cry of screech-owl, jay and plover.” and so on.

Schröer gives these lines to Mephistopheles, that is obviously wrong. That last lines should go to Faust:

“Nay, but tell me, are we biding
Still, or are we onward riding?
Cliffs and green trees are sliding,
Will-o'-the-wisps their number doubles,
Blown up like transparent bubbles.
All in giddy whirls are gliding.”

I will here point out that there are still mistakes in what follows. Thus after Faust has spoken the words:

“Now through the air the wind doth howl and hiss,
And with what buffets beats upon my shoulder!”

You will find a long speech given to Mephistopheles. But it does not belong to him (though assigned to him in all editions). Only the first three lines are his:

“Clasp thou the cliffs old ribs! Cling to the boulders!
Else will it hurl thee headlong into the deep abyss!
The night is thick with rack.”

The lines following are Faust's:

“Hark how the groaning woods do crack.
Startled fly the solemn owls ...” and so on.

Not until the final line does Mephistopheles speak again:

“... Hear'st thou voices o'er us?
Far and dear that sing in chorus?
All the magic mount along
Wildly streams the wizard song.”

This had to be corrected, for things must stand in their right form. Then I have taken upon myself to insert just one line. For there are some things, especially where witches are concerned, that really cannot be put on the stage, and so have thought fit to introduce a line that does not actually belong.

Now I must admit that it has distressed me a good deal to see how corrupt the rendering is in all the editions and how it has occurred to no one to apportion the passages correctly. It must be kept clearly in mind that Goethe wrote Faust bit by bit, and that much in it naturally needs correction, (he himself called it the confused manuscript). But the correction must be done with knowledge. It is not Goethe, of course, who is to be corrected, but the mistakes made publication.

From what has been said it will be clear that Mephistopheles makes use of the Will-o'-the-wisp's as a guide, and that they go into a world that is seen to be fluctuating, in movement, as it would be perceived were everything solid away. Now enter into all that that is said there. How much real knowledge is shown in the way all that is solid is made to disappear! How all this is in tune with what is said by the Will-o'-the-wisps, Mephistopheles and Faust, as being represented by Goethe as out of the body. Mephistopheles indeed has no physical body, he only assumes one; Faust for the moment is not in his physical body; Will-o'-the-wisps are elemental beings who naturally, since it is solid, cannot take on the physical body. All this that proceeds in the alternated song shows that he wishes to lead us into the essential being of the supersensible, not into something merely visionary but into the very essence of the spiritual world.

But mow our attention is drawn to how, when we are thus in the spiritual, everything looks different; for in all probability any ordinary onlooker would not see Mammon all aglow in the mountain, nor the glow within it. It is hardly necessary to explain that all here described shows that the soul pictured is outside the body. It is a real relation then between spiritual beings that we are shown, and Goethe lets us see what unites him with knowledge of the spiritual world. That Goethe could placed Mephistopheles so relevantly into his poem at all, proves that he has knowledge of these matters and that he knew perfectly well that Mephistopheles is a being who has lagged behind. Hence he actually introduces other retarded beings of that ilk. Notice this—a voice comes:

“Which way, comest thou here?”

A voice from below answers (and this means a voice proceeding from a being with sub-human instincts):

Over the Ilsensteep.
In the owlet's nest I took a peep
She had eyes like moons!”

Voice: to hell with a wanion!
Why so hot-foot thou ronyon?

Voice: She hath well-nigh flayed me!
See the wounds she hath made me!

Now notice that later the answers given by a voice above.

“Come with us, come, from the Felsenmere.”

Voices from below: “We would climb with you the mountain sheer.”

Voice from above: “Who calls from out the rocky cranny?”

And then we hear the voice of one who has clambered for three hundred years. That means that Goethe calls up spirits who are three hundred years behind. The origin of Faust lies three hundred years back; the Faust legend arose in the sixteenth century. The spirits left behind from that time appear, mingling now with those who come to the Brocken as witches in the present—for these things must be taken literally. Thus Goethe says: Oh, there are many such souls with us still, souls akin to the witch souls, for they are three hundred years behind. Since everything in the Walpurgis-night is under the guidance of Mephistopheles, it would be possible for young Mephistopheles beings to appear among the witch-souls. And then comes a present-day half witch, for the voice that earlier cried:

“Take me with you, take me up!
Three hundred years I've clambered zealous.”

is not that of a half-witch but of a being who is really three hundred years old. The witches are not as old as that although they go to the Brocken.—The half-witch comes slowly trotting up the mountain. Here then we meet something genuinely spiritual, something that has overcome time, that has remained behind in time. Many of the words are positively wonderful. Thus, one voice, the voice of the one who has been clambering for three hundred years, says:

“Yet I cannot reach the top.
Fain would I be beside my fellows!”

In these words Goethe very beautifully expresses how the witch-souls and the souls belonging to the dead who, in like manner, have remained so very much behind, are akin. These souls remaining behind would fain be with their fellows—very interesting!

Then we see how all the time Mephistopheles tries to keep Faust to the commonplace, the trivial; he tries to keep him among the witches' souls. But Faust wants to learn the deeper secrets of existence, and therefore wants more, wants to go farther; he wishes to get to what is really evil, to the sources of evil:

“Up yonder, though, I'd rather be!
The smoke with lurid splendour lit
Rolls on. The crowd streams to the devil,
What riddles there one might unravel!

For this deeper element Faust is seeking in Evil, Mephistopheles has no understanding; he does not want to take even Faust there because there things will naturally become rather—painful. It is all very well to be taken to the witches as a soul; but when a man like Faust, having been received into this company, goes still farther towards evil, he may discover things highly dangerous to many. For, in Evil, is revealed the source of much that exists on earth. That is why it was better for many people that the witches should be burnt. For although no one need practise witchcraft, yet by reason of the existence of witches and their being used to a certain extent for their mediumistic qualities, by certain people wishing to fathom various secrets, if their mediumistic powers went far enough the source of much that is in the world could be brought to light. Things were not allowed to go to these lengths, hence the witches were burnt. It was definitely to the interest of those who burned witches, that nothing could be divulged of what comes to light when those experienced in such matters probe deeper into witch secrets. Such things can only be hinted at. The origin of all sorts of things would have been discovered—no one who had not this to fear has been in favour of burning witches.

But, as we have said, Mephistopheles wishes to keep Faust more to trivialities. And then Faust becomes impatient, for he had thought of Mephistopheles as a genuine devil, who would not practice trifling magic arts upon him but, once he was out of his body, would take him right into Evil. Faust wants Mephistopheles to show himself as the Devil, not as a commonplace magician able to lead him only to what is trifling in the spiritual world. But Mephistopheles shirks this and is only willing to lead him to the trivial. It is exceedingly interesting to notice how Mephistopheles turns aside from actual Evil; that is not to be disclosed to Faust at this stage, and he directs his attention once more to the elemental. The following is a wonderful passage:

“See where yon snail comes creeping
She with her groping face hath nosed
Some inkling of my secret out.”

Wonderfully to the point is this jolt down into the sphere of smelling! It is actually the case that in the world into which Mephistopheles has led Faust, smelling plays a bigger part than seeing. Her ‘groping face’—a wonderfully vivid expression, for it is not the same sense of smell as men have, neither is it a face; it is as if one could send out something from the eyes to touch things with delicate rays. It is true, the lower animals have something of the kind, for the snail not only has feelers, but these feelers lengthen themselves into extraordinarily long etheric stalks with which an animal of this kind can really touch anything soft, but only touch it etherically. Think what deep knowledge this all is—in no way dilettante.

And now they come to a lively Club. We are still in the spiritual world, of course, and they come to this lively club. Goethe understood how to be one of those who can talk of the spiritual world without a long and tragic face, and how to speak with humour and irony when these are necessary and in place. Why should not an old General, a Minister (His Excellency), a Parvenu and an Author, discussing their affairs together while sipping their wine, find themselves by degrees so little interested in what is being said that gradually they fall asleep? Or, when they are still under the particular influence of what is going on at the Club—a little dicing perhaps, a little gambling—why then should not these souls so come out of their bodies that they might be found in a lively Club among others who have left their bodies? At a Club—the General, His Excellency the Minister, the Parvenu, and now the Poet as well; why not? One can meet with them for they are outside their bodies. And if one is lucky, one can really find such a party, for it is something like that in this sort of assembly, that they fall asleep in the midst of amusing themselves. Goethe is not ignorant of all this, you see. But Mephistopheles is surprised that here, through nature herself, through nothing more than a rather abnormal occurrence of ordinary life, these souls have come to be in this position. He is so surprised to come across it in this way, that he has to recall a bit of his own past. For this reason he becomes suddenly old on the spot, or in his present form he is not able to have this experience. The human world is meddling with him and this he does not want. He tells the will-o'-the-wisp it should go straight not zigzag, lest its flickering light should be blown out. The will-o'-the-wisp is trying to ape man kind by going zigzag. Mephistopheles wants to go straight—men go zigzag. So it disturbs him that, merely through an abnormal way of proceeding in life and not through any hellish machination, four respectable members of human society have appeared on the Brocken scene.

But then things begin to go better. First there enters the Huckster-witch, naturally also outside her body. She arrives with all her arts—so beautifully referred to here:

“No chalice but into the healthy frame
Hath poured the poison's slow-consuming flame;
No jewel but to shame beguiled some winsome woman,
No sword that hath not stabbed i’ the back the foeman.”

So now he feels himself again. This witch has certainly been properly anointed; he wants more feels quite in his element, addresses her as ‘Cousin’, but tells her:

“Nay, thou dost read the times but badly, Cousin,
For done is past, and past is done!
Only for novelties we clamour,
Should'st lay in novelties alone.”

He want something of more interest to Faust. But Faust is not at all attracted. He feels that he is in a very inferior spiritual elements and now says—what I asked you to notice, for it is wonderful:

“If only I don't take leave of my senses!”

(If only I don't loose consciousness!) That means he does not wish to go through the experience with a suppressed consciousness, in an atavistic way; he prefers to have the experience in full consciousness. In such a Witches' Sabbath the consciousness might easily be blunted, and that should not be. Think how deep Goethe goes!

And now references made to how the soul element has to leave the body, and how a part of the etheric body too must be lifted out, and what I might call a kind of Nature-initiation, that during the whole earth-evolution only happens in exceptional circumstances. Part of Faust's etheric body has gone out; and because a man's etheric body, as I have often told you already, is feminine, this is seen as Lilith. This takes us back to times when man was not constituted at all as he is now. According to legend Lilith was Adam's first wife and the mother of Lucifer. Thus we see here how Mephistopheles is making use of the luciferic arts at his disposal, but how something lower also enters in that, in the following speech amounts almost to a temptation. Faust moreover is afraid he may lose consciousness and losing consciousness he would fall very low—so that Mephistopheles would like to promote this. He has already brought Faust to the point of having part of his etheric body drawn out, which makes him able to see Lilith appear. But Mephistopheles would like to go still farther, and thus tempts Faust to the witch-dance, when he himself dances with the old witch, Faust with the young. But it all results in Faust not being able to lose consciousness—he is unable to lose it!

Thus we are given an accurate picture by Goethe of a scene taking place among spirits. When souls have left their bodies they can experience this, and Goethe knew how to represent it. But there are other souls who can enter such an assembly, and they to bring their earthly qualities with them. Goethe knew that in Berlin lived Nikolai, a friend of Lessing's. Now this Nikolai was one of the most fanatical, so-called enlightened men of his time; he was one of those who, had a Monist society then existed, would have joined it, would indeed have directed it, for men were like that in the eighteenth century, they made war upon everything spiritual. A man of that kind is like the ‘Proktophantasmist’. (You can look this word up in the dictionary). Thus Nikolai not only wrote The Joys of Young Werther in order from a free-thinkers point of view to make fun of Goethes's sentimentality in The Sorrows of Werther, but also wrote for the Berlin Academy of Science—to prove himself, one might say, a genuine monist—Concerning the Objectionable Nature of the Superstitious Belief in a Spiritual World. And he was in a position to do that, for he suffered from visions—he was able to see into the spiritual world! But he tried the medical antidote of the time; he had leeches applied to a certain part of his body, and low and behold the visions disappeared. Hence he was able to give a materialistic interpretation of the visionary in his discourse to the Academy of Science, for he could prove by his own case that visions can be driven away by the application of leeches; therefore everything is entirely under the influence of the material.

Now Goethe knew Nikolai, Friedrich Nikolai, bookseller and writer, who was born in 1733 and died in 1811, he knew him very well. So perhaps he was not blindly inventing. And that there should be no doubt that Nikolai is meant, he makes the Proktophantasmist say, after he has been drawn in as a spirit among the spirits, and has tried to talk them down:

“Are you still there? Well, well! Was ever such a thing?” They ought to have gone by now for he hoped to drive them away by argument.

“Pack off now! Don't you know we've been enlightening!” Today he would have said: we have been preaching Monism.

“This crew of devils by no rule is daunted.” Now he must see, for he really can see, since he suffers from visions. Such men are quite fit to join in the Walpurgis-night.

Again it is not as an amateur that Goethe has pictured this; he has chosen a man who, if things go favourably, can enter even consciously into the spiritual world on this last night of April, and can meet the witches there. And he must be such a one. Goethe pictures nothing in a dilettante way; he makes use of thoroughly suitable people. But they retain the bent, the affinities, they have in the world. Therefore even as a spirit the Proktophantasmist wants to get rid of the spirits, and Goethe makes this very clear. For as a sequel to the treatise about leeches and spirits, Friedrich Nikolai had also conjured away ghosts on Wilhelm von Humboldt's estate in Tegel. Wilhelm von Humboldt lived in Tegel, in the neighborhood of Berlin and the Friedrich Nikolai had fallen foul of him also, as one of the enlightened. Hence Goethe makes him say:

“We're mighty wise, but Tegel is still haunted.” Tegel is a suburb of Berlin; the Humboldt's any property there and it was there that the ghosts appeared in which Goethe was interested. Goethe also knew that Nikolai had described it, but as an enlightened opponent.

