The Rudolf Steiner Archive

A public lecture at the Stuttgart Art Building

When the spiritual science, the aims and nature of which I have been honored to present in lectures in Stuttgart every year for almost two decades, gained greater currency, namely when artistic work was created from this spiritual science, the intention arose to create a central building for this spiritual science that would be particularly appropriate for it, somewhere where it would be fitting. This idea has become a reality in that we performed the Mystery Dramas in an ordinary theater in Munich from 1909 to 1913. These plays were intended to be born out of the spirit of this anthroposophically oriented spiritual science in their entire structure and attitude.

What the supporters of this spiritual science had in mind, on the one hand, as the actual meaning of their world view, and, on the other hand, as the artistic expression of this world view, was initially brought about by the intention, just mentioned, to stage their own play, which was to be the representative, the outward representative of this spiritual science. In Munich, this did not succeed due to the lack of cooperation on the part of the relevant artists. Since I have set myself a different task today, I do not want to talk about everything that led to the construction of this building on a hill in a remote location in northwestern Switzerland, in the canton of Solothurn, where, at the time we began building, there were no restrictive building laws and one could build as one wished. As I said, all this has led to the fact that I do not want to go into it today. But I would like to talk about the sense in which the intention should be understood, especially for the spiritual science meant here.

When one speaks of world views, world view directions or world view currents, then one usually has in mind a sum of ideas that often have a more or less theoretical or popular character, but which mostly exhaust themselves in the fact that they simply want to express themselves through communication, through the mere word, and then at most expect from the world that the word, which is formulated in a certain way programmatically, is actually carried out in reality. From the outset, what is meant here as anthroposophically oriented spiritual science is not predisposed in the same way as other world views. It is, if I may express it this way, imbued from beginning to end with a sense of reality. That is why it had to lead, even in difficult times in this present age, to direct penetration into what the attempt at a social reconstruction of modern civilization is. If a world view that is more in the realm of ideas needs a structure of its own for its cultivation, then, depending on one's means, one usually contacts someone whom one assumes to be professionally capable of constructing a structure from the relevant styles. One contacts such a personality or a series of such personalities in order to then create, as it were, a house, a framework for the cultivation of such a worldview. However, this could not have corresponded to the whole structure of our anthroposophically oriented spiritual science, for the simple reason that this spiritual science is not something that expresses itself only in ideas, but because it wants to express itself in all forms of life.

Now I would like to use a simple comparison to suggest how this anthroposophically oriented spiritual science had to express itself in its own framework, both in terms of trees and in artistic terms. Take any fruit, let us say a nut. Inside the nut is the fruit, and around it is the shell. Let us first look at the hard shell inside the green shell. If you study the whole configuration, the shape of the nut shell, you will say to yourself: it could not be any different than it is, because the nut is as it is. You cannot help but think to yourself: the nut creates its shell, and everything about it that is visible through the shell must be an expression of what the nut itself is. Thus, a frame is quite appropriate in nature, in all creation, for what it frames.

If you do not think abstractly, if you do not think theoretically, if you do not think from a world view that moves only in ideas, but that wants to be in all reality and in all life, then you feel compelled to do everything you do in a certain way, as the creative forces in the universe do. And so, if we had built with some alien architectural style, with something that had grown out of those building methods that are common today, a framework for an anthroposophically oriented worldview and its cultivation, there would have been two things: on the one hand, a building that expresses itself entirely from within, that says something for itself, that stands in its own artistic formal language. And then one would have entered and represented something inside, cultivated something that could only relate to the building in a very superficial way. One would hear words spoken in such a building, one would see plays performed on the stage (since these are intended) and other artistic performances; one would have heard and seen and beheld something that wants to present itself as something new in modern civilization. One would have turned one's eye away from what one might have seen on the stage; one would have turned one's ear away from what one might have heard, and one would have looked at the building forms — these would have become two essentially different things. The spiritual science meant here could not aspire to this. It had to strive in harmony with all world-building. It had to trust itself to express itself in artistic forms as well as in building forms. It had to claim that what forms itself into words, what forms itself into drama or into another form of artistic expression, is also capable of directly shaping itself into all the details of what is now the shell. Just as the nut fruit creates its shell out of its own essence, so too did a spiritual science such as this, whose essence is not understood in the broadest circles today because it breathes precisely this spirit of reality, had to create its own framework. Everything that the eye sees in this framework must be a direct expression of what is present as living life in this world view, as must the formed word.

And there were some pitfalls to avoid. For those who have a certain inclination to make a building appropriate to a worldview are often, let us say, somewhat mystical or otherwise inclined, and they then have the urge to express what is expressed in the worldview in external symbols, in some mystical formations. But this merely leads to such a framing becoming something in the most eminent sense inartistic. And if one had performed a building bearing symbols, one would have wanted to express in allegorical or symbolic form what underlies anthroposophically oriented spiritual science, so nothing would have emerged but something in the most eminent sense inartistic.

Indeed, I must even admit that some people who have come to what is referred to here as anthroposophically oriented spiritual science with their views and currents of life, as contributors or advisors, in the early days of our work in Dornach, were quite inclined to express everything that spiritual science contains in old symbolic or similar forms. I might also mention that those people, who are so numerous, who either out of a certain lack of understanding or out of malicious intent talk about the Dornach building, keep coming to the world with the idea that one can find symbols for this or that, allegorical expressions for this or that.

Now, ladies and gentlemen, it must be admitted that even in what I have to show you this evening, anyone who does not look closely and with a lively sense of perception can find something to use as an expression: There are many allegorical or symbolic elements. In reality, there is not a single symbol or allegory in the Dornach building, but everything that is there is there entirely so that the inner experience of the spirit, which on the one hand is to be grasped in ideas that are expressed in lectures or the like, is experience is to be completely dissolved into artistic forms, that nothing else is asked for in artistic creation in Dornach than: what the line is like, what the form is like, what that is which can be shaped as an artistic form of expression in sculpture, in architecture, in painting, and so on. And many a person who comes to Dornach and asks what this or that means is always given the same answer by me: I ask them to look at the things; basically, they all mean nothing other than what flows into the eye. People often say that this or that means this or that. But then I am obliged to talk to them about the distribution of colors and the like.

I have now tried to show how the building, as a shell, very much in the spirit of nature's own creation, forms the framework for anthroposophically oriented spiritual science. But for that very reason the whole idea of the building had to strive for something new. Now, in all that I am going to say today, I ask you to bear in mind that, of course, much criticism can be made of the Dornach building, that many objections can be raised. And I give you the assurance: the person who perhaps objects most of all is myself. For I am fully aware that the Dornach building is a beginning; that the Dornach building stands as a first attempt to create a certain stylistic form that cannot even be characterized in words today, because its details are not formed from abstract thoughts, but from what is experienced in a living way in that beholding of the spirit that is meant by our spiritual science.

I may mention just one difference at the outset: if we compare the various architectural styles, which, in a certain development of form, still find expression today wherever buildings are constructed, it is apparent everywhere that, basically, the mathematical, the geometrical, the symmetrical, that which perhaps follows in the rhythm of the line, the mechanical, the dynamic, etc., all flow into architecture. From the basic feeling – I am not saying from the basic idea, I am saying from the basic feeling – of our spiritual science, the daring attempt was once made, I know it, to create an organic building idea, not a mechanical-dynamic, but to create an organic building idea, and this under the influence of that which Goethe incorporated into his great, powerful view of nature under the influence of the idea of metamorphosis. The Dornach building, as far as this can be realized in architecture, should not merely represent the symmetrical, the dynamic, the mechanical, the geometrical; it should represent something that can be looked at, I do not say grasped, but looked at as a building organism, as the form for something living.

In this case, however, it is a matter of every detail in an organism being exactly as it should be in its place. You cannot imagine the ear lobe in a human organism being formed any differently than it is. So we tried to make our building in Dornach a completely organic, internally organic unit by placing each individual part in the whole in such a way that it appears as a necessary structure in its place; that every detail is an expression of the whole, just as a fingertip or an earlobe is an expression of the whole human organism.

That is one thing that has been attempted. As I said, it is a beginning, an attempt, and I know how many imperfections it has and how much can be objected to from the point of view of architecture and sculpture and so on. The other thing is what I would like to say in advance, namely that our world view itself demands that the whole idea of building be formulated differently from the way in which the idea of building is usually formulated. If we consider ordinary buildings – I will mention just one – we find that they are closed off from the outside by walls to a certain degree. Even the Greek buildings were closed off to a certain degree. What is required by the Dornach building is that the wall itself be treated in a completely different way than it is usually treated. The person who enters the Dornach building should not have the feeling that, having a wall around him, he is closed off in an inner space. Rather, everything should be artistically designed so that, to a certain extent, the wall itself is suspended; that the wall itself - please do not misunderstand me - the wall itself becomes artistically transparent, so that one gets the feeling - transparent is of course only spoken in comparison - you are not closed off, but everything that is wall, everything that is dome, opens up a feeling that it is broken through, that it cancels itself out, that you are in a feeling connection with the whole great universe. Far out into infinity, the soul is meant to feel connected to this through what the forms evoke; the forms of the columns, the walls, the forms of the dome paintings, etc.

The building in Dornach is a double-domed structure, consisting of a small and a large domed space that do not stand side by side but interlock. The small domed room, that is, the circular room covered by a smaller dome, will be used for presenting mystery dramas, for dramatic performances in general, for other artistic performances, such as eurythmy. But there are also other things planned. Then there is the large domed room, which is connected to the smaller one in the segment of the dome. It is intended as an auditorium; so that those who approach this building must immediately be imbued with a certain feeling by this outer form.

We will begin by looking at our building as it presents itself to someone approaching it from the northeast.

So, as you can see, we have a double-domed structure. This is the auditorium, and here is the stage. The two domes are inserted into each other by, if I may say so, a special technical feat, because this insertion was difficult. The person who approaches this building – which, I believe, is particularly appropriate in its artistic expression of the special mountain formation of the Jura region in which it is built – should have the feeling that something is present that reveals itself in a duality. The person who enters the building finds themselves in the large domed room. Inside, he may have the feeling: here something is seen, something heard. And this something, which is experienced in a sense in the heights of spiritual life, which is to reveal itself to an inclined audience, should already express itself as a feeling to those who approach the building.

But initially, every single detail of the outer forms is attuned in such a way that one has an impression from the outside, so to speak – I could not express it in terms of ideas or thoughts – but through the forms, through the artistic language forms, one has an impression from the outside of what is actually being proclaimed inside as spiritual science. I would now like to show you another approach to the building, which presents itself when approaching it from the north:

Here is the building, here the main entrance, here a nearby building that has experienced very special challenges. I would just like to mention in this picture: the lower part of the building is a concrete structure. It has a walkway here. The entire building stands on the concrete rotunda. The entire double-domed structure is a wooden construction.

I note that the task was not only to create a shell for spiritual science in this building, but also to find a style for this very special institution that could be derived from concrete. That, ladies and gentlemen, is what is not really understood today, that we have to create out of the material everywhere. Today we see how sculptors create things that they shape, I would say, by having some kind of novelistic idea or a novelistic harmony of ideas, which are then shaped in any material, in bronze or the like. But we have to come back to having such an intense feeling for the material that we ourselves, even with this brittle, I mean artistically brittle, this abstract concrete material, gain the ability to create forms of design out of the material.

It is certainly the case that today people will not understand you if you say to them: I am going to paint a picture; in the middle I have this or that figure, on the sides this or that figure, I now want to do that, can you do something like that? And one answers: Yes, you can do anything, but it is a matter of what becomes of the colors. You cannot talk about a picture differently than from within the colors. Even in many artistic circles today, there is little understanding when one tries to think that which lives artistically as something quite separate from everything that is not direct contemplation, direct experience of feeling.

As the third picture, I would like to show you another aspect of the building. You can see the small dome, the large dome. Here, seen from the outside, the auditorium. The whole thing sits on the concrete substructure here. Here are the side wings, which fit into the building at the point where the two domes merge.

This is a slightly closer view of the structure. You will be entering from down here. The cloakrooms are located in the concrete substructure. There is a stairwell at the front of the interior. You can come up to this level through the wooden structure, but you can also come up here, where there is a walkway. You can walk around a large part of the structure here during the intervals between performances.

This is the main entrance from the terrace. You can already see that all the forms from the dynamic geometry have been transposed into the organic, into the living. There is nothing in this building that has not been created in the spirit in which I meant the design of the earlobe on the human body earlier. So everything, every detail and the whole, is designed in such a way that not geometric forms, but organic forms are present; but not, I would like to point out, organic forms that are modeled on this or that organic limb. That was not the intention at all. When I had first designed this structure in the wax model, from which the building then emerged, it was not a matter of reproducing anything naturalistically in organic forms, but rather of immersing myself in the creative essence of nature itself, of making what Goethe calls the truth, so to speak, of how nature lives in its creation.