“I've swept and swept at this vain fancying,
Yet cannot sweep clean! Was ever such a thing?”

So even in the house of the enlightened Wilhelm von Humboldt in Tegel there are apparitions. Nikolai cannot endure this spirit despotism; it refuses to follow him and will not obey him:

“My spirit cannot discipline it.”

And to make it perfectly clear that with full knowledge he is describing just such a personality as Nikolai, Goethe adds:

“Alas, today 'tis useless. Now I know it.
At least I'll take a journey with them though.
And still I hope, ere my last step, to show
My mastery alike o'er devils and poet.”

For at that time Nikolai had taken a journey through Germany and Switzerland, of which he had written a description where was recorded everything noteworthy he came across. And there one can find many shrewd and enlightened remarks. Everywhere he contended particularly against what he called superstition. Thus even this Swiss tour is alluded to:

“And still I hope, ere my last step, to show
My mastery alike o'er devils and poet.”

‘Devils’ because he attacked the spirits; ‘poet’ because he attacked Goethe—in the “Joys of Young Werther”.

Mephistopheles is quite clear about such people, and says:

“To seek relief, as usual in a puddle
He'll seat himself, and when the leeches feast
Upon his rump, from all his brains that muddle
From phantoms and from fancy he's released.”

Also a reference to Friedrich Nikolai's leech theory. (You may read about it in the Transactions of the Academy of Sciences in Berlin. Nikolai delivered the lecture in 1799).

But now, when this affair is over, Faust sees a very ordinary phenomenon—a red mouse jumping from the beautiful witch's mouth. That is a very common phenomenon and a proof that Faust has remained completely conscious; for had he not been conscious but only dreaming, it would have remained a red mouse, whereas now he is able to change this vision called up by sense-instinct into what it should really be for him. Everything is transformed—I think this is most impressive—and the red mouse becomes Gretchen. The blood-red cord is still about her neck. The Imagination has grown clear, and Faust is able to pass from a lower imagination to the vision of the soul of Gretchen who, by reason of her misfortune, now becomes visible to him in her true form.

You may think as you like, my dear friends, the connections of the spiritual world are manifold and perhaps bewildering—but what I have just shown you in this changing of a lower vision of a red mouse into something lofty, true and deep, is pre-eminently a spiritual fact. It is highly probable that Goethe originally planned the whole scene quite differently represented. A little sketch exists in which it is differently represented—in the way Mephistopheles might have conjured up the scene before Faust. But Faust has been sufficiently conscious to elude Mephistopheles here, and to see a soul to whom Mephistopheles would never have led him. To Mephistopheles himself she appears as Medusa, from which you see that Goethe is wishing to show how two different souls can quite differently interpret one and the same reality—the one way true, the other in some respect false. His own base instincts giving colour to the phenomenon, Mephistopheles flippantly utters:

“Like his own love she seems to every soul.” And here again we find that this is a spiritual experience through which Faust had to pass. He is not just a vigorous man enjoying a walk, he is a man undergoing a spiritual experience; and what he now sees as Gretchen is actually what lives within him, while the other serves merely to bring this to the surface.

Now, Mephistopheles, wishing to lead Faust away from the whole, from what is now the deeper spiritual reality, takes him to something which he just introduces as an interlude, and which we must regard as the conclusion of the Walpurgis-night—a kind of theater and simply a stroke of Mephistopheles' magic art. This is “The Walpurgis-night's Dream”, that will be performed, but the whole of it is inserted into the Brocken scene to show how Mephisto wishes to get hold of Faust. This Walpurgis-night's Dream—about which I shall say no more today—was introduced by Mephisto in order to turn Faust's thoughts in a quite definite direction. But here we have a remarkable kind of poetical paraphrase. You remember how Mephistopheles says:

“Go to! slight Reason, now, and Science slight,
Wherein doth lie man's greatest might!
Let but the spirit of lies enamour
Thy soul of sorcery and glamour
And, pact or none, I hold thee tight—”

In the Walpurgis-night Dream everything is reasonable, but Faust has to be shown how to enjoy this reasonableness. Goethe has translated the Italian dilettare into the German dilettieren that is actually to divert; and Servilibus, a servant of Mephistopheles invented by Goethe, is to persuade Faust to find diversion in what is reasonable, that is, to treat it in a low and flippant way. Hence though the Walpurgis-night Dream is to be taken seriously it is said:

“We're just about to begin
A brand new piece. T'is the last of the seven;
To give so many is the custom here.
A dilettante wrote it. Even
The players are dilettante too.
Excuse my vanishing. As dilettante t'is my diversion
To pull the curtain up.”

This then is the way Mephistopheles tries to tempt Faust to despise the reasonableness of the Walpurgis-night Dream. That is why he places it before him in this kind of aura. For it suited Mephistopheles cunningly to introduce the rational into the Brocken; he finds that right for in his opinion it is where it belongs.

So you see in Goethe's poem we are dealing with something that really rises above the lower spiritual world and shows us how well Goethe was versed in spiritual knowledge. One the other hand, it may bring to our notice the necessity of acquiring a little spiritual science—for how else can we understand Goethe? Even eminent men who love Goethe can otherwise merely conclude that he is a bit of a monster—they don't say it, they are silent about it, and that is one of the lies of life—such a monster that he takes Faust, two days after causing the catastrophe with Gretchen's mother and brother, for a pleasant walk on the Brocken. But, we must constantly repeat, Goethe was not the commonplace, happy-go-lucky man he has hitherto appeared. On the contrary, we must accustom ourselves to recognise more in him than that, something quite different, and to realise that much concealed in Goethe's writings has yet to be brought into the light of day.

• 1. See lecture 10th December, 1916. Also Cycle XLIII, lecture 3

Yesterday our theme was more connected with the external, exoteric aspect of spiritual science.¹⁷⁴ Today we will have some comments on the inner, esoteric aspect of spiritual science.

When one speaks to a large or also a smaller audience about the discoveries made in spiritual research, which is our mission today, people will soon ask where such knowledge comes from. How can one also come to learn something about the higher worlds oneself? The question is very much to the point. One has to understand, however, that one cannot make one's own observations at a very early stage, and certainly not before one is familiar with the important ideas in the science of the spirit. It is necessary first to make the acquaintance, in a way, of the general ideas and thoughts that are part of the anthroposophical approach. One must have made the effort to gain some idea, and it is possible for everyone to do so, that there is truth in anthroposophy. Finally one must have tried, using human logic, to grasp the inner connections in what is taught in the science of the spirit.

In principle there can be no objection today to someone wanting to ascend through the stages of higher knowledge himself. Yes, people talk a great deal of the dangers and obstacles one meets in occult development—which is the term used for our inner development. There is much talk of hatha-yoga and raja-yoga,¹⁷⁵ but this is really just theory. If the thing is done the right way, if the individual who guides such inner development is also entitled to do so, there is really no danger. It is important to do things the right way, that is what matters. A lecture like the one I am giving today is not designed to give instructions—please let me stress this—for these must always be from person to person. Giving such instructions is a tremendous responsibility, and receiving them one must understand that the chosen individual really deserves one's trust. This trust is absolutely essential.

Occult or inner human development will thus gradually take the individual through the stages of higher knowledge. Let me give you an outline of the essential aspects of this, for information, as I said, not in form of instructions.

When someone has reached the summit of understanding, when someone is up on the mountain top, he has an open view in all directions. That is how it is in physical existence and also in the process of gaining insight. One does not have that open view when one has not yet reached the top but is on the way up. As one climbs higher, one is able to perceive more and more, but a great deal continues to be hidden by the mountain. This image of a mountain is a good one for inner development. Everyone who seeks to ascend to levels of higher insight must start from a point that is right for him. This means, people are different on this earth, also in their physical, etheric and astral constitutions. The outer natures of a Hindu, a person from the Near East, a European or American differ, much more so than someone who does not have occult knowledge may think. Exercises suitable for the inner development of anyone who has the Hindu nature cannot be used in that way for a Western person. It was wrong, therefore, to transfer the Oriental yoga teaching to Europe. This has done much harm. A Hindu's much softer body can be developed in a very different way than a European organism which has grown much harder due to Western civilization. Human natures thus differ much more than you may think. An anatomist cannot tell you anything about this, but someone who is clairvoyant and looks inside knows how tremendously natures differ.

We can divide present-day humanity into three types. There are still those for whom the Oriental yoga initiation is essentially right, others for whom the gnostic Christian way is open, and finally those—and they are by far the greatest in number—for whom the way known as the Rosicrucian way from the 14th century is the right one. Please note, these ways do not lead to different insights, for once you are up on the summit all things are the same. But the ways that lead to the summit are and must be different.

Many things can be achieved by taking the gnostic Christian way, and it is possible to gain the most sublime insights. But the Rosicrucian way is suitable for modern people because they may find themselves in situations where doubts arise and trouble looms because of our present-day way of life, and these must be removed for the sake of the individuals concerned and for their work in the world. This is only possible if one goes through inner training based on the Rosicrucian method, which is the right one for the Western world.

Let me present some aspects of gnostic Christian initiation, so that you may see it as a field about which much can still be learned today. I am then going to go straight on to Rosicrucian training. We'll leave the Oriental yoga way aside for today.

The Christian way is laid down in a text that is little understood outside occult circles. The gospel of John gives a complete outline of the right way of Christian initiation.

John's gospel is one of the most profound texts in the world, but one has to be able to read it in the right way, that is, one should not think that just reading it is enough and the right thing to do. It is a book for life. Above all you have to understand that even the first words are not written just for people to read or for philosophical speculation. They are written for meditation. We have to have them the proper way, however, not in the usual translation. The first verses of John's gospel must be created out of the substance of the language so that one has not only the meaning of the sentences but also their sound quality. The sound quality or value still matters for genuine occult life.

To meditate, we enter deeply into particular formulas, sentences or even words. But meditation as an important means of inner development is not a matter of entering into something we are given by our occult teacher in a philosophical or intellectual way. It is a matter of entering into the actual sound qualities. If you were to think about a sentence your teacher has given you, you could only develop thoughts about it that you already have. You are, however, to have something new. That is the important point. Sentences given for meditation open up the gates to the world of the spirit for you. They are based on experience gained over hundreds of years. Every letter, every turn of phrase is known to have an effect on the soul. You therefore need to meditate those first sentences to the letter. Correctly translated they are:

In the origin was the word, and the word was with god, and a god was the word.

This was in the origin with god.

All things have come into being through it, and except by this, nothing of what has arisen has come into being.

In it was life, and the life was the light of humanity. And the light shone into the darkness, but the darkness did not grasp it.

There came to be a human being, sent by god, his name John.

He came to bear witness that he might bear witness to the light and that through him all might believe.

He was not the light but a witness of the light.

For the true light that enlightens all human beings was to enter into the world.

It was in the world, and the world came into being through it, but the world did not recognize it.

Into individual human beings (all the way to the I-human beings) it came, but the individual human beings (the I-human beings) did not receive it.

Those however who did receive it were able to reveal themselves through it to be god's children.

Those who put their trust in its name have come into being not out of the blood, not out of the will of the flesh, not out of the will of man, but out of god.

And the word came to be flesh and dwelt among us and we have heard its teaching, the teaching of the one son of the father, full of loving devotion and truth.

If we had more time together I could tell you many things about these first sentences. Hundreds and hundreds of people have gone through the things I am now telling you about this Christian initiation. It has become practical experience for thousands. Let me just briefly indicate some stages of Christian initiation.

The pupils would first of all be told: For weeks, months, years you must set some time aside every morning when you let these first lines of John's gospel come alive in your soul. Turn your attention away from everything that is going on around you during this time. You must turn blind and deaf to everything around you, and these words should arise in your soul as though you were hearing them, day by day, over and over again.

This exercise will first of all have a particular effect on the soul. Its magic brings it about that such a person suddenly finds his dreams becoming regular, assuming regular forms. And then a moment will come when the individual knows that he is not in a dream world. Instead he'll know that he has a new reality around him—imaginative astral reality. Just as in ordinary conscious awareness we see tree and shrub around us, so we now see the things experienced in yonder world. Initially like dream images, and then more and more in a living vision seen in the waking state, the pupil will see the first twelve chapters of John's gospel before him.

After this experience the teacher of Christian initiation will say to his pupil: ‘You must now prepare for the experience of the 13th chapter. Imagine a plant. This grows out of the mineral world. If it were able to think and have inner responses it would have to say to the mineral world: “I grow out of you. You may be a lower world than I am, but I could not possibly live without you.” And it would have to bend down to the mineral world in gratitude and say: “I thank you, stone! I owe to you my whole existence.”’ An animal would have to speak in the same way to the plant. And man would have to bend down to the lower worlds of nature and have the same inner response. And everyone who has advanced more on the social scale should bend down before those who are below him and say: ‘Without you I could not have life.’

The pupil has to practice giving himself up to this completely and do so for weeks and months. Then two symptoms will arise, which are the same for everyone. He will first of all experience both the external and the inner symptom as a particular fact. He will see himself as the thirteenth, who washes the feet of the twelve. In washing their feet, Christ Jesus sought to make this great truth apparent to the twelve. This wondrous inner experience comes to the human being in the process of initiation. It also goes as far as external symptoms. He will experience something that feels as if he was dipping his feet in water. Nobody needs to be afraid of this; it will soon pass.

When the pupil has gone this far, the teacher will come and say: ‘Now you must enter into another sphere of inner responsiveness. In life pain and suffering come to us from all directions. You must enter into a condition where you meet all the suffering and all the pain that are coming from all directions in this world as an upright human being, so that they cannot harm you. You must stay with these things for weeks and months.’ Then a time comes when an astral symptom shows itself. He'll see himself in a vision of the scourging, with a sensation rather like it felt all over the body, which will pass; but the result will be that the pupil lets this feeling enter into the whole of his body. With this he has reached a level of maturity where he is able to land upright as life plies its scourge.