Now, of course, nature does not create such structures. Therefore, one does not find those organic forms in nature that can occur in such a structure, but by having the whole structure like an organic being in its intuition, in its imagination, the inner creation is formed in such detail that detail that, without imitating anything in nature, one is compelled to shape a structure like the one above the main entrance in the same way that a plant leaf is shaped out of the essence of the plant organism. So without imitating anything naturalistically, natural creation should reveal itself everywhere without symbolism and allegory, purely by proceeding in the design of the building forms as one can imagine that nature itself lives in its creation.

Once again, closer to the building. We are in front of the main entrance. This is where people will enter first. These are the cloakrooms. Then you come up through the stairwell and enter a vestibule, which I will also show later. This is the north side. Behind here are the storage rooms, the rooms for the equipment and the cloakrooms for the stage plays.

Another view of the main entrance. Here, the smaller dome is completely covered by the large dome. The two side wings were intended as dressing rooms for the performers.

This is a piece of the side wall. Next to it is the house that the man who was able to give us the land for this building had built. This house was built for him in a style that is certainly, since it is all a beginning, completely thought out in all its individual forms using the concrete material. That is what I would like to say about this house.

Here you can see one of the side wings, which, as I said, are intended to provide dressing rooms for those performing in the stage festival. If you walk around here, you will come to the main entrance. Here is a piece of the facade of such a side wing. It has been attempted to follow Goethe's idea of metamorphosis – not in a pedantic way, but in the spirit of transforming the ever-identical, of transforming the ever-uniform, to form everything as an organic unity, so that the motif above the main entrance is repeated here, but in a different form. As you will see in Dornach in general, what Goethe calls changeability in organic structures has been tried to be expressed in the building idea everywhere.

Here is the floor plan, here is the entrance, and there is the auditorium, which will hold about nine hundred to a thousand people. When you come out of the main entrance here, you walk through the space that is vaulted by the organ room above. You then come in here. The line that goes in this direction is the only symmetrical one in this building. Nothing else is oriented in a symmetrical way except for what lies to the left and right of this axis of symmetry. Therefore, as you enter the room, you see a row of columns. These columns are formed in such a way that only the symmetrical pairs always have the same pedestals, the same capitals and the same decoration in general. The formation of the capital progresses as one moves from the entrance towards the stage, so that each successive capital is formed in such a way from the previous one that the space of the architrave above a column is formed from the spatial design of the architrave above the previous column, so that the metamorphosis view is expressed in the right sense.

It is, I dare say, a great thing to attempt such a thing: here you have a first capital with very definite forms that arise inwardly for you as you shape them. And as you say to yourself, now it is so that it must remain in the place where it is, then the feeling comes: That is also to be transformed, just as in a plant growing out of the ground, a subsequent leaf is something metamorphosed in relation to the preceding leaf. There you shape the next form out of the previous one. There the next form presents itself as something absolutely necessary. People often come to Dornach and ask: What does this or that chapter mean? My task is simply to say: look! It is not a matter of someone finding an abstract, complicated meaning, but of sensing how the following chapter always grows out of the previous one in organic necessity.

The smaller dome, framed by twelve columns, and the fourteen columns here, will provide space for the presentation of stage plays. Often, people also count when they come: one, two, three, four, five, six, seven. Seven columns! Then they say: They are mystics, they bring in the superstitious number seven. I can only say: Then nature is also superstitious. The rainbow has seven color shades, we have seven tones in music, the octave is the repetition of the prime. What is so self-evidently expressed in nature is repeated in the direct experience of creating something metamorphic. And I may well say: it was far from my mind to pursue some mystical number seven, but it was obvious to me to think of one capital out of the other. And then a wonderful thing happened – if I may call it a miracle – that just as there are seven colors in the rainbow, without any mysticism, simply by shaping the form, when you are finished with the seventh form, you can't think of anything more. That's how you get the seven forms. With the seventh, you can't think of a single small artistic idea, so you just know you've finished.

This is a section through the original model. It is cut through the axis of symmetry, so that you can see the formation of the columns in progress, the architraves on top, the bases. So this is the model on which the construction was based.

Another section, a kind of drawing section through the building. Here is the concrete substructure. Here we have to show how the two domes are joined together. But here too, two domes are joined together, leaving the space between them free.

I originally had a specific idea in mind when arranging the double dome. When building such a thing, the most important thing is the acoustics, and I had the idea that if you connect two such domes with a connection that is as light as possible, a kind of soundboard must be created.

Furthermore, not for mystical reasons but for very real ones, I had the seven columns made out of different types of wood. All of this, of course, yields a great deal when one tries to think and feel it all together. But many people know how difficult it is to get the acoustics right in a hall. Basically, everything was thought out, down to the choice of materials – as I said, the columns are made of different types of wood – and into this soundboard, so that both the sound that develops in the musical sense and the sound of the spoken word are accentuated in a beautiful acoustic way throughout the entire room.

Just as the whole thing is an experiment, and one could not think that the most perfect thing could be created in the very first attempt, so I could not indulge in the illusion that the perfect acoustics had been created. But we were able to experience how the intuitions revealed something in the very last few days. The organ was installed as the first musical instrument. It was completed, and it became apparent to us that the entire structure, in terms of music, reveals itself acoustically in a very unique way. And I dare to hope – things are not yet ready, that can prove this – but when everything is there, including the curtain, that then the acoustics, including those for the spoken word, will also reveal themselves. But in any case, the one rehearsal for the intuitive design of a space with regard to the acoustics, the one rehearsal in terms of the music, seems to me – and as it seems to everyone who has heard the organ there in the last few days – to have actually been successful.

A little way into that staircase, which you enter when you come through the main entrance into the interior. You see here a capital above a column. You see this capital formed in a very special way. Every single form, every single surface, every single curve is conceived with the space in which it is located in mind. The line and surface run this way because this is where you come out, because there is little to bear. Here the column braces itself against the building. Here the individual forms must be shaped differently. Just as nature creates differently when it creates a muscle, depending on what it has to bear, so we must experience how the forms must be when each individual link in its place is to be thought of as it can only be in this place through the nature and essence of the whole.

This is the staircase itself. The staircase goes up here. What I showed before is the vestibule above the concrete room. This is where I am standing, and this is where you would stand when you enter the building. Here is the banister for the staircase that leads up from the lower concrete substructure to the building, which is then made of wood, to the actual auditorium. I have tried here to transform a support from the merely geometrically mechanical to the organic.

Let me reiterate: I am, of course, aware of all the objections from the point of view of conventional architecture, but it has at least been attempted, and I have the feeling, however imperfect everything is, however many objections there may be, that a start has been made that paves the way for a new architectural style that will be further developed. Perhaps it will lead to something quite different from what has been built in Dornach, but if you don't even start with something, nothing new will come of it. Therefore, even if it goes completely wrong, something new should be attempted here: the development of the mechanical-dynamic form into organic forms. The concrete is worked in such a way that the beam expresses in its own form what it bears; on the other hand, it is shown here how it only forms outwards, bearing nothing.

Here you can see a radiator screen. The individual radiators are covered at the bottom with concrete screens and at the top with wooden screens. These screens are designed in such a way that their plastic forms reflect something that, in its formation, is, so to speak, in between animal and plant forms. It comes from the earth, as if organically grown, but not symbolically, but artistically designed. In creating this, one has the feeling of something coming into being if the earth itself allowed something like this to grow out of its principle of growth. If you take this staircase, you will come to the room that was shown before, and through that you then enter the actual auditorium.

So this is where you come in, enter the auditorium. Here on the left and right are the first two columns. You can see how the simplest capital structure, the simplest architrave structure, is used here. And now you will see how each subsequent capital structure attempts to create something that necessarily grows out of what has gone before, just as a subsequent plant leaf, which is more complicated and more dissipated in form, always grows out of the one that went before.

Here is the first column individually. It is always important to me that one sees that the essential is not: what does the individual column mean? Some people have done a terrible disservice by always talking about the meanings of the Dornach columns; it is important to me that the artistic form must be questioned. Therefore, I will always show the one column and the next one, so that it becomes clear how simply, artistically, the next form was attempted to be derived from the preceding one.

So here, continuing from the simple column – that is the left aspect – we have the second column. It is designed in such a way that what goes down here goes up there. Just as a plant leaf develops from another, this capital form is derived from the preceding one through artistic experience, and this architrave form from the preceding one.

The second column by itself. Now the following two columns, always to illustrate how the next column is to be artistically designed from the previous one. There now follow several column pictures, initially single ones, then in twos.

Everything that one experiences artistically is actually formed in one's imagination as a matter of course. One cannot help it, it just happens. One can hardly say anything else about it either. But the strange thing is: when one simply transfers one's own experience into the forms, then one gradually feels how one creates in harmony with nature's own creative process. One feels the life that lies in the shaping of one metamorphosis out of another, in intimate harmony with natural creation. And so I believe that those who experience – not intellectually, but with lively feeling – what develops there as one capital out of the other actually get a more vivid sense of development than can be given by anything in modern science. For when we speak of development, we usually mean that each successive structure is more complicated than the one that precedes it. This is not true. When one inwardly experiences a development such as this evolution of columns and architraves, then at first the simple develops into the complicated. But then one reaches a height, and then the structures become simpler again. You are amazed when you see the results of artistic necessity, how you create in harmony with nature. Because that is how it is in nature too. An example: the most perfect eye is the human eye, but it is not the most complicated eye. The animal eye is much more complicated than the human eye; in certain animals there are fans and xiphoid processes; in humans this has been absorbed again. The shape is simplified. You don't follow that when you create something like this from abstract ideas, but it presents itself to you as something self-evident in the form.

The next two columns. Here we come to something that the abstract mystic or mystical abstractor might say: “He formed the caduceus here.” I did not form the caduceus, I let the preceding forms grow. It formed by itself. It emerges organically, by itself, from the preceding form. I had to say to myself: “If the preceding column grows just like that, it will come out like that, one from the other.”

Two consecutive columns showing how the forms become simpler as development progresses.

Here we are already approaching the gap where the auditorium borders on the stage.

Here the first column of the stage area; here the last of the auditorium, here the gap for the curtain.

Here you can see into the small domed room. If you stand in the auditorium and look that way, you get a view similar to this. The top of the dome, initially carved and then painted. We won't look at the painting here, we'll come to that later.

Here I would like to show the order of the individual columns, so that one can get an overview of how the matter progresses from the simplest. All the individual columns are formed individually for each column, and symmetry is only found in relation to the main axis of symmetry of the building.

Here are the figures on the pedestals. I also tried to give the pedestals a metamorphic appearance.

I would like to ask you to take a look at something that is not quite finished yet: the room in which the organ is built. The idea was to avoid making the organ look as if it had simply been placed in the room, and instead to make the whole structure appear to grow out of the room. That is why the architecture around the organ is designed to match the way the organ pipes have to be constructed. It is not finished, as I said. There are still things to be added here.

This is what you see when you enter the small domed room from the auditorium. The end of the small domed room. A number of forms have been carved out of the wood. All of them have been carved out of the rounded surface of the wood, a number of forms that are a summary of the forms found on the capitals and architraves. So that, standing in the auditorium, one has the forms of capitals and architraves, and when one looks up into the small domed space, as a conclusion to all this on a spherical surface, which is like the formal synthesis, the formal synthesis of what can be seen on the individual forms of the architraves and capitals. And now I have to move on to something about which I will have to say a few words.

This is what the small domed room looks like when it is painted. Both domed rooms are painted with motifs that actually only arise when you live very inwardly with what we call anthroposophically oriented spiritual science. When you live very inwardly with this, then, I would like to say again, picturesqueness also emerges all by itself. Just as the word is formed by wanting to express the inner spiritual experience through the word, so this inner spiritual experience, which is truly not so poor that it could only express itself in abstract thoughts and ideas, but can express itself in everything that is a form of life and the purpose of life, is transformed. And motifs that are just as much alive in the one who lives in the inner contemplation of the spiritual world, as it is conveyed through spiritual science, are also painted in the large and small dome in such a way that one does not have the feeling of being closed off by the dome, but rather that one has the feeling, through what is painted on the wall, that the domes form themselves far out into infinity. I want to discuss, because I can't explain everything, only what is painted here in the small domed room, so that you can see it immediately when you look from the auditorium into the small domed room.