For the third stage he is given the instruction: ‘You must now enter into an inner feeling of how things would be with you if you not only had to bear pain and suffering but had scorn and derision poured over all that is most sacred to you. You must be able to stand up, using the powers of your inmost soul, and have a centre in you that enables you to stand erect.’ A new vision will then come, where the pupil sees himself wearing the crown of thorns. The external symptom of this is a kind of headache. This indicates, right down into the limbs, that this great experience has come.

Then comes the fourth station. The earthly body must become an outside thing for the pupil. Most people feel it is their I. The body has to be like a piece of wood, something external. The pupil must learn to say not ‘I am walking through this door’, but ‘I carry the body through this door.’ His body must be very much an object to him. Having lived into this for weeks and months, the pupil will have a vision, an astral experience where he sees himself crucified. That is the fourth station. Stigmata will appear for a brief period during meditation as an external symptom on the hands, feet and in the right side—not the left, as is generally thought. They indicate that this degree of development has also entered into the flesh.

The stages that follow cannot be discussed, for we do not have words for them. The fifth stage is the mystic death, where the pupil will first truly have the experience of a black curtain between him and reality. He will feel lost in a way, utterly isolated, as it were, until insight is gained. It is as if the world of the flesh has vanished, and something like an impenetrable black curtain lies before the eye of the soul. This is a moment everyone must go through on this way to initiation. You encounter all the truly great suffering and pain that may rest deep down in the soul, and all the evil there is in the world. This is the descent into hell. Then it seems to the pupil as if the veil tears apart and he looks into the other world.

There follows the entombment, an experience where one feels at one with the planets, and the seventh level, of which we cannot speak, for the individual has to separate his thinking from his brain to have even an inkling of it. This is ascension into heaven.

My aim in giving you this description of Christian initiation was to help you understand what it is about. It is a way full of renunciation. It may be followed quietly, attracting no notice, and there are people among you who have gone through all this. It happens between the lines in life, as it were, and the more serious it is the less will it be visible on the outside.

People must go through the Rosicrucian initiation to be armed against anything that may come from the outside. Many of the things you read about this in books are apt to make you think that the Rosicrucians are really charlatans, for that is how learned people often describe them.

True Rosicrucians have recognized one another by a secret sign since the 14th century. They must never speak of the true nature of Rosicrucianism to an outsider. But from a particular point in time that came in the 19th century it has indeed become necessary to tell people the elementary aspects of Rosicrucian initiation. Human beings are very gradually growing up and developing the maturity they will need if they are to learn something about these things. We'll not be able to go into the question today as to why it has to be like this and why the more sublime secrets must still remain hidden.

Rosicrucian initiation is also in seven stages. These are 1) study, Rosicrucian study; 2) gaining imaginative perception; 3) learning the occult script; 4) finding the philosopher's stone; 5) living experience of the relationship between microcosm and macrocosm; 6) entering wholly into the macrocosm, and 7) godliness.

Let me say once again that I can only give an outline, and no more.

Study is not the kind of learning we generally know. Instead one has to discover that there is a way of thinking that is still fluid and real, keeping out all sensory perceptions of the world around us. Western philosophers deny the existence of such a way of thinking.¹⁷⁶ They say it is only possible to think if the thought still has a residue of sensory perception in it. Those gentlemen do not know that other people have been able to do this, and they do not wish to believe it because they themselves are unable to think in this way. Man must learn to forget everything, to leave everything aside that influences the senses from the outside, yet without being an empty vessel. This is possible if one enters wholly into a pure thought content that has no sensual connection, as given by the spiritual scientist, and reflects on the thoughts that evolve. I have shown this way in my books, writing them in such a way that one element arises from another, as in a living being, so that one thought follows organically from another. You give yourself selflessly to the thought, and an inner separation results. Anyone who wishes to move to a higher level must read things written out of the science of the spirit in this way. Anyone who does not wish to reach a higher level may read them like an ordinary book. The former is the case because higher perception takes the human being into other worlds. You are now living on the physical plan—plan, not plane, for like the plan of a house it has nothing to do with being level. You thus come to different plans, into different worlds. At first you live here in the physical world, then you enter into the astral, imaginative world. It is a world we may describe as follows. Imagine a plant, green, with a red flower. You do special exercises that enable you not only to see what the senses see but to perceive how a cold flame form arises from the plant, is it were. You perceive floating colours. You thus perceive spiritual entities that you cannot perceive with the ordinary senses. Everything evaporates from the surface of things and becomes the expression of purely astral events. This world is much more real than our sense-perceptible world, for the world of the senses has been created out of that world of the spirit. This physical world has condensed out of the astral world. Matter is condensed spirit to the true occultist, and we can dissolve it again. The whole of our sense-perceptible world is condensed astral reality.

Behind this astral world is yet another world which may best be described by showing you how human beings come to gain living experience of it. When someone does the exercises I have described in my books, his dreams will first of all become regular. Try and enter into the nature of dreams. What is a dream? Let me give you some examples. They are taken from life, for I do not speak of other things.

Someone has dreamt he has caught a tree frog and then finds he has taken hold of a corner of his bed covers. The dream symbolized the occurrence. Another example is someone dreaming that he's in a dark, musty hole of a cellar full of spiders' webs. He wakes up with a headache. Some dreams may involve high drama. A student is standing at the door of the lecture theatre. Another one comes in jostles him, and a duel is fought with pistols. The shot rings out—and the chair next to the bed has fallen over. This minor incident has come to symbolic expression in the whole dramatic story of the dream. A farmer's wife dreams she's going to town and entering a church where the priest's sermon is of sublime things. Just when it gets really sublime, the priest begins to change. It looks as if he is growing wings and then he suddenly begins to crow. At that moment the farmer's wife wakes up and the cock is crowing outside. The cock's crow has been transformed and taken symbolic form in the dream.

Dreams are thus highly creative. Everything is chaotic in them. But life is given to this world and everything becomes harmonious and regular if you gain the certainty, up to a point, that this represents a reality. This is how it first shows itself, and later one takes things perceived in the world of dreams across into everyday life. Something develops which we may call ‘continuity of conscious awareness’.

Human beings also have dreamless sleep. The Rosicrucian pupil next learns to perceive entities and events around himself in a sleep state. The revelations of the spirit world sound forth from the darkness of dreamless sleep. In the Pythagorean schools this was called the world of the music of the spheres. The world of the spirit sounds forth. If you really want to hear something about the devachan, this must be such that it is described to you as a world of sound. Goethe, who had this degree of Rosicrucian initiation, knew of this: ‘The sun proclaims its old devotion in rival song with brother spheres.’ That is either nonsense or a higher truth. The physical sun does not resound, but the spirit of the sun is a real, resounding entity. And Goethe stayed with the metaphor; in part 2 of Faust, he wrote: ‘Resounding now for ears of spirit the new day is already being born.’ He wrote like that because the music of the spheres of which the Pythagoreans spoke was a reality to him. I can only refer to these things briefly. All things will speak to us, a new revelation will come forth.

Those are the stages the Rosicrucian pupil can reach by means of exercises. The worlds are always completely different, and someone who only knows the physical world can have no idea of the things one can learn in other worlds. One thing is the same for all worlds, however, and that is logical thinking. Our perceptions are entirely different in the astral, in the devachanic world, but the laws of thinking are the same in all three worlds. A Rosicrucian pupil must therefore first learn this way of thinking, so that he may keep to the proper path and not lose his way.

The 2nd stage consists in gaining imaginative perception. I can only tell you a few things that should explain what is meant by this. When you see a tear rolling down a cheek, you conclude that the soul is filled with sadness. When you see a cheerful face you conclude that the soul is cheerful. You draw these conclusions in relation to people. When you want to ascend to imaginative perception you must do this in relation to the whole world. The life of plants, animals and stones should express the physiognomy of the world soul for you. Some things must be like our cheerfulness, other things like tears wept by the earth spirit. This must become very real to the person. And much can be experienced in this way. The secret of the holy grail, the ideal of medieval Rosicrucian pupils, is connected with this.

Let us take an example. The Rosicrucian pupil would meet his teacher who would give him an exercise to do. I am going to put this in the form of a dialogue, though it has never been spoken dialogue. But what it conveys was practised and became living experience. It is entirely true and absolutely correct in every detail. The pupil would come to his teacher who would say to him: ‘Look at the plant. It extends its root into the soil, it grows upwards, opening its calyx at the top, and in there are its organs of fertilization and reproduction. Chastely and nobly and in purity it lets the sun's ray kiss it; the light, the sacred lance of love, which penetrates the calyx as a sunbeam and calls forth the potential that lies in the plant's organs of fertilization. You would have the wrong idea if in comparing the plant with a human being you were to think that the root is the head and the flower the lower part. Man is an inverted plant.’

The occultist thus sees the inverted plant in man and the inverted human being in the plant, with the animal between the two. ‘Look at the plant. It is the arm of the cross that goes down, the animal is the horizontal arm, and man the vertical arm.’¹⁷⁷ That is the original significance of the cross. It is the symbol for plant, animal and man as three realms of nature. Plato therefore wrote that the world's soul was crucified on the world's body. And the teacher would go on to say to the pupil: ‘Look at the human being, the human being in the flesh. What is this human flesh? Compare it with the matter contained in a plant. Plant matter is chaste and pure. Human flesh is full of passion and desire. Man is higher up on the evolutional scale, but this also means that he has taken in passion and desire.’ And the occult pupil would begin to intuit a future human being whose flesh would be pure and chaste again, like the chaste calyx of a flower which holds out its organs of fertilization to the sunbeam's sacred lance of love. Then his productive powers would reach out to the spirit just as today the plant reaches out to the lance of love, to the light. Those who sought to achieve this went through a transformation of the flesh. And so the pupil was presented with the great ideal of the human being who one day will be as pure and chaste as the plant. This ideal is called the holy grail. It is one of the images that speak to the heart and the whole soul. The pupil was able to rise higher not through thoughts but through images that influence the whole soul, captivating heart, mind and soul. Only then can imaginative perception be achieved.

The 3rd level involves learning the occult script. Something exists in this world which in occult life is called the vortex. It is to be found everywhere in nature and in the world of the spirit. Imagine you are looking up to the Orion nebula, which is a distinctive spiral. If you were a seer you would see that a vortex emerges like a figure 6, with a second vortex that is darker. The two intertwine. This also occurs in the world of the spirit.

We live in the age that follows the great Atlantean flood. Before that, our earliest ancestors were human beings of a very different kind. People imagine today that in those times human beings were just as they are now. But the physical conditions were completely different then. Atlantis was always in darkness, enveloped in masses of dense fog. It is important for you to know this. Old German mythology holds memories of Niflheim [land of mist] and Nibelungs [creatures of the mist]. Under those conditions the human constitution was very different. The Atlanteans also had a completely different culture. You might get an idea of this if I were to give you details of the way people heard articulated sounds in all things at that time. There were no moral laws. If someone wanted to know how to relate to a neighbour, he could not appeal to some authority or other; he would listen to the waves and then he would know.

It was a culture of which no trace seems to remain. It perished. When did this happen? We can see that in the heavens. About 8 centuries before the Christ was born the sun rose in the Ram. It takes about 2160 years to move through a sign of the zodiac. The sun moved into the sign of the Ram, or the Lamb, about 800 years before Christ. People felt the new constellation had brought them the new fruitfulness of spring, something new and good. We see from this that they felt the Lamb or the Ram to be important. Many things point to this, among them the legend of the Argonauts, in which the golden fleece plays such a role. The Christ himself is called the Lamb of God. The lamb was the symbol for offering veneration. Before that, the sun had been in the sign of the Bull, hence the veneration of the bull in Egyptian and Persian culture. Even earlier the sun passed through the sign of the Twins. In accord with this, duality played a great role in the Persian teachings of Ormazd and Ahriman. Traces of this still persisted in ancient Germanic culture. Before that, the sun was passing through Cancer. This was the period that followed the Atlantean flood. A vortex had occurred in the realm of the spirit.

This constellation with the occult sign of Cancer can still be seen in the calendar today. Many such signs are known to man. In reality this is nothing but a recreation of primal forces of nature. If you train your heart and mind to understand the occult signs you will steel your will with this occult script. You get to know the ways of the spirits that are behind nature. A faint echo remains in symbolic signs such as the pentagram and hexagram. One occult sign you often read about is the swastika.¹⁷⁸ The strange explanations given for it are quite unbelievable. In reality it is nothing but the sign for the astral sense organs, the wheels or lotus flowers, several of which are potentially present in the astral body—in the heart, the larynx, between the eyebrows. Astral vision begins when the last named of these wheels begins to turn. The swastika is the sign for this astral organ of perception.

The 4th level is called preparing the philosopher's stone. This is a reality. At the end of the 18th century someone who had got hold of something, but not exactly the right idea, put quite a good description of the philosopher's stone in a journal. He actually did not know himself how good it was. At that time a number of things from the occult school were wrongly made public, and so someone also described the philosopher's stone. This is actually something familiar to everyone, and many people handle it daily without having an idea. To help you see what this is about, follow me in a brief line of thought. Consider human breathing. We inhale oxygen, which changes our blue blood to red, and we exhale carbon dioxide, which means we are all the time exhaling poisonous matter. Plants on the other hand take up the carbon dioxide exhaled by humans and animals and retain the carbon to build up their bodies. They release the oxygen, so that humans can inhale it again. This is a cycle. Occultists attached great importance to this process. If you dig up a plant form that has become coal today you can see that the plant built up its body of carbon. Humans take in oxygen, changing blue blood into red; plants take in carbon dioxide and return the oxygen which humans then take in again.

Let us try and see what happens when the breathing process is regulated in a particular way in Rosicrucian training. The way in which it is done can only be passed on from person to person, but it is possible to speak of the effect. ‘A steady drip will hollow the stone’, as the saying goes. And that applies with the process I am now describing. The occult pupil is instructed by his teacher on doing his breathing exercises out of the spirit. It is an instruction, therefore, to regulate his breathing process in a particular way and this makes it possible for the human mind to expand a little as time goes on. It is something of which human beings normally know nothing and has to do with something that happens in the plant. The plant now becomes at one with him. Normally human beings exhale carbon dioxide and take in oxygen. The pupil must bring this to mind consciously. In his breathing he consciously experiences the change from carbon to oxygen, blue blood to red blood. He learns to do something in himself that is normally left to the plant. He will then be able to build up his own body. He learns to do so by means of regular breathing. This, then, is a real process in which the human being learns to purify his flesh also at the physical level. The alchemy of the human body lies in this. The human being is transformed into the vehicle for a pure, chaste incarnation that may be compared to a plant. The pupil is aware of something sublime, light and bright. He knows he only had to go through the flesh. That is the transformation of coal into diamond. You'll now understand the significance of bringing rhythm into the breathing in Rosicrucian training and know what was meant by the philosopher's stone. The regulated breathing process is the way to the philosopher's stone.

I am only touching on things lightly, but you'll understand that something profound lies behind the search for the philosopher's stone, something connected with the transformation of the whole of mankind, so that human beings will be different from the way they are today—they and the whole earth. That is how great and strong and firm, morally great, the powers of soul must be if man is to make the flesh, too, part of the process of redemption. We also have to redeem everything that exists around us, all creation.

The 5th level is to enter deeply into the relationship between microcosm and macrocosm. A great occultist of medieval times, someone we must first learn to read, used a beautiful image to show the relationship between macrocosm and microcosm. Paracelsus said: You see there the individual letters. Man is the word made up of the letters. And so we have to see man spread out in the whole of nature, and man himself as a compendium of nature. Paracelsus referred to a cholera patient as Arsenicus, for example, for the powers active in him are the same as those active in arsenic.

But there is more. When someone concentrates really hard on a particular part inside him, the point between the eyebrows—this, of course, is only a reference point—he will have a particular experience in which he is taken into the inner events of the great world. These correspond to the part which in the human microcosm lies between the eyes. And so the correspondence between macrocosm and microcosm has to be experienced bit by bit. Entering deeply into his inner life, the pupil must get to know the outside world.

At the 6th and 7th levels the Rosicrucian pupil comes to be at one with the whole world. He gains true knowledge of the outside world. And his feelings and his whole soul become one with the outside world to the same degree. This is the condition known as godliness. The earth's body is then his body. And the pupil achieves the stage known as being at one with the universe. It is a long road along one particular path. Those who have gone through it become messengers of the spiritual world, speaking from real experience.

It is a road anyone can follow today—certainly in principle. It will take a long time for some, and a shorter time for others. One of the best theosophists, the late Subba Row, said about the time needed, which people ask about so often: ‘It is true that one person needed 70 incarnations, another 7 incarnations, someone else again 70 years or perhaps 7 years; there have been people who achieved it in 7 months, and some in just 7 days, depending on their karma from former lives on earth.’ Setting out on the road one must be patient and persevere, knowing that one will be exposed to great dangers unless one has first gone through character training.

Let me give you an analogy. Take a green liquid produced by mixing blue and yellow. You can separate the blue from the yellow by using a chemical agent. Before that, the individual properties of the two solutions were not apparent. Now they show those properties. And that is how it is with the human being. High and low qualities are mixed. The lower ones are prevented from taking full effect because the higher ones have been added. If you now separate the two by doing the exercises you may find that someone who until now was more or less bearable grows malicious and cunning and also shows a whole lot of other bad characteristics. This is something you have to understand. The danger can definitely be prevented by doing specific preliminary exercises that establish a particular inner morality full of character.

The pupil must first learn to keep strict control of his thoughts. He must practise making one thought the focus of his inner life for a long period, the more intensely so the better. He must stick with it and let all thoughts follow from it. This exercise must be done for at least five minutes every day. The more the better, but one should not overdo it.

2) It is necessary to be able to take initiative in one's actions. This is done by the pupil doing one particular thing on his own initiative every day. It may be something quite small and insignificant, for instance watering one's flowers. After a time one takes up another initiative.

3) One has to gain mastery over pleasure and pain. There must be no more of being on top of the world one moment and down in the dumps the next. This mastery will make you more subtly receptive, but you yourself must be the master, not your inner responses.

4)There is need to be positive. A Persian legend about Christ Jesus will show you what is meant. The Christ was walking with some of his disciples. A dead, partly decomposed dog was lying by the roadside. The disciples turned away and said: ‘How horrible that creature is!’ The Christ stopped, however, and said: ‘Look how beautiful the animal's teeth are!’ You can look for and find something beautiful in the ugliest things, something great in the smallest of things. One must always look for the positive side.

5) One has to learn to be completely unbiased towards anything new. Absence of bias to the highest degree. People tend to say: ‘I've never heard of this before, seen this before; I don't believe it!’ We have to learn in the widest possible sense never to say something is impossible. There should be a place in our hearts where one allows it to be possible, say, that the church tower is at an angle if someone says it is at an angle. We should at least consider it to be possible if we hear such a thing.

The 6th level consists in bringing the 5 qualities into harmony.

The pupil will then have developed such inner strength that he will be protected from anything occult training might otherwise do to him. It would be wrong to set limits to occult training and say: ‘All I want is the ethical value.’ Anyone wishing to enter into the higher worlds must follow the indicated route. The road to the most sublime insights is also the way of greatest compassion. We must gain such compassion from insight, not with phrases. When someone has broken a leg all the people standing around full of compassion will be of no use, only the one individual who knows what to do and does it properly. Merely to preach theosophy is like standing in front of the stove and saying: ‘It is your duty to get the room warm.’ And it is the same if you tell people to practise brotherly love. Just as you have to put wood in the stove and put a match to it, so you have to give people what they need if their souls are to unite in one great brotherhood, and that is insight. True insight is the fuel for the great brotherly union among human beings. Today we have the age of materialism, and because of this people have gone their separate ways.

• 174. Public lecture on spiritual research and its mission given in Vienna on 21 February 1907. Rudolf Steiner spoke on the same subject in Berlin on 11 October 1906 (see Supersensible Knowledge (GA 55); tr. R. Stebbing. Hudson & London: Anthroposophic Press & Rudolf Steiner Press 1987.
• 175. Hatha-Yoga uses mainly external methods such as holding one's breath and special body positions. Raja-Yoga is the 6th to 8th stages on the way to salvation in Sankhya philosophy—concentration, meditation, complete absorption.
• 176. Rudolf Steiner was probably thinking mainly of E. von Hartmann. See note 166.
• 177. Rudolf Steiner often referred to this, e.g. in a lecture he gave in Basel on 22 Nov. 1907 (in GA 100); Typescript notes EN 50 at Rudolf Steiner House Library, London. There he said: ‘You draw the plant vertically, pointing to the earth, the human being also vertically, but pointing away from the earth, and the animal horizontally.’ Also in Berlin on 29 May 1905, in The Temple Legend GA 93); tr. J. Wood. London: Rudolf Steiner Press 1985. This is in contrast to the drawing for the lecture given in Leipzig on 16 February 1907 (in this volume); see note 168.
• 178. The next public lecture Rudolf Steiner gave was the one on 29 April 1906 (in this volume). There followed the fundamental course of lectures he gave on 22 August–4 September 1906 in Stuttgart (At the Gates of Spiritual Science; GA 95).

The Temptation is presented in the Gospel of St. Matthew as an account of a particular form of Initiation. The story is followed by indications of what Christ Jesus was to mean, firstly to His disciples. Not only was He to be the expounder of the ancient teachings in an entirely new form but a living force—if this word may be used—a health-giving force for men. This is demonstrated in the healings.

In the lecture yesterday we went on to consider a subject which, if it is to be understood, calls for a certain measure of goodwill arising from spiritual-scientific knowledge acquired through the years. We spoke of the unique, living quality of teaching imparted through the transmission of forces from Christ Jesus into the souls of His disciples. An attempt was made to express a great mystery in words of human language and to indicate the nature of the teaching given by Christ Jesus to His disciples. We may think of Christ Jesus Himself as a focal point, a focal centre, as it were, for forces that were to stream from the Macrocosm into the conditions of life on the Earth and into the souls of the disciples. Such forces could be marshalled only by powers that were concentrated in Christ Himself. Through Him, forces which otherwise stream into man unconsciously during sleep, streamed to the disciples as illuminating, life-giving forces of the Cosmos itself. To characterize these forces in any detail is of course only possible by studying the difference in cosmic constellations, and it is this mystery, as presented in the Gospel of St. Matthew, to which we shall give attention to-day. In the first place, however, it must be realised that the disciples had inevitably become wiser in regard to conditions on Earth because thc powers and forces of Christ Jesus had poured upon them. In diverse ways and degrees they had become more mature, had acquired more living wisdom.

A very significant phenomenon in the development of one of the disciples is presented to us, but to be understood it must be contemplated in a vast setting. And here the fact must be kept firmly in mind that the individual man himself progresses together with evolving humanity. In the post-Atlantean era we have passed through incarnation after incarnation in the ancient Indian, the ancient Persian, the Egypto-Chaldean and the Greco-Latin civilization-epochs, in order to receive some-thing from the environment and the prevailing conditions of the times. That is how progress is made.

What does development through the epochs of human evolution really mean? From elementary Anthroposophy we know of the different members of man's being: physical body, etheric body, astral body, sentient soul, intellectual or mind-soul, spiritual or consciousness-soul. The higher members still to be developed are Spirit-Self, Life-Spirit, Spirit-Man. Something quite definite is achieved for each of these members in thc several epochs of post-Atlantean civilization. Thus in the first epoch, forces enhancing the capacities of the etheric body were instilled into man. Such forces had been implanted in his physical body during the last periods of the Atlantean era and the first gifts to be bestowed in the post-Atlantean era were those imparted to the etheric body during the epoch of ancient Indian culture. During the epoch of ancient Persia, forces were implanted in man's astral body, or sentient body; during the Egypto-Chaldean and Greco-Latin epochs in the sentient soul and intellectual or mind-soul respectively; and we are living now in the age when the forces connected with this line of progress are gradually to be instilled into the spiritual or consciousness-soul. No very great advance has yet been made in this respect. In the future sixth post-Atlantean epoch the forces of the Spirit-Self will be implanted in human nature, and in the seventh epoch those of the Life-Spirit. And then we glimpse a far, far distant future, when Spirit-Man, or Atma, is to be inculcated into normal human nature.

We will now think of this process of development in relation to the individual human being. Those who knew the truth of these things from the Mysteries always pictured man as we must picture him now and as the disciples too had to learn to picture him through the enlightenment that had come to them from Christ Jesus. In a human being—either as he is to-day or also as he was at the time of Christ Jesus—there are rudiments or seeds, just as there are in a plant; they are already present when the plant has developed only leaves, and not yet flower and fruit. Looking at such a plant we know that although it now has leaves only, there already lie within it the germinal beginnings of flower and fruit, and that these will develop if growth proceeds in the normal and regular way. As surely as flower and fruit will grow out of the plant although at first it has green leaves only, as surely will the consciousness-soul arise in the human being—who in the days of Christ Jesus had developed only the sentient soul and the intellectual or mind-soul. The consciousness-soul then prepares to receive the Spirit-Self, in order that the highest triad may come as a new divine-spiritual gift to man. Therefore we can say: Through the contents and qualities of his soul, man's development is like that of a plant which, to begin with, has green leaves only but subsequently both flower and fruit. Out of sentient soul, mind-soul and spiritual or consciousness-soul, man unfolds something like a flower of his being, holding it in readiness to receive a divine power that comes down to him from above—this power being the Spirit-Self which enables him to reach further stages along the path leading to the heights of evolution.

In men who were living at the time of Christ Jesus the intellectual or mind-soul had developed in the perfectly normal way as their highest soul-principle; but although the intellectual or mind-soul was not able to receive into itself the Spirit-Self, there was to develop, as the child of the intellectual soul, the spiritual or consciousness-soul into which the Spirit-Self could descend.

What was the expression used in the Mysteries when referring to this flower that was to unfold from man's own nature? How was this growth defined in the environment of Christ Jesus when it was a matter of indicating that the disciples were to make a true advance in their development? Translated into our language, the expression used was ‘Son of Man’. The Greek has by no means the restricted meaning of our ‘son’ as ‘son of a father’ but signifies the successor of a living being, an entity that evolves from a living being like the blossom or flower of a plant on which hitherto there have been leaves only. Hence in the era before normally developed men had unfolded the consciousness-soul as the flower of their nature they had nothing of the ‘Son of Man’ in them. But there must always be some who are in advance of their generation, who already bear within them in an earlier epoch the knowledge and potentialities of a later one. In the fourth epoch—when normally only the intellectual or mind-soul had developed—there would always have been some among the leaders of men who, although their outward appearance was similar to that of others, had already unfolded the seed of the spiritual or consciousness-soul into which the Spirit-Self sends its radiance.—And there were indeed such ‘Sons of Men’. Hence it behooved the disciples of Christ Jesus to recognize and learn to understand the nature of these leaders.