There is a central figure. It represents to me, as it were, the representative of humanity as such. At the same time, it is the artistic expression of that which lives in the human form. So that even in its natural human form, the human being must constantly seek balance between two extremes. What the human being actually is is something that should be expressed by the content of all anthroposophically oriented spiritual science. This cannot truly be said in one or even many lectures, but comes to expression in the fullness of all spiritual science. But one can say the following, which is still somewhat abstract but already points to what is experienced as human essence in the human being. One can express it in soul terms as follows:

In fact, human beings are always engaged in an inner battle between something that works in him in such a way that he wants to rise above his station. All that is fanciful, enthusiastic, mystical, theosophical, that seeks to lift man in the wrong way above himself, so that he no longer remains on the firm ground of reality, all that is one extreme. This is what some people tend towards, what every human nature secretly tends towards, and what every human nature must overcome through its health. Enthusiasm, fantasy, one-sided mysticism, one-sided theosophy, in short: everything that makes man want to rise above himself, is one thing in the soul. The other thing that is in the human soul and must be overcome through inner struggle is what constantly pulls him down to earth; expressed in spiritual terms: the philistine, the bourgeois, the materialist, the merely intellectual, the abstract, the calculating. And that is the essence of man, that he seeks to find harmony between the two opposite poles.

In physiological terms: the same thing that appears physically when a person wants to go beyond themselves is also expressed physiologically in the fact that a person can become feverish, develop pleurisy, that human nature is led into dissolution. The other extreme, that which develops in the soul as mere intellect, as narrow-mindedness, as philistinism and materialism, is what causes the ossification of human nature and leads to one-sided calcification, to ossification. Between these two physiological extremes, human nature fluctuates and seeks balance.

The intention is not to present an idea, but rather – both pictorially up there and sculpturally in the group of figures down here – to show how the representative of humanity lives in the middle between the two extremes that I have depicted. And so, above the central figure, which expresses the representative of humanity, there appears, at the top, a luciferic figure that expresses everything that is enthusiastic, fanciful, feverish, and pleurisy-ridden, etc., that wants to lead people beyond their heads. And at the bottom, protruding out of the cave, is the representative of everything ossified, everything philistine, everything that leads to sclerosis in its one-sidedness.

This central figure is designed in such a way that there is nothing aggressive about it. The left arm points upwards, the right downwards. Every effort has been made to represent love embodied in this representative of humanity, right down to the fingertips. And just as I am convinced that the trivial figure of Christ, as we usually see it, bearded, only came into being in the fifth or sixth century, so I am convinced, from spiritual scientific sources, which I can't talk about, but only because of lack of time, I am convinced that the figure that is depicted here is a real image of the one who walked in Palestine at the beginning of our era as the Christ-Jesus figure. And there should be nothing aggressive about it, even if the figure of Lucifer is painted, poetically shaped, falling and even breaking into pieces, not through an attack on the part of Christ Jesus, but because in his Luciferic nature he cannot bear the proximity of embodied love.

And if Ahriman, down there, the representative of the ossifying principle, the being that carries within itself everything that seeks to bind human beings to the earth, everything that does not want to let them go, suffers torment, ground. This is not because the figure of Christ hurls lightning bolts, but because this ahrimanic entity, through its own soul condition, so to speak, out of embodied love, casts lightning bolts for its own torment.

Here I really tried to depict love both plastically and pictorially in this central figure. And in a similar way, the inner experiences of spiritual science are given in the pictures on either side of this central group. But I can only show you the content of what is painted here. But that is not the main thing. In the first of my Mystery Dramas it is stated that in truth only that corresponds to modern ideas about painting in which the form of the color is the work. And here in this small dome an attempt was once made to create everything that was to be created out of color. If someone asks about the meanings, they are at most what one has tried to attach to the color scheme. I have to keep saying: one sees the color spot there or there, and what is in its vicinity as color spots, that is more important to me than what is meant there in a novelistic way.

An attempt has been made to realize this – I know all the counter-arguments – but it has been made, to realize what appears to me to be the case: I actually perceive every line in nature, when it is reproduced by drawing or painting, as a lie. The truth in nature is color. One is not concerned with the horizon line, but above with the blue firmament, below with the green sea, and where the two colors meet, the line and the form arise by themselves. This is how I have tried to paint here: everything from the color. The line should be the creature of the color.

Here you can see a section of the painting more clearly.

Here is a kind of rule of thumb. Here is the only word written out with letters that can be seen as a word in the whole structure. Nowhere is there anything symbolic that could be expressed in words; only here at this point, where an attempt has been made to convey the sensation as an experience through color, which occurred around the 16th century, when humanity developed more and more towards an individualistic soul life; there, knowledge took on very special forms. Those who speak of knowledge in such abstract terms, as many epistemologists do, really know nothing of the inner experience of knowledge. Today, knowledge is only known by those who can see before their soul how, in the process of limiting human life, childhood emerges from the spiritual world.

Here the child and on the other side, death. In the middle, the realization, the realization that brings it to the individualism of the ego-grasping. That which humanity has felt as actual cultural thoughts, for example in the 16th century, is attempted here to be expressed through color. I can only show you the content, which is not the main thing. But I think that precisely because this content is imperfectly depicted here, it evokes the feeling that something is still missing here, without which this thing cannot truly be what it should be. Anyone who sees this should feel that there should be color: here the child in its particularity, here the self, there a kind of fist-like figure, and below that death.

Here a little further. With the first figure we were still touching the auditorium. Here we come to the middle of the small domed room. There we have a figure that is supposed to represent how the spiritual was experienced by a cognizant human being in ancient Greece. The sensations, as they pass through human spiritual culture, should be seen in colors on the wall.

Here is the figure, which is, as it were, the inspiring figure above the Faust figure. You always see the inspired below, with a kind of genius above. Here is the genius of Faust, who appears as a kind of inspirer of Faust.

Here is the figure that can be seen above the Greek figure as an inspiring figure. It was a natural development that the genius of the sentient and cognizant entity was depicted as Apollo with the lyre. This is a higher inspiring entity that is always above the one who is down below, who is sitting down below, as it were, on the column. The inspiring figures are painted in the dome space.