To test how far this was understood by His intimate disciples, Christ Jesus asked them: Tell me, of which human beings it can be said that they are ‘Sons of Men’ in this generation?—That is approximately how the question would have to be formulated in accordance with the original Aramaic text of St. Matthew's Gospel. (I have already said that although the Greek version, if it is thoroughly understood, is certainly better than that produced by any modern scholarship, a great deal was inevitably obscured in the process of translation from the Aramaic original.) We must picture Christ Jesus standing before His disciples and asking them: Which individuals of the previous generations in the Greco-Latin epoch are held to have been ‘Sons of Men’? The disciples then spoke of Elias, John the Baptist, Jeremias, and other prophets. Through the power transmitted to them by Christ the disciples knew that those leaders of men had been the recipients of forces enabling them to become bearers of the ‘Son of Man’. On the same occasion, the disciple who is usually called Peter, gave still another answer.

To understand this answer we must keep firmly in mind what has been said in these lectures about the mission of Christ Jesus as indicated in the Gospel of St. Matthew, namely that through the Christ Impulse it was possible for men to develop Ego-consciousness in the fullest sense, to bring to blossom what is implicit in the am'. In other words : even in the actual process of Initiation, men were in future to retain all along the paths leading into the higher worlds the full Ego-consciousness normally possessed only on the physical plane. This was made possible through Christ's existence on the Earth. We can therefore say: Christ Jesus is the representative, the embodiment, of the power which imparts to mankind full consciousness of the ‘I am.’

I have already called attention to the fact that the interpretations of the Gospels put forward by rationalists, let alone by declared sceptics, do not usually emphasize the points of real significance. It is insisted that certain phrases in the Gospels and other books of the Bible were in existence previously, for example the Beatitudes. But the shade of meaning that was not there previously—and this is the gist of the whole matter—is that what could not then be attained by the human being in full Ego-consciousness, could now be attained by him through the Christ Impulse! This is of the very greatest significance. I have spoken of each Beatitude and have shown that the words of the first should be: ‘Blessed are they who are beggars for the spirit’—because a man is poor in spirit who on account of the advancing evolution of human consciousness can no longer look into the spiritual world with the old clairvoyance. But to such men Christ gives this consolation and enlightenment: Although they can no longer see into the spiritual world with the organs of the old clairvoyance, vision of the world will now be possible through their own Ego, for through themselves they will find the Kingdoms of Heaven! So too the second Beatitude: ‘Blessed are they that mourn.’ They will no longer be dependent upon the faculty of the old clairvoyance for reaching the spiritual world, for they will now achieve this by developing their own Ego. But in order that this may come to pass the Ego must take into itself more and more of the power that was anchored once on Earth in a unique Being—in Christ.

Men of the modern age ought really to give a little thought to the following.—It is not for nothing that Greek words of vital importance occur in every Beatitude: Thus the first sentence, ‘Blessed are they who are beggars for the spirit’, should be followed by the words: ‘In themselves’—or ‘through themselves’—‘they will find the Kingdoms of Heaven.’ The words, ‘In themselves’ are always accentuated, in the second sentence, in the third, and so on.

Forgive me if by a trivial analogy I now call attention to something of importance at the present time. People will have to resolve not to apply the word ‘auton’—as in our automobile—to machines only or to take it in an entirely external sense. They will have to understand in a spiritual sense too the quality or activity implied by ‘self-engendered activity’. Our contemporaries would do well to take this admonition to heart. They welcome ‘self-engendered activity’ in machines, but they should also learn what this activity implies in regard to inner experience which in all the Mysteries was beyond the reach of Ego-consciousness until the time of the Christ Event. Through self-engendered activity, man himself is now able by degrees to become a creator. And this is what the men of to-day will learn to under-stand if they fill themselves with the Christ Impulse.

Keeping this in mind we shall realise that another question put by Christ Jesus to the disciples was of very special importance. He had first asked: Who among the leaders of a former generation could be called a ‘Son of Man’?—and the disciples had spoken of certain individuals. He then put a further question, wishing to bring them gradually to the point of understanding His own nature, of understanding what He represented in regard to Egohood. This is implicit in the other question: ‘But whom say ye that I am?’ (Matt. XVI, 15). (Special importance must in every instance be attached to the words ‘I am’ in the Gospel of St. Matthew.) The answer given by Peter showed that he now recognized Christ not only as a ‘Son of Man’ but as the ‘Son of the living God’—and this translation can well be retained.

What is the difference between ‘Son of the living God’ and ‘Son of Man’? To understand this, certain facts already known to us must be elaborated.

As man evolves, the spiritual or consciousness-soul develops in him; in the consciousness-soul the Spirit-Self can become manifest. But when the consciousness-soul has developed in a man, Spirit-Self, Life-Spirit and Spirit-Man must as it were come towards him, in order that this opening flower of his being may receive the higher triad. This ascent of man can also be likened to the development and growth of a plant.

Man's being comes to flower in the spiritual or consciousness-soul and Spirit-Self or Manas, Life-Spirit or Budhi, and Spirit-Man or Atma, stream towards him. This may be likened to a process of spiritual fertilization from above. Whereas man grows upwards from below with the other members of his being, unfolding the flower that is the ‘Son of Man’, if he is to progress even further and acquire full Ego-consciousness there must come to him from above the gift of Spirit-Self, Life-Spirit and Spirit-Man. And who is the representative of this gift from above, pointing to what man's nature will be in a far, far distant future? The first gift received is the Spirit-Self. He who receives the Spirit-Self coming from above—of whom is he the representative? He is the representative, the Son, of the God who lives, the Son of the Life-Spirit, the Son of the living God!

And now Christ Jesus asks: What is it that must come to men through my impulse?—It is the life-giving, Spirit-principle from above! Thus a distinction must be made between the Son of Man who has grown upwards from below the Son of God, the Son of the living God, who comes down from above. But the difficulty of this question for the disciples will be apparent to you when you realise that they were the very first to receive what the simplest of men since the time of Christ Jesus have received through the Gospels. It was only the living forces of Christ Jesus that enabled the disciples to assimilate all this teaching. The faculties they had already developed were not capable of answering the question: Of whom am I myself the representative? The Gospel then records that one of the disciples, Peter by name, gave the answer: ‘Thou art the Christ, the Son of the living God!’ At the moment of its utterance, this was an answer that did not issue from Peter's normal spiritual faculties.

Let us try to picture the scene vividly.—As He gazed at Peter, Christ Jesus realised the great significance of the fact that there should have come from this mouth an answer pointing to an immeasurably distant future. And then, perceiving the actual range of Peter's consciousness and of powers sufficiently developed to enable him to give such an answer through his intellect or through faculties acquired at stages leading to Initiation, Christ Jesus was bound to affirm: This answer does not spring from Peter's conscious knowledge; it is those deeper powers, only gradually transformed by man into conscious powers, that arc speaking here.

Through transforming the forces of our astral, etheric and physical bodies we rise to Spirit-Self, Life-Spirit and Spirit-Man. This is an elementary teaching of Spiritual Science. The forces We shall eventually unfold in the astral body as Spirit-Self are already within the astral body, but they are there by the grace of divine-spiritual Powers; their development is not due to our own efforts and activity. So too there is divine Life-Spirit within our etheric body. Hence Christ says to Peter: It is not what is in your consciousness at this moment that spoke from your mouth, but something you will develop only in the future, something that is indeed within you but of which as yet you know nothing. What is part of your flesh and blood is not yet capable of uttering the words: ‘Thou art the Christ, the Son of the living God.’ Divine-spiritual powers lying deeply below the threshold of consciousness—indeed the very deepest powers in human nature—were speaking out of you at that moment.—It was the mysterious higher Powers in Peter—called by Christ the ‘Father in Heaven’—the Powers out of which Peter had indeed been born but of which he was not yet conscious, that spoke out of him. Hence the saying: ‘This has been revealed to you by the Father in Heaven, not by what you are at present as a man of flesh and blood.’

In these circumstances Christ was bound to say to Himself: ‘In Peter I have a disciple whose whole constitution is such that the Father-power within him has not yet been touched by forces already engendered by consciousness, by the operations of spiritual activity; this subconscious power is so strong in Peter that it can be his sure foundation when he surrenders himself to it. This is the important quality in him. It is also present in every human being, but will be raised into the conscious state only in the future. If what I have to impart to mankind, if that for which I am the impulse, is to unfold and lay hold of men, it must be founded upon the utterance made through the mouth of Peter: ‘Thou art the Christ, the Son of the living God!’ Upon this rock in human nature, unharmed as yet by the surging waves of consciousness, upon the Father-power voicing itself in those words, I will build what must spring with ever-increasing strength from my impulse.’—

When this foundation is established, the humanity embodying the Christ Impulse will arise.—This is implicit in the words: ‘Thou art Peter, and upon this rock I will build that which can create a community of men faithful to the Christ Impulse!’

Glib discussions and debates about these words in St. Matthew's Gospel take place to-day, for nearly all over the world they are the subject of controversy. They must indeed not be taken lightly. They can be understood only when their meaning is drawn from the depths of the wisdom that is the wisdom of the Mysteries.

And now something else is indicated, namely that Christ Jesus does indeed build upon the deeper, subconscious power in Peter. Immediately afterwards He begins to speak of what is about to befall, and of the Mystery of Golgotha. The moment has already passed when the deeper nature in Peter was speaking; he now gives utterance to what has already become conscious in him. Now he cannot understand what Christ means, cannot believe that suffering and death are to ensue. And when the Peter who has developed his own conscious faculties is speaking, Christ must reprove him, saying: This is not uttered by a Divinity within you but by faculties you have developed in yourself as a human being; what these faculties have here produced is worthless, for its source is delusion; it comes from Ahriman, from Satan!—This is implied in the words: ‘Get thee behind me, Satan. Thou art an offence unto me; for thou savourest not the things that be of God but those that be of men.’ (Matt. XVI, 23). Christ uses the word ‘Satan’ for Ahriman, whereas elsewhere in the Bible the word ‘Devil’ applies to everything of a Luciferic nature. Christ uses the right word for the delusion to which Peter succumbs.

Such is the truth. But what does modern Bible exegesis make of these episodes? It has realised that Christ Jesus cannot have said to Peter at one minute: ‘You alone have recognized that a God is standing before you!’ and have called him ‘Satan’ the next. So some critics conclude that the word ‘Satan’ must have been interpolated at a later time and is therefore a falsification.—The fact of the matter is that the meaning attributed to this by modern philological research makes current opinion on the subject quite worthless. Only on the basis of a fundamental understanding of the Bible is it possible for any authentic statement to be made about the origins of the texts in question.

But between the two sayings I have quoted there is another, intelligible only in the light of an ancient, yet ever, new Mystery-teaching: that man as he is on Earth—not only the individual but every community of men—is a mirror-image of processes in the Macrocosm. Mention was made of this when we were speaking of the genealogy of Jesus of Nazareth. It was explained that the meaning of the words spoken to Abraham was: ‘Thy descendants shall be an image of the order of the stars in heaven.’ The order of the twelve constellations and of the movement of the planets through the Zodiac was to be repeated in the twelve tribes and in the history of the Hebrew people through three times fourteen generations. Thus in the sequence of the generations and the special heredity resulting from the blood-ties in the twelve tribes, there was to be an image of macrocosmic conditions. Such was the declaration made to Abraham.

At the moment when Peter, whose deeper nature had been able to understand that the Christ Impulse signified the down-flow of spiritual power through the Son of the living God—at that moment Christ knows that He can speak to those around Him of the beginning of something new arising on the Earth. Whereas it had been declared to Abraham that the image of cosmic conditions was to be formed by blood-kinship, this image was now to be replaced by one formed by relationships of an ethical, moral and spiritual character, giving expression to what man can attain through his Ego. When men understand, as the deeper nature in Peter understood, what the Christ truly is, they will not establish communities and institutions based entirely on the blood-tie but communities where the bond of love is woven from soul to soul. Just as in the blood of the Hebrew people and in the threads running through the generations, that which was ordained to be bound together in the human race was bound together and that which was ordained to be loosed was loosed according to the pattern of the Macrocosm, so there was now to arise through the conscious Ego, in the form of ethical, moral and spiritual relationships, the force that either looses the ties between human beings or binds them together in love. Human institutions were now to be created or harmonized by the conscious Ego. This is the meaning of the words spoken by Christ Jesus in continuation of the answer He had given to Peter: ‘Whatever you bind on Earth—whatever thc deeper nature in you binds—that shall be bound in Heaven, and whatever the same deeper nature in you looses on the Earth below, shall also be loosed in Heaven’ (see Matt. XVI, 19).

In ancient times the all-important factor in associations among human beings was blood-relationship. But men must now grow to the stage where the ties of real significance are of a spiritual, moral and ethical character. From this it follows that a community must mean something for an individual who has been a contributory factor in the founding of it. In the sense of Anthroposophy, we can say: the karma of the individual must be merged with the karma of communities. This will be known to you from what has been said in recent years. The idea of karma is not repudiated when I give something to one who is needy, nor when the karma. of an individual is shouldered for him by the community. The community can help to bear the fate of the individual. In other words, the following may happen in the moral sphere. A single member of a community commits a wrong. This will quite certainly be inscribed in his personal karma and be worked out in the great setting of world-existence. But someone else may come forward and say: ‘I will help you to work out this karma!’—The karma must be fulfilled, but the other person can help; whole communities can help the one who has committed a wrong. The karma of an individual may be so interwoven with the community that the community, regarding him as a member, deliberately shoulders§ the burden of his destiny, feeling for him and resolving that his lot shall be ameliorated. The attitude of the community may be: You, as an individual, have done wrong, but we will enter the lists for you; we take upon ourselves whatever will bring about the adjustment of your karma!—If ‘church’ is substituted for ‘community’, this means that the church assumes the obligation to take upon itself the sins of the individual, to share the burden of his karma. It is not a matter of what is to-day called ‘forgiveness of sins’, but of a real bond, an acceptance of the burden of sins. And the essential point is that the community consciously accepts this burden.