Here below is an Egyptian figure, leading the Egyptian soul-life. The two figures shown before (Fig. 75) stand above her and represent the inspirers; the entities that are meant to pour the soul-life into them. Fig. 44 (Fig. 77):

Here I have tried to show how the civilization that I would describe as that of the Persian Zarathustra culture, which dates back to primeval times and has a view of the world as dual, ambivalent, as a world in which light and darkness cast their effects, how this view of the world has spread from Asia through Central Europe, and how it is still expressed in Goetheanism, where man experiences it. That is the essence of our Germanic-German culture: we always experience this contrast between light and darkness, which is already expressed in the old Zarathustra culture, this contrast that cuts so deeply into our souls when, on the one hand, we feel something that wants to grow beyond us like light; on the other hand, something that, like heaviness, wants to pull us into the earth. This is how the dualism that is felt should be expressed.

Above them you can see two figures. Sometimes you get fed up when you have been working on something like this for months. I got fed up while forming these two figures, in these figures, in which the inadequate and the ugly come to life, to recreate something like Mr. and Mrs. Wilson. That was something like a bugbear. But the other thing is that, basically, something lives in the Germanic-German soul when it experiences the thought of realization, which can only be endured if one recognizes full life in harmony with where life innocently enters physical existence from spiritual worlds.

Here you have, so to speak, an inspiring summary of everything that appears as duality: the being of light, the Luciferic, that which tempts people to fall into raptures; the other is the pedantic, the philistine, the Ahrimanic, which would like to drag people down. No civilization experiences this dualism as deeply and dramatically as the one within which there is a transitional context for contexts that go back to ancient times to the Zarathustra culture and find their expression in all that has become Goetheanism, which we still feel by spiritual science itself compels us to present the representative of humanity as he must seek the balance between the Luciferic, the mystical, the enthusiastic, the theosophical, and the Ahrimanic, the pedantic, ossified, philistine, sclerotic, and so on.

Here is the one figure, the ahrimanic, philistine, pedantic one, with the forehead set far back; the whole built as man would become if he were pure intellect. Only by the heart working its way up into the head do we avoid one extreme, how we would become if we only developed the things that form the skull, but which cannot form themselves according to their own inner forces because this is counteracted by the heart and the whole of the rest of the human being.

Here the other aspect, counteracting the Ahrimanic aspect. Between these two aspects, man must always seek his equilibrium. Christ is the great Master who leads us on the path to find this balance.

Here we come up against the central group. This is what will arise when dualism has developed to the point where the human being feels himself to be twofold, as a higher and a lower human being; that he has his shadow within himself, but as a shadow that he digests spiritually and mentally.

As a kindly genius that is above him.

Here a centaur, inspiring him what needs to be overcome in us as animality. Up here the centaur form, inspiring a future culture, next to the genius, the angelic, what approaches man on the other side.

Here is the central figure, Christ, not by attaching a vignette to him, but by placing him as the central figure. One should feel artistically: this is the figure in which the divine has appeared on earth. One should feel it from the form, from the line, from the surfaces and here from the color.

Figure 53 (illustration unclear): Here, at this point, it has, so to speak, been completely successful, even if it is only an attempt, to create everything out of color, without line.

Here is the head of the Representative of Man. Above it, Luciferic; below, Ahrimanic. This is the head that appears to me, from the spiritual vision – as far as one can form it – as the true form of the one who lived in Palestine at the starting point of Christianity as the Christ.

Here is the figure of Lucifer, collapsing into himself. It is painted in red and worked out of red. Picture 56 (Fig. 86): Below, the figure of Ahriman.

Here is the head, as the human head would be if it were not softened by the rest of the human being.

Here is the lightning bolt that must be drawn from the Christ principle.

Here I then move on to showing an illustration of a group of people. This group of people now also represents the representative of humanity. Above them are two figures, one again representing the rapturous, the mystical and so on. And as paradoxical as it may sound, this is designed in its forms as it presents itself in an inner spiritual vision if one wants to represent what man would be like if he formed himself according to the feverish, the pleuritic, the enthusiastic-fantastic.

Here the head, here the arm, and the peculiar thing that arises: that the larynx, ear and chest come together and merge into the wing. You feel what becomes an expressionist work of art. This is something that the non-understanding person might call symbolic. It is not symbolic, it is observed as only an organic-physical form can be observed.

Here again this figure, and here the figure at the very top on one side of the group of wood. It turned out that we needed something purely to balance the gravity conditions so that the whole group would support itself. It became so that I had to dare to create something quite asymmetrical, a kind of elemental spirit, growing out of the rock form, but here made of wood. If you abandon yourself to the rock formations, look at them and let your imagination create, saying to yourself: nature has decided on their formation, but if they were to continue, what would arise? You end up with something that approaches the higher form but is not it. I tried to create that in this figure. Above are two luciferic figures, below two ahrimanic figures, and up there this entity, which was dared to be formed completely asymmetrical, because it occurs in a place where the symmetrical would be in contradiction to the whole, and which looks somewhat mischievously humorously at what is forming there as the human struggle. I say “mischievously humorous” because there are indeed entities in the spiritual world that look with a certain humor at the inner tragedy of the human soul struggle. Picture 62 (Fig. 94):

Here you see a photograph of my original wax model of the Ahriman figure, the Ahriman head, the original pedant, the original philistine, the head that would have formed if the other human-forming forces had not counteracted the head-forming forces. Once you have created something like this, you know that you have nothing more to add to it. If you then want to create the head for Ahriman, who lives down in the rocky cave and is in conflict with Lucifer, this head also undergoes a metamorphosis, and the place where it needs to be in the body goes through a corresponding metamorphosis.

Here, seen from the side, is the head of the central figure, of whom I have just shown the painted form; that figure, carved out of wood, is, in my opinion, supposed to represent Christ Jesus walking in Palestine.

It is remarkable; while I was creating this, it became clear to me once again that one should actually create all Christian motifs in wood. The warmth of the wood – this statue is made of elm wood – is necessary for Christian motifs. An Apollo, an Athena is better in marble; Christian motifs are better in wood. It was always a real pain for me to see Michelangelo's Pieta in Rome, the mother with the body of Christ on her lap. I would have liked to see this Pieta - which I nevertheless greatly admire, of course - in wood instead of marble. I don't yet know the reasons myself. Such things cannot be easily explained. But I think the Aperçu is correct that everything Christian must be represented in wood.

Now, regarding the group that I just showed, which forms the center of the building, there is one more thing. If we follow the development of architecture, and consider only two or three stages, we must say: let us look at a Greek temple. It is not quite complete if it does not have its god inside. You cannot think of a Greek temple in general, but only of a temple of Apollo, a temple of Athena. It is the god's dwelling.

Let us move from Greek architecture to Gothic. The Gothic cathedral is not complete unless the community is within it.

We live in an age in which the community is becoming individualized. Therefore, the social question is the most important question of our time, because people live according to their individuality. Grasping the deepest nerve of our contemporary culture, we must look at what a building that belongs to a community must be a framework for today: for the people themselves. Therefore, the representative of human self-knowledge, the trinity between man, as he struggles in his soul between the enthusiastic-mystical and the pedantic-philistine, materialistic, this trinity should be placed at the center of the building, just as the god stands in the Greek temple, as the community praises in the Gothic cathedral. In this way, the spectator area should be pervaded by the pictorial and plastic sound of the “know thyself,” not in abstract forms, but artistically embodied in the Trinity of which I have so often spoken and which, in my opinion, is the Trinity of the culture of the future of humanity. Therefore, this wooden figure did not have to be erected at the center of the building, but as the central figure of the building.

Here an adjoining building, a neighboring building. Again a metamorphosis of the two domes. Here the architectural idea has been developed into a different form. The main building has windows for which a special type of glasswork has been invented. What I said earlier – that those inside this building feel at one with the whole universe, not closed off – should be expressed through the windows. That is why all the windows are large panes of glass in a single color. These panes – red, green, blue – are engraved, etched out of the glass, which then gives the glass its visual effect. This visual effect is there when the sun shines through the windows. This glass etching was tried for the first time in this building. And here, with the glass window in front of you without sunlight, you can physically feel a kind of score; together with the sun, it becomes a work of art. And you feel in the building: when the sunlight floods in through red, green, and blue panes, what the sun paints with its light lives in these windows, so that it is a representation of human death, sleep, waking, and so on; but nowhere is it symbolic, rather these states of consciousness are experienced vividly within.

These glass windows were to be made in this smaller building. And because the first person to work there was called Taddäus Rychter, this house was called “the Richter house”. So it does not have this name because we want to implement the threefold social order, as some people have said, and so we would have built a legal building in which we would have had our own jurisdiction. That is not the case. This should be noted by those who have done something wrong; they will be convicted according to Swiss law.

This is the entrance gate. Everything about it, down to the locks and door handles, is designed in line with the organic architectural concept, so that everything has to be the way it is in its place. Hence the need for a separate lock for these structures.

Here you can see the one that has experienced the most challenges. One day I said to myself: there must be a heating house, a firing plant, near the building. One could have done something that would not have been in the spirit of the overall architectural concept of the Goetheanum; a red chimney would have stood there. But I tried to create a utilitarian building out of concrete. I tried, in turn, to form a shell around the heating elements and the firing machines that are inside, just as the nut fruit forms a shell around itself. Also around what comes out as smoke. The whole is only complete when smoke comes out. So there, too, an attempt is made to carry out a building idea in such a way that, despite the utilitarian idea being carried out, what is created out of the utilitarian form is that which, in utilitarian building, the artistic form-giver currently strives for.

The same building from the side.

By now, enough time has passed and I have kept you waiting for a long time with a large number of pictures that were intended to show you something that is being built in Dornach as the Goetheanum, as a free university for spiritual science. What I have shown you in a series of pictures is intended to provide an initial framework for the work that has arisen from the spirit of spiritual science, which I have now been able to present in Stuttgart for almost two decades. A building was to be erected in Dornach that would not only have an external connection to this spiritual science, in that it serves the cultivation of spiritual science, but that would also be an expression in every detail of life in this spiritual science, just as the word that is formed and through which this spiritual science is proclaimed is intended to be a direct expression of the ideal that can be experienced in this spiritual science.

This spiritual science should not be abstract, theoretical, unworldly or unreal. This spiritual science should be able to intervene in reality everywhere. Therefore, it had to create a building style, a framework that emerged from itself just as a nutshell emerges from a nut. Of course, one will rightly be able to object to some things that are also before my mind's eye. But there was always a certain sense of encouragement while I was working on this building idea and all its details, what went through my mind when I was a very young man in the 1880s and heard the Viennese architect von Ferstel, who built the Viennese Votivkirche, give his inaugural address on the development of architectural styles. With a certain emphasis, Ferstel, the great architect, exclaimed: “Architectural styles are not invented, architectural styles arise.

I always said to myself: But then we live today in a time in which everything spiritual must change in the human soul in such a way that a new architectural style must necessarily arise from this change of the spiritual. And that something like this must be possible was always before me. I believed that it must be possible, and therefore I did not shrink from seeking such an architectural style, even if it was initially in a very imperfect design, from anthroposophically oriented spiritual science. A second time, if I were ever to supervise such a building again, it would be quite different. But one only learns by approaching reality, when one wants to deal not with abstract ideas, with something symbolic and allegorical, but with something vividly artistic and real in life. Spiritual science needs at least the beginning of a new architectural style, a new artistic formal language. No matter how imperfect it may be, present-day human civilization demands it! And those who have stood by me in such great numbers have seen it with me and have submitted to the first attempt at realizing this aspiration. And even if many still look with a sneer at what rises up as the Goetheanum, as a free college on the Jura hill in northwestern Switzerland — which is now difficult to reach from here, but otherwise easy to reach because it is only half an hour across the border — what stands there is already visited by thousands and thousands from all countries, especially from Switzerland itself. The eurythmy performances are also well attended, every Saturday and Sunday, and the lectures that I already give for the public in this school enjoy a certain interest even in circles that do not belong to the Anthroposophical Society. Dornach is beginning to open up to the world. It will still cost great sacrifices. We will still need many resources to really develop what is intended. But from what is there today, what is still unfinished, it can be seen that there can be a world view that not only thinks but also builds. On the other hand, we would like to show the world through the Federation for Threefolding that this world view can also have a socially constructive effect on the immediate life of the individual and of humanity. However great the faults of this structure, which is the external representative of our world view, our spiritual-scientific world view, and however much it is still rightly subject to criticism today, it had to be ventured. It had to be placed in our present civilization. And in the face of all contradictions - or rather in the face of all approval of the present - I would like to say, in harmony with all the friends who have helped me in such great numbers in erecting this building, in the face of what is intended here, the modest, summarizing word:

What has been willed must first become the right thing in later times, but a start had to be made. And speaking on behalf of all those who have been active in Dornach, I can summarize the attitude out of which flowed what I have tried to show you today: we dared to do it despite the difficulties, and we will continue to dare to do it!