If the ‘binding’ and ‘loosing’ are understood in thiS sense, every case of forgiveness of Sins would entail an obligation on the part of the community. Thus a web is spun by the threads of individual karma being woven into the karma of the whole community. And this web, through what Christ brought down from the heights of the Spirit, is to be an image of the order prevailing in Heaven; that is to say, the karma of the individual is not to be bound with the collective karma in any fortuitous way but so that the community as an organism shall become an image of the order prevailing in Heaven.

This scene of Peter's avowal now begins to reveal an infinitely profound meaning to those who have a dawning understanding of it. It denotes the founding of thc humanity of the future—a humanity based upon the Ego-nature in man. What takes place in this intimate conversation between Christ and those who were closest to Him is that Christ transmits the power He Himself has brought from the Macrocosm to what the disciples are to establish. And from this point onwards the Gospel of St. Matthew recounts how the disciples are led upwards, step by step, to the stage where the powers of the Sun and of the Cosmos gathered together in the Christ Being can flow into them. We know that one form of Initiation is an expansion into the Macrocosm. And because Christ Himself is the impulse in this Initiation, He leads His disciples out into the Cosmos. While an individual aspirant is undergoing the process of this Initiation he passes consciously into the Macrocosm, gathering knowledge of it by degrees. Christ descends as it were from the Macrocosm, makes manifest its instreaming forces and conveys them to thc disciples.

In one part of the lecture yesterday I indicated how this takes place. Let us picture the scene as graphically as possible. While a man is asleep his physical and etheric bodies lie in the bed while his astral body and Ego pass out into the Cosmos and the forces of the Cosmos pour into these members of his being. If Christ were now to approach, He would be the One who consciously draws these forces to the sleeping man and illumines him. This is exactly what happens in a scene described in the Gospel. The disciples are in a ship in the fourth watch of the night. Then they see that the figure they had at first taken to be a spirit, is Christ, who enables the forces and power of thc Macrocosm to flow into them. How He leads the disciples to the stage where they can receive the forces of the Macrocosm is clearly portrayed.

The next scenes in St. Matthew's Gospel show how Christ leads the disciples step by step along the path taken by every would-be Initiate. It is as if Christ Himself is treading this path, leading His disciples by the hand to Initiation.—I will now say something that will enable you to realise how the disciples are led stage by stage into the Macrocosm.

Many things previously beyond man's ken become known to him through visions of the spiritual world, through clairvoyant faculties. Thus, for example, he is able to recognize the actual processes operating in the growth of plants. A materialist will say of a plant: Here I have a flower—let us say it is a fruit-bearing plant—and a seed will form in it. The seed can be extracted and laid in the soil; the grain eventually dissolves and a new plant, again bearing seed, appears. And so the process continues. Something passes over from the dissolving grain of seed into the new plant.—A materialist cannot possibly think otherwise than that something material, however minute, passes over. But it is not so. The truth is that in respect of its material, its substance, the old plant is entirely destroyed. A jump (Sprung) takes place and the new plant is an entirely new formation—in respect of material substance an absolutely new formation.

Facts of the very greatest importance are recognized and understood when this remarkable law is grasped. Jumps do actually occur in material conditions. This was expressed in the Mysteries in a very definite way. It was said: In passing into the Cosmos the aspirant for Initiation must at a certain stage acquire knowledge of the forces that bring about these ‘jumps’. Now certain processes in the Cosmos can be understood if the constellations are used as means of indication. The constellations are then like letters of a script. When we pass into the Cosmos in a particular direction we come to know the jumps that occur from forefather to successor—whether it be in the plant, animal or human kingdoms, or even in the realm of planetary existence. At the transitions of Saturn-evolution to Sun-evolution, of Sun-evolution to Moon-evolution, of Moon-evolution to Earth-evolution, everything material passed away. The spiritual remained and it was the spiritual that brought about the jumps. In small things and in great it is the same.

Two symbols have been used for this principle, one ancient and of a more pictorial, imaginative character, and another rather newer. You can find the newer symbol in calendars. As evolution advances, the past curls inwards like a vortex and the new phase emerges as a second vortex, unfolding from within outwards and leading on further. But the new phase is not actually joined to the old; between the end of the old phase and the beginning of the new there is a little ‘jump’ or ‘gap’ and only then does the process of evolution continue.

In the above figure we have two intertwining vortices and between them a little gap. This is the zodiacal sign of Cancer, symbolizing the process of growing out into the Macrocosm and the birth of a new shoot in some phase of evolution.

This principle was also represented by another symbol. Strange as it may seem to you, the symbol was an ass and its foal, the forefather and his offspring. This was meant to represent the actual transition from one condition to the other. Ancient delineations of the constellation of Cancer often consist of the figure of an ass and its foal. To know this is by no means without importance. It helps us to understand that another significant transition takes place when a man is rising to the stage leading into the spiritual world but must then be prepared for entirely new revelations. The stellar symbol correctly indicates this by portraying how when the physical sun passes through the constellation of Cancer and reaches the zenith, it descends again. And when the aspirant for Initiation first makes the ascent into the spiritual world and has acquired knowledge of its forces, he brings them down again in order to turn them to the service of humanity.

The Gospel of St. Matthew and the other Gospels too, tell how Christ Jesus presents this truth to the disciples. The way in which the story is told indicates that He is not using words alone but is presenting to them the Imagination, the living picture, of what He Himself is accomplishing as He approaches the height to which evolving humanity must in time ascend. He uses the image of the ass and its foal; that is to say, He guides the disciples towards an understanding of what corresponds in the spiritual life to the constellation of Cancer. This is a picture of something that has come to pass in the living, spiritual relationship between Christ and His disciples. So great is its majesty and its splendour that it cannot be expressed in the words of any human language but only through Christ Himself initiating the disciples into the conditions prevailing in the spiritual world and creating in physical conditions images of the Macrocosm He leads them to the point where the powers of one who is initiated become, in turn, of service to mankind. He is standing at the height that can only be indicated by the image of the Sun at the zenith of the sign of Cancer! No wonder that this chapter (XXI) of the Gospel of St. Matthew points to the supreme height now reached in Christ's earthly life, triumphantly proclaimed by the words: ‘Hosanna in the highest!’ Everything is ordained to the end that through what has here come to pass the disciples may grow to the stage where through the powers working in them there may unfold in men what Christ Jesus has brought into the evolution of humanity.

The story of the feast of the Passover is nothing else than an account of the living influx of the power that was to stream into the disciples, first as teaching and then into humanity as if by magic, as an outcome of the Mystery of Golgotha. It is in this light that the continuation of the story, in the Gospel of St. Matthew is to be understood. Then we shall also realise that the writer of the Gospel was perpetually conscious of the need to point to the contrast between the living teaching brought from cosmic heights and imparted to the disciples, and the teaching suitable for those who were not yet ready to receive the forces of Christ Jesus Himself. Hence the utterances in the conversations with the Scribes and Pharisees which we shall be studying tomorrow. To-day, however, we will remind ourselves that after Christ Jesus has guided His disciples as far as possible along the path leading to the goal of all aspirants for Initiation, He holds out thc prospect that if they tread this path they themselves will pass into the spiritual world, into the Macrocosm. He tells them that they have within them the qualities necessary for subsequent Initiation, that Initiation is in store for them and that they will find the way into that world where they will recognize Christ more and more clearly as the Being who fills all spiritual space and was imaged in Jesus of Nazareth. Christ says to His disciples that they are approaching this Initiation, that they will become Initiates of humanity. He reminds them too that individual Initiation can be attained only if by dint of patience and endurance the inner nature is allowed to mature.

What is it that must grow in man's inner nature as its forces increase in strength and he develops a higher form of clairvoyance? His qualities must mature to the stage where he can receive into himself the forces of Spirit-Self, Life-Spirit and Spirit-Man. But when the power that makes him an Initiate, a participant in the Kingdoms of Heaven, will stream into him from above, depends upon the moment when he can become fully mature; it depends upon the karma of the individual. Who knows when the moment has come? It is known only to the very highest initiates, not to those at lower stages of Initiation. For any individuality who is ready to reach the spiritual world, the hour comes when he does so. Assuredly the hour comes, but in such a way that he is not aware of it—it comes like a thief in the night !

How does a man reach the spiritual world? In the ancient Mysteries—and in a certain respect it is so in the new—there were three stages of Initiation into the Macrocosm. When the first stage had been attained by the aspirant, the powers of the Spirit-Self became active in him and now he was not only a new man but had become one whose nature was said to be that of an ‘Angel—that is to say, a Being of the Hierarchy immediately above man. In the Mysteries of ancient Persia, a man possessing the powers of the Spirit-Self was called a ‘Persian’ because he was no longer a separate individual but belonged to the Angel of the Persian people. At the next stage of Initiation the Life-Spirit awakens. A man who had reached this stage was called a ‘Sun Hero’ in the Persian Mysteries, because he had developed to thc stage where he could receive the spiritual forces of the Sun streaming towards the Earth. But such a man was also called a ‘Son of the Father’. And one with whom Atma, or Spirit-Man, had made contact was called ‘Father’ in the ancient Mysteries. The three stages of Initiation were: Angel, Son or Sun Hero, Father.

Only the very highest Initiates, they and they alone are able to judge when the moment of Initiation can be reached. Hence Christ speaks to the following effect.—Initiation will be attained if you go forward on the paths along which I have led you. You will rise into the Kingdoms of Heaven, but the hour is known neither to the Angels in whom the Spirit-Self is working, neither to the Son in whom the Life-Spirit has awakened, but only to the very highest Initiates, those in whom the Father-principle is active.

Here again the words of St. Matthew's Gospel (XXIV, 36) are in absolute conformity with the tradition originating in the Mysteries. And we shall find that the proclamation of the Kingdom of Heaven is nothing else than the prediction to the disciples that they will experience initiation. Christ Jesus indicates this very clearly in the text of the Gospel of St. Matthew. If the relevant passage is correctly interpreted it is quite evident that Christ is referring to certain teachings in circulation at that time on the subject of reaching the Kingdoms of Heaven. Men had taken this in the material sense, believing that it applied to the whole Earth, whereas they ought to have known that the Kingdoms of Heaven are reached by a few individuals only, through their Initiation. In other words, the opinion was held by some that the Earth would be transformed in a material sense into Heaven. And Christ draws special attention to this by speaking of the coming of those who would proclaim it. He calls them false prophets and false Messiahs! How strange it is that even to-day a few so-called Gospel critics spread the fable that the prospect of an approaching material Kingdom of God was a teaching given by Christ Jesus Himself ! Anyone able to read the Gospel of St. Matthew correctly knows that Christ Jesus was referring to a spiritual happening within the eventual reach of one who is approaching Initiation, but in the course of Earth-evolution becoming accessible to all those members of humanity who cleave to Him and in attaining higher stages of development bring about the spiritualisation of the Earth itself.

This aspect too must give us deeper insight into the structure of St. Matthew's Gospel. We shall then feel profound reverence for a Gospel from which, as from no other, we can learn unmistakably how the disciples of Christ Jesus were the first to receive teaching that was directed to the Ego itself. We picture Christ's disciples standing around Him and perceive how the forces of the Cosmos are working through the human body He bore. We picture Him guiding His disciples in a way that enables them to acquire the knowledge accessible to all who are approaching Initiation. We hear of human situations formed around Him. This is what makes St. Matthew's Gospel seem so near to us in a human sense. Through this Gospel we learn to know the man Jesus of Nazareth, the bearer of the Christ; we learn to know what Christ accomplished through His descent into the nature of Man. Even happenings in the heavenly worlds are presented in terms of human situations and relationships in the Gospel of St. Matthew.

In the final lecture tomorrow these things will be considered not only from the aspect of Initiation but from other aspects as well.

The two previous lectures were devoted to considerations intended to show how that tremendous change, which entered into the whole soul constitution of civilized mankind with the fifteenth century—that is, with the transition from the fourth to the fifth post-Atlantean period—continued to have an effect on outstanding personalities. Let me introduce today's lecture with a brief summary of these preceding considerations. I showed how intensely a personality such as Goethe sensed the continuing vibrations of the great change, how he sensed that it was a concrete experience to find intellectual reasoning entering into the human soul. He sensed that it was necessary to come to terms with the intellectual element of the soul and he also had an inkling of the direct intercourse between human beings and the spiritual world which had preceded this intellectual stage. Even though it was no longer as it had been in the days of ancient atavistic clairvoyance, there was nevertheless a kind of looking back to the time when human beings knew that it was only possible for them to find real knowledge if they stepped outside the world of the senses in order to see in some way the spiritual beings who existed behind the sense-perceptible world.

Goethe invested the figure of his Faust with all these things sensed in his soul. We saw how dissatisfied Faust is by stark intellectualism as presented to him in the four academic faculties:

I've studied now Philosophy
And Jurisprudence, Medicine,
And even, alas! Theology,
From end to end ...

He is saying in different words: I have loaded my soul with the whole complexity of intellectual science and here I now stand filled with the utmost doubt; that is why I have devoted myself to magic.

Because of dissatisfaction with the intellectual sciences, Goethe invests the Faust figure with a desire to return to intercourse with the spiritual world. This was quite clear in his soul when he was young, and he wanted to express it in the figure of Faust. He chose the Faust figure to represent his own soul struggles. I said that although this is not the case with the historical Faust of the legend, we could nevertheless find in Goethe's depiction of Faust that professor who might have taught at Wittenberg in the sixteenth or even in the seventeenth century, and who had, ‘Straight or crosswise, wrong or right’, led his scholars by the nose ‘these ten years long’. This hypothesis allows us to see how in this educational process there was a mixture of the new intellectualism with something pointing back to ancient days when intercourse with the spiritual world and with the spiritual powers of creation was still possible for human beings.

I then asked whether—apart from what is given us in the Faust drama—we might also, in the wider environment, come up against the effects of what someone like Faust could have taught in the fifteenth, sixteenth, seventeenth centuries. And here we hit upon Hamlet, about whom it could be said: The character which Shakespeare created out of Hamlet—who in his turn he had taken from Danish mythology and transformed—could have been a pupil of Faust, one of those very students whom Faust had led by the nose ‘these ten years long’. We see Hamlet interacting with the spiritual world. His task is given to him by the spiritual world, but he is constantly prevented from fulfilling it by the qualities he has acquired as a result of his intellectual education. In Hamlet, too, we see the whole transition from the fourth to the fifth post-Atlantean period.

Further, I said that in the whole mood and artistic form of Shakespeare's plays, that is, in the historical plays, we could find in the creativity of the writer of Shakespeare's plays the twilit mood of that time of transition. Then I drew your attention to the way in which Goethe and Schiller in Central Europe had stood in their whole life of soul within the dying vibrations of the transition, yet had lacked, in a certain sense, the will to accept what the intellectual view of the world had since then brought about in the life of human beings. This led them back to Shakespeare, for in his work—Hamlet, Macbeth and so on—they discovered the capacity to approach the spiritual world; from his vantage point, they could see into the world of spiritual powers which was now hidden from the intellectual viewpoint.

Goethe did this in his Götz von Berlichingen by taking the side of the dying echoes of the old time of the fourth post-Atlantean period and by rejecting what had come into being through intellectualism. Schiller, in the dramas of his youth, especially in Die Räuber (The Robbers), goes back to that time—not by pointing to the super-sensible world, but by endeavouring to be entirely realistic, yet putting into the very words characterizing Karl Moor something which echoes the luciferic element that is also at work in Milton's Paradise Lost.¹ In short, despite his realism, we detect a kind of return to a conception of reality which allows the spiritual forces and powers to shine through.

I indicated further that, in the West, Shakespeare was in a position—if I may put it like this—to work artistically in full harmony with his social environment. Hamlet is the play most characteristic of Shakespeare. Here the action is everywhere quite close to the spiritual world, as it is also in Macbeth. In King Lear, for instance, we see how he brings the super-sensible world more into the human personality, into an abnormal form of the human personality, the element of madness. Then, in the historical dramas about the kings, he goes over more into realism but, at the same time, we see in these plays a unique depiction of a long drawn-out dramatic evolution influenced everywhere by the forces of destiny, but culminating and coming to an end in the age of Queen Elizabeth.

The thing that is at work in Shakespeare's plays is a retrospective view of older ages leading up to the time in which he lives, a time which is seen to be accepted by him. Everything belonging to older times is depicted artistically in a way which leads to an understanding of the time in which he lives. You could say that Shakespeare portrays the past. But he portrays it in such a way that he places himself in his contemporary western social environment, which he shows to be a time in which things can take the course which they are prone to take. We see a certain satisfaction with regard to what has come about in the external world. The intellectualism of the social order is accepted by the person belonging to the external, physical earthly world, by the social human being, whereas the artistic human being in Shakespeare goes back to earlier times and portrays that aspect of the super-sensible world which has created pure intellectualism.

Then we see that in Central Europe this becomes an impossibility. Goethe and Schiller, and before them Lessing, cannot place themselves within the social order in a way which enables them to accept it. They all look back to Shakespeare, but to that Shakespeare who himself went back into the past. They want the past to lead to something different from the present time in which they find themselves. Shakespeare is in a way satisfied with his environment; but they are dissatisfied with theirs.

Out of this mood of spiritual revolution Goethe creates the drama of Götz von Berlichingen, and Schiller the dramas of his youth. We see how the external reality of the world is criticized, and how in the artistic realm there is an ebbing and flowing of something that can only be achieved in ideas, something that can only be achieved in the spirit. Therefore we can say: In Goethe and Schiller there is no acceptance of the present time. They have to comfort themselves, so far as external sense-perceptible reality is concerned, with what works down out of the spiritual world. Shakespeare in a way brings the super-sensible world down into the sense-perceptible world. Goethe and Schiller can only accept the sense-perceptible world by constantly turning their attention to the spiritual world. In the dramas of Goethe and Schiller we have a working together of the spiritual with the physical—basically, an unresolved disharmony. I then said that if we were to go further eastwards we would find that there is nothing on the earth that is spiritual. The East of Europe has not created anything into which the spirit plays. The East flees from the external working of the world and seeks salvation in the spirit above.

I was able to clothe all this in an Imagination by saying to you: Let us imagine Faust as Hamlet's teacher, a professor in Wittenberg. Hamlet sits at his feet and listens to him, after which he returns to the West and accustoms himself once again to the western way of life. But if we were to seek a being who could have gone to the East, we should have had to look for an angel who had listened to Faust from the spiritual world before going eastwards. Whatever he then did there would not have resembled the deeds and actions of Hamlet on the physical plane but would have taken place above human beings, in the spiritual world.

Yesterday, I then described how, out of this mood, at the time when he was making the acquaintance of Schiller, Goethe felt impelled to bring the being of man closer to the spiritual world. He could not do this theoretically, in the way Schiller, the philosopher, was able to do in his aesthetic letters, but instead he was urged to enter the realm of Imagination and write the fairy-tale of the Green Snake and the Beautiful Lily. Then Schiller felt the urge to bring the external reality of human life closer to the spirit—I might say experimentally—in Wallenstein (Wallenstein's Camp), by letting a belief in the stars hold sway like a force of destiny over the personality of Wallenstein, and in Die Braut von Messina (Bride of Messina) by letting a destiny run its course virtually entwined with a belief in the stars. These personalities were impelled ever and again to turn back to the time when human beings still had direct intercourse with the spiritual world.

Further, I said that Goethe and Schiller lived at a time when it was not yet possible to find a new entry into the spiritual world from out of a modern soul constitution. Schiller in particular, with his philosophical bent, had he lived longer and finished the drama about the Knights of Malta, would have come to an understanding of how, in an order like this, or like that of the Templars, the spiritual worlds worked together with the deeds of human beings. But it was not granted to Schiller to give the world the finished drama about the Knights of Malta, for he died too soon. Goethe, on the other hand, was unable to advance to a real grasp of the spiritual world, so he turned back. We have to say that Goethe went back to Catholic symbolism, the Catholic cultus, the cultus of the image, though he did so in an essentially metamorphosed form. We cannot help but be reminded of the good nun Hrosvitha's legend of Theophilus² from the ninth century, when Goethe in his turn allows Faust to be redeemed in the midst of a Christianizing tableau. Although his genius lets him present it in a magnificently grand and artistic manner, we cannot but be reminded, in ‘The Eternal Feminine bears us aloft’, of the Virgin Mary elevating the ninth-century Theophilus.

An understanding of these things gives us deep insight into the struggle within intellectualism, the struggle in intellectualism which causes human beings to experience inwardly the thought-corpse of what man is before descending through birth—or, rather, through conception—into his physical life on earth. The thoughts which live in us are nothing but corpses of the spirit unless we make them fruitful through the knowledge given by spiritual science. Whatever we are, spiritually, up to the moment when earthly life begins, dies as it enters our body, and we bear its corpse within us. It is our earthly power of thought, the power of thought of our ordinary consciousness.

How can something that is dead in the spiritual sense be brought back to life? This was the great question which lived in the souls of Goethe and Schiller. They do not bring it to expression philosophically but they sense it within their feeling life. And they compose their works accordingly. They have the feeling: Something is dead if we remain within the realm of the intellect alone; we must bring it to life. It is this feeling which makes them struggle to return to a belief in the stars and to all sorts of other things, in order to bring a spiritual element into what they are trying to depict. It is necessary for us to be aware of how the course of world evolution is made manifest in such outstanding personalities, how it streams into their souls and becomes the stuff of their struggles. We cannot comprehend our present time unless we see that what this present time must strive for—a new achievement of the spiritual world—is the very problem which was of such concern for Goethe and Schiller.

What happened as a result of the great transition which took place in the fifteenth century was something of which absolutely no account is taken in ordinary history. It was, that the human being acquired an entirely different attitude towards himself. But we must not endeavour to capture this in theoretical concepts. We must endeavour to trace it in what human beings sensed; we must find out how it went through a preparation and how it later ran its course after the great change had been fulfilled in its essential spiritual force.

There are pointers to these things at crucial points in cultural evolution. See how this comes towards us in Wolfram von Eschenbach's Parzival.³ You all know the story. You know how crucial it was for the whole of Parzival's development that he first of all received instruction from a kind of teacher as to how he was to go through the world without asking too many questions. As a representative of that older world order which still saw human beings as having direct intercourse with the spiritual world, Gurnemanz says to Parzival: Do not ask questions, for questioning comes from the intellect, and the spiritual world flees from the intellect; if you want to approach the spiritual world you must not ask questions.

But times have changed and the transition begins to take place. It is announced in advance: Even though Parzival goes back several more centuries, into the seventh or eighth century, all this was nevertheless experienced in advance in the Grail temple. Here, in a way, the institutions of the future are already installed, and one of them is that questions must be asked. The essential point is that with the transition from the fourth to the fifth post-Atlantean period the situation of the human being changes. Previously it was inappropriate to ask questions because conditions held sway about which Goethe speaks so paradoxically:

The lofty might
Of Science, still
From all men deeply hidden!
Who takes no thought,
To him 'tis brought,
'Tis given unsought, unbidden!

In those times it was right not to ask questions, for that would have driven away the spirits! But in the age of the intellect the spiritual world has to be rediscovered through the intellect and not by damping down the processes of thought. The opposite must now come into play; questions must be asked. As early as Parzival we find a portrayal of the great change which brings it about in the fifth post-Atlantean period that the longing for the spiritual world now has to be born out of the human being in the form of questions to be formulated.

But there is also something else, something very remarkable, which comes to meet us in Parzival. I should like to describe it as follows. The languages which exist today are far removed from their origins, for they have developed as time has gone on. When we speak today—as I have so often shown—the various combinations of sounds no longer remind us of whatever these combinations of sounds denote. We now have to acquire a more delicate sense for language in order to experience in it all the things that it signifies. This was not the case where the original languages of the human race were concerned. In those days it was known that the combination of sounds itself contained whatever was experienced in connection with the thing depicted by those sounds. Nowadays poets seek to imitate this. Think, for instance, of ‘Und es wallet und siedet und brauset und zischt’.⁴ Poetic language has here imitated something of what the poet wants us to see externally. But this is mere derived imitation. In olden times every single sound in language was felt to have the most intimate connection with what was happening all around. Today only some local dialects can lay claim to giving us some sense for the connection between external reality and the words spoken in dialect. However, language is still very close to our soul—it is a special element in our soul.

It is another consequence of the transition from the fourth to the fifth post-Atlantean period that this has become deposited as something very deeply sensed within the human soul, again a fact which is left out of account by both philology and history. The fact that in the fourth post-Atlantean period human beings lived more within their language and that in the fifth post-Atlantean period this is no longer the case, brings about a different attitude by human beings towards the world. You can understand that human beings with their ego are linked quite differently to what is going on around them if, in using language, they go along with all the rushing of waves, the thundering and lightning, and whatever else is happening out there. This becomes ever more detached as the transition from the fourth to the fifth post-Atlantean period progresses. The ego becomes more inward, and language together with the ego also becomes more inward, but at the same time less meaningful as regards external matters. Such things are most certainly not perceived by the knowledge of today, which has become so intellectual. There is hardly any concern to describe such things. But if what is taking place in mankind is to be correctly understood, they will have to be described.

Imagine what can come into being. Imagine vividly to yourselves, here the fourth post-Atlantean period, and here the fifth. The transition is of course gradual, but for the sake of explanation I shall have to talk in extremes. In the fourth post-Atlantean period you have here the things of the world (green). The human being with his words, depicted within him, here in red, is still connected with the things. You could say he 'lives over' into the things through the medium of his words. In the fifth post-Atlantean period the human being possesses his words within his soul, separated off from the world.

Imagine this clearly, even almost in grotesque detail. Looking at the human being here in the fourth post-Atlantean period, you might say of him that he still lives with the things. The things he does in the outside world will proceed to take place in accordance with his words. If you see one of these human beings performing a deed, and if at the same time you hear how he describes the deed, there is a harmony between the two. Just as his words are in harmony with external things, so are his deeds in harmony with the words he speaks. But if a human being in the fifth post-Atlantean period speaks, you can no longer detect that his words resound in what he does. What connection with the deed can you find today in the words: I have chopped wood! In what is taking place out there in the activity of chopping we can no longer sense in any way a connection with the movement of the chopper. As a result, the connection with the sounds of the words gradually disappears; they cease to be in harmony with what is going on outside. We no longer find any connection between the two. So then, if someone listens pedantically to the words and actually does

what lies in the words, the situation is quite different. Someone might say: I bake mice. But if someone were actually to bake mice, this would seem grotesque and would not be understood.

This was sensed, and so it was said: People ought to consider what they actually have in their soul in conjunction with what they do externally; the relationship between the two would be like an owl looking in a mirror! If someone were to do exactly what the words say, it would be like holding up a mirror to an owl. Out of this, in the second half of the fourteenth century, Till Eulenspiegel arose.⁵ The owl's mirror is held up in front of mankind. It is not Till Eulenspiegel who has to look in the mirror. But because Till Eulenspiegel takes literally what people say with their dry, abstract words, they suddenly see themselves, whereas normally they do not see themselves at all. It is a mirror for the owls because they can really see themselves in it.

Night has fallen. In past times, human beings could see into the spiritual world. And the activity of their words was in harmony with the world. Human beings were eagles. But now they have become owls. The world of the soul has become a bird of the night. In the strange world depicted by Till Eulenspiegel, a mirror is held up before the owl.

This is quite a feasible way of regarding what appears in the spiritual world. Things do have their hidden reasons. If we fail to take note of the spiritual background, we also fail to understand history, and with it the chief factor in humanity today. It is especially important to depart from the usual external characterization of everything. Look in any dictionary and see what absurd explanations are given for Eulenspiegel! He cannot be understood without entering into the whole process of cultural and spiritual life. The important thing in spiritual science is to actually discover the spirit in things, not in a way that entails a conceptual knowledge of a few spiritual beings who exist outside the sense-perceptible world, but in a way which leads us to an ability to see reality with spiritual eyes.

The change which took place, between the time when human beings felt themselves to be close to the spiritual world and the later time when they felt as though they had been expelled from that world, can be seen in other areas too. Try to develop a sense for the profound impulse which runs through something like the Parzival epic. See how Parzival's mother dresses him in a simpleton's clothes because she does not want him to grow up into the world which represents the new world. She wants him to remain in the old world. But then he grows up from the sense-perceptible world into the world of the spirit.

The seventeenth century also possesses a kind of Parzival, a comical Parzival, in which everything is steeped in comedy. In the intellectualistic age, if one is honest, one cannot immediately muster the serious attitude of soul which prevails in Parzival. But the seventeenth century too, after the great change had taken place, had its own depiction of a character who has to set out into the world, lose himself in it, finally ending-up in solitude and finding the salvation of his soul. This is Christoffel von Grimmelshausen's Simplicissimus.⁶ Look at the whole process of the story. Of course you must take the whole tone into account, on the one hand the pure, perhaps holy mood of Parzival, and on the other the picaresque, comical mood. Consider Simplicissimus, the son of well-to-do peasants in the Spessart region. In the Thirty Years’ War their house is burnt down. The son has to flee, and finds his way to a hermit in the forest who teaches him all kinds of things, but who then dies. So here he is, abandoned in the world and having to set off on his travels. He becomes immersed in all the events and blows of fate offered by the Thirty Years’ War. He arrives at the court of the governor of Hanau. Externally he has learnt nothing, externally he is a pure simpleton; yet he is an inwardly mature person for all that. But because externally he is a pure simpleton the governor of Hanau says to himself: This is a simpleton, he knows nothing; he is Simplicissimus, as naive as can be. What shall I train him to be? I shall train him to be my court fool.

But now the external and the internal human being are drawn apart. The ego has become independent in respect of the external human being. It is just this that is shown in Simplicissimus. The external human being in the external world, trained to be the court fool, is the one who is considered by all and sundry to be a fool. But in his inner being Simplicissimus in his turn considers all those who take him for a fool to be fools themselves. For although he has not learnt a thing, he is nevertheless far cleverer than all those who have made him into a fool. He brings out of himself the other intellectuality, the intellectuality that comes from the spirit, whereas what comes to meet him from outside is the intellectuality that comes from reasoning alone. So the intellectualists take him for a fool, and the fool brings his intellectualism from the spiritual world and holds those who take him for a fool to be fools themselves. Then he is taken prisoner by some Croats, after which he roams about the world undergoing many adventures, until finally he ends up once more at the hermitage where he settles down to live for the salvation of his soul.

The similarity between Simplicissimus and Parzival has been recognized, but the crucial thing is the difference in mood. What in Parzival's case was still steeped in the mind-soul has now risen up into the consciousness soul. Now caustic wit is at work, for the comical can only have its origin in caustic wit. If you have a feel for this change of mood, you will be able to discover—especially in works which have a broader base than that of a single individuality—what was going on in human evolution. And Christoffel von Grimmelshausen did indeed secrete in Simplicissimus the whole mood, the whole habit of thought of his time. Similarly you can in a way find the people as a whole composing stories, and gathering together all the things which the soul, in the guise of an owl, can see in the mirror, and which become all the tall tales found in Till Eulenspiegel.

It would be a good thing, once in a while, to go in more detail into all these things, not only in order to characterize the various interconnections. I can only give you isolated examples. To say everything that could be said I should have to speak for years. But this is not really what matters. What is crucial is to come closer to a more spiritual conception of these things. We have to learn to know how things which are presented to us purely externally are also connected with the spirit. So we may say: That tremendous change which took place in the transition from the fourth to the fifth post-Atlantean period can be seen everywhere, vibrating through the cultural and spiritual evolution of mankind. As soon as you step back a bit from this turning- point of time, you come to see how all the different phenomena point to the magnititude of the change.

Only by taking the interconnections into account is it possible to understand what lies hidden in the figures brought by spiritual and cultural life out of the past and into the present. Take Lohengrin, the son of Parzival. What does it mean that Elsa is forbidden to ask after his name and origin? People simply accept this. Not enough deep thought is given to the question as to why she is forbidden to ask, for usually there are two sides to everything. Certainly this could also be described differently, but one important aspect may be stated as follows: Lohengrin is an ambassador of the Grail; he is Parzival's son. Now what actually is the Grail community? Those who knew the mystery of the Grail did not look on the Grail temple as a place solely for the chosen knights of the Grail. They saw that all those who were pure in heart and Christian in the true sense went to the Grail while they slept—while they were between sleeping and waking. The Grail was seen as the place where all truly Christian souls gathered while they slept at night. There was a desire to be apart from the earth. So those who were the rulers of the Grail also had to be apart from earthly life. Lohengrin, the son of Parzival, was one of these. Those who desired to work in accordance with the Grail impulse had to feel themselves entirely within the spiritual world. They had to feel that they belonged entirely to the spiritual world and certainly not at all to the earthly world. In a certain sense you could say that they had to drink the draught of forgetfulness.

Lohengrin is sent down from the Grail castle. He unites with Elsa of Brabant, that is with the people of Brabant. In the train of Heinrich I he sets out to fight the Hungarians. In other words, at the instigation of the Grail he carries out important impulses of world history. The strength he has from the Grail temple enables him to do this. When we go back to the fourth post-Atlantean period we find that all these things are different. In those days spiritual impulses played their part together with external impulses that could be comprehended by the intellect. This is hardly noticeable in the way history is told today.

We speak quite rightly today of meditative formulae, simple sentences which work in the human being's consciousness through their very simplicity. How many people today understand what is meant when history tells us that those required to take part in the Crusades—they took place in the fourth post-Atlantean period—were provided with the meditative formula ‘God wills it’ and that this formula worked on them with spiritual force. ‘God wills it’ was a kind of social meditation. Keep a look out for such things in history; you will find many! You will find the origins of the old mottos. You will discover how the ancient titled families set out on conquering expeditions under such mottos, thus working with spiritual means, with spiritual weapons. The most significant spiritual weapons of all were used by knights of the Grail, such as Lohengrin. But he was only able to use them if he was not met with recollections of his external origins, his external name, his external family. He had to transport himself into a realm in which he could be entirely devoted to the spiritual world and in which his intercourse with the external world was limited to what he perceived with his senses, devoid of any memories. He had to accomplish his deeds under the influence of the draught of forgetfulness. He was not allowed to be reminded. His soul was not permitted to remember: This is my name and I am a scion of this or that family. So this is why Elsa of Brabant is not allowed to question him. When she does, he is forced to remember. The effect on his deeds is the same as if his sword had been smashed.

If we go back beyond the time when everything became intellectual, so that people also clothed what had gone before in intellectual concepts, imagining that everything had always been as they knew it—if we go back beyond what belongs to the age of the intellect, we find the spiritual realm working everywhere in the social realm. People took the spiritual element into account, for instance, in that they took moral matters just as much into account as physical medicines.

In the age of the intellect, in which all people belong only to the intellect, whatever would they think if they found that moral elements, too, were available at the chemist's! Yet we need only go back a few centuries prior to the great change. Read Der arme Heinrich by Hartmann von Aue,⁷ who was a contemporary of Wolfram von Eschenbach. Before you stands a knight, a rich knight, who has turned away from God, who in his soul has lost his links with the spiritual world, and who thus experiences this moment of atheism which has come over him as a physical illness, a kind of leprosy. Everyone avoids him. No physician can cure him. Then he meets a clever doctor in Salerno who tells him that no physical medicine can do him any good. His only hope of a cure lies in finding a pure virgin who is prepared to be slain for his sake. The blood of a pure virgin can cure him of his illness. He sells all his possessions and lives alone on a smallholding cared for by the tenant farmer. The farmer has a daughter. She falls in love with the leprous knight, discovers what it is that alone can cure him, and decides to die for him. He goes with her to the doctor in Salerno. But then he starts to pity her, preferring to keep his illness rather than accept her sacrifice. But even her willingness to make the sacrifice is enough. Gradually he is healed.

We see how the spirit works into cultural life, we see how moral impulses heal and were regarded as healing influences. Today the only interpretation is: Ah, well, perhaps it was a coincidence, or maybe it is just a tale. Whatever we think of individual incidents, we cannot but point out that, during the time which preceded the fifteenth century, soul could work on soul much more strongly than was the case later; what a soul thought and felt and willed worked on other souls. The social separation between one human being and another is a phenomenon of intellectualism. The more intellectualism flourishes and the less an effort is made to find what can work against it—namely the spiritual element—the more will this intellectualism divide one individuality from another.

This had to come about; individualism is necessary. But social life must be found out of individualism. Otherwise, in the ‘social age’ all people will do is be unsociable and cry out for Socialism. The main reason for the cry for Socialism is that people are unsocial in the depths of their soul. We must take note of the social element as it comes towards us in works such as Hartmann von Aue's Der arme Heinrich. It makes its appearance in cultural works in which it can be sensed quite clearly through the mood. See how different is the mood in Der arme Heinrich. You cannot call it sentimental, for sentimentality only arose later when people found an unnatural escape from intellectualism. The mood is in a way pious; it is a mood of spirituality. To be honest about the same matters in a later age you have to fall back on the element of comedy. You have to tell your story as Christoffel von Grimmelshausen did in Simplicissimus, or as the people as a whole did in Till Eulenspiegel.

This sense of having been thrown out of the world is found everywhere, not only in poetic works arising out of the folk element. Wherever it appears, you find that what is being depicted is a new attitude of the human being towards himself. From an entirely new standpoint he asks: What am I, if I am a human being? This vibrates through everything. So from the new intellectual standpoint the question is asked over and over again: What is the human being? In earlier times people turned to the spiritual world. They truly sought what Faust later seeks in vain. They turned to the spiritual world when they wanted to know: What actually is the human being? They knew that outside this physical life on earth the human being is a spirit. So if he wants to discover his true being, which lives in him also in physical, earthly life, then he will have to turn to the spiritual world. Yet more and more human beings are failing to do this very thing.

In Faust Goethe still hints: If I want to know the spirit, I must turn to the spiritual world. But it does not work. The Earth Spirit appears, but Faust cannot recognize it with his ordinary knowledge. The Earth Spirit says to him: ‘Thou'rt like the Spirit which thou comprehendest, not me!’⁸ Faust has to turn away and speak to Wagner. In Wagner he then sees the spirit which he comprehends. Faust, ‘image of the Godhead’, cannot comprehend the Earth Spirit. So Goethe still lived in an age which strove to find the being of man out of the spiritual world. You see what came once Goethe had died. Once again people wanted to know what the human being is, this time on the basis of intellectualism. Follow the thread: People cannot turn to the spiritual world in order to discover what the human being is. In themselves, equally, they fail to find the answer, for language has meanwhile become an owl in the soul. So they turned to those who depicted olden times at least in an external fashion. What do we find in the nineteenth century?⁹ In 1836 Jeremias Gotthelf: Bauernspiegel; in 1839 Immermann: Oberhof, Die drei Mahlen, Schwarzwalder Bauern geschichten; George Sand: La Petite Fadette; in 1847 Grigorovich: Unhappy Anthony; in 1847-51 Turgeniev: Sportsman's Sketches.

We have here the longing to find in simple people the answer to the question: What is the human being? In olden times you turned to the spiritual world. Now you turned to the peasant. During the course of two decades the whole world develops a longing to write village stories in order to study the human being. Because people cannot recognize themselves, at best looking in the mirror as if they are owls, they turn to simple folk instead. What they can prove in every detail, from Jeremias Gotthelf to Turgeniev, is that everything is striving to get to know the human being. In all these village stories, in all these simple tales, the unconscious endeavour is to achieve a knowledge of man. From this kind of viewpoint spiritual and cultural life can become comprehensible.

This is what I wanted to show you in these three lectures, in order to illustrate the transition from the fourth to the fifth post-Atlantean period. It is not enough to describe this transition with a few abstract concepts—which is what was naturally done at first. Our task is to illumine the whole of reality with the light of the spirit through Anthroposophy. These lectures have beenan example of this.

• 1 . John Milton, 1608-1674. English poet and puritan politician. His epic poem Paradise Lost was finished by 1665.
• 2 . Lecture Twelve, Note 7
• 3 . Wolfram von Eschenbach, c.1170-1220. One of the greatest medieval German poets. Parzival was probably written between 1200 and 1210.
• 4 . #8216;And it bubbles and seethes, and it hisses and roars’, Der Taucher by Friedrich von Schiller, translated by E. Bulwer Lytton in The Poems and Ballads of Schiller, Leipzig 1844.
• 5 . Till Eulenspiegel, a popular German peasant jester, was supposed to have died in Winn in 1350. The first extant text of the chapbook in High German chronicling his escapades was published in 1515. The name ‘Eulenspieger means, literally, ‘owl's mirror’. (Tr.)
• 6 . Christoffel von Grimmelshausen, d.1676. German writer. Simplicissimus, published in 1669, is said to be the greatest German novel of the seventeenth century.
• 7 . Hartmann von Aue, c.1170-1213. Middle High German poet. Der arme Heinrich (Poor Henry).
• 8 . ‘Thou'rt like the spirit’: Faust Part One. The Study.
• 9 . Jerennas Gotthelf (A. Bitzius), 1797-1854; Karl Immermann, 1796-1840; George Sand (A.A.L. Dupin-Dudevant), 1804-1876; D.W. Grigorovich, 1818-1883; I.S. Turgeniev, 1818-1883.