Very early on, I was drawn to Kant. At the age of fifteen or sixteen, I studied Kant very intensively, and before I went to the University of Vienna, I occupied myself intensively with the orthodox followers of Kant from the beginning of the nineteenth century, who have been completely forgotten by the official history of science in Germany and are hardly ever mentioned anymore. Then I immersed myself in Fichte and Schelling. During this time — and this belongs already to the external occult influences — the conception of time became completely clear. This realization had no connection with the studies and was directed entirely from occult life. It was the realization that there is a backward-going evolution interfering with the forward-going evolution — the occult-astral one. This realization is the condition for spiritual vision.

Then came the acquaintance with the agent of the Master.

Then an intensive study of Hegel.

Then the study of the newer philosophy as it had been developing in Germany since the 1850s, namely the so-called theory of knowledge in all its ramifications.

My childhood passed without anyone outwardly intending to do so, so that I never encountered anyone with a superstition; and when someone around me spoke of superstitions, it was always with a strongly emphasized rejection. I did get to know the church cultus, as I was called upon to assist at cultic services as an altar boy, but nowhere, not even among the priests I met, was there any real piety or religiosity. Instead, certain dark sides of the Catholic clergy kept coming to my attention.

I did not meet the master immediately, but first one of his disciples, who was completely initiated into the secrets of the effectiveness of all plants and their connection with the cosmos and with human nature. For him, dealing with the spirits of nature was something that was taken for granted, and it was presented without enthusiasm, but it aroused all the more enthusiasm.

The official studies were directed towards mathematics, chemistry, physics, zoology, botany, mineralogy and geology. These studies offered a much more secure foundation for a spiritual world view than, for example, history or literature, which, in the absence of a specific method and also without significant prospects in the German scientific community at the time, stood there.

During his first years at university in Vienna, he met Karl Julius Schröer. At first, I attended his lectures on the history of German poetry since Goethe's first appearance, on Goethe and Schiller, on the history of German poetry in the 19th century, on Goethe's “Faust”. I also took part in his “exercises in oral and written presentation”. It was a kind of college college based on Uhland's institution at the University of Tübingen. Schröer came from German language research, had done significant studies on German dialects in Austria, he was a researcher in the style of the Brothers Grimm and in literary research an admirer of Gervinus. He was previously director of the Viennese Protestant schools. He is the son of the poet and extraordinarily meritorious pedagogue Christian] Oeser. At the time I got to know him, he was turning entirely to Goethe. He has written a widely read commentary on Goethe's “Faust” and also on Goethe's other dramas. He completed his studies at the German universities of Leipzig, Halle and Berlin before the decline of German idealism. He was a living embodiment of the noble German education. In him, the human being attracted. I soon became friends with him and was then often in his house. With him it was like an idealistic oasis in the dry materialistic German educational desert. In the external life, this time was filled with the nationality struggles in Austria. Schröer himself was far from science.

But I myself had been working since early 1880 on Goethe's scientific studies.

Then Joseph Kürschner founded the comprehensive work “Deutsche National-Literatur” (German National Literature), for which Schröer edited Goethe's dramas with introductions and commentaries. Kürschner, on Schröer's recommendation, entrusted me with the edition of Goethe's scientific writings.

Schröer wrote a preface for it, through which he introduced me to the literary public.

Within this collection, I wrote introductions to Goethe's botany, zoology, geology and color theory.

Anyone reading these introductions will be able to find the theosophical ideas in the guise of a philosophical idealism.

It also includes an examination of Haeckel.

My 1886 work, Erkenntnistheorie, is a philosophical supplement to this.

Then, through my acquaintance with the Austrian poet M. E. delle Grazie, who had a fatherly friend in Professor Laurenz Müllner, I was introduced to the circles of Viennese theological professors. Marie Eugenie delle Grazie has written a great epic “Robespierre” and a drama “Shadow”.

At the end of the 1880s, I became an editor of the “Deutsche Wochenschrift” in Vienna for a short time. This gave me the opportunity to study the national psyche of the various Austrian nationalities in depth. The guiding thread for an intellectual cultural policy had to be found.

In all this there was no question of publicly emphasizing occult ideas. And the occult powers behind me gave me only one piece of advice: “All in the guise of idealistic philosophy”.

All this went hand in hand with my more than fifteen years of work as an educator and private teacher. My first contact with Viennese theosophical circles at the end of the 1880s had no lasting external effect.

During my last months in Vienna, I wrote my small paper: “Goethe as the Father of a New Aesthetic”.

Then I was called to the then newly established “Goethe and Schiller Archives” in Weimar to edit Goethe's scientific writings. I did not have an official position at this archive; I was merely a contributor to the great “Sophien Edition” of Goethe's works.

My next goal was to lay the purely philosophical foundations of my world view. This was done in the two works: “Truth and Science” and “Philosophy of Freedom”.

The Goethe and Schiller Archives were visited by a large number of scholars and literary figures, as well as other personalities from Germany and abroad. I got to know some of these personalities better because I soon became friends with the director of the Goethe and Schiller Archives, Prof. Bernhard Suphan, and visited his house a lot. Suphan invited me to many private visits that he had from visitors to the archives. It was on one of these occasions that I met Treitschke.

But the friendship I formed soon after with the German mythologist Ludwig Laistner, the author of “Riddle of the Sphynx,” was much deeper. I had repeated conversations with Herman Grimm, who spoke to me a great deal about his uncompleted work, a “History of German Imagination.”

Then came the Nietzsche episode. Shortly before, I had even written about Nietzsche in an opposing sense.

My occult powers pointed out to me the need to let my interest in the true spiritual flow unnoticed into the currents of the times. One does not arrive at knowledge by wanting to assert one's own point of view absolutely, but by immersing oneself in foreign currents of thought.

Thus I wrote my book on Nietzsche by placing myself entirely in Nietzsche's point of view. It is perhaps for this very reason the most objective book on Nietzsche in Germany. Nietzsche as an anti-Wagnerian and an anti-Christian is also fully represented.

For some time I was considered the most uncompromising “Nietzschean.”

At that time the “Society for Ethical Culture” was founded in Germany. This society wanted a morality with complete indifference to all worldviews. A complete construct and a danger to education. I wrote a sharp article against this foundation in the weekly “Die Zukunft”.

The result was sharp replies. And my previous study of Nietzsche led to the publication of a pamphlet against me: “Nietzsche-Narren” (Nietzsche Fools).

The occult standpoint demands: “No unnecessary polemic” and “Avoid defending yourself wherever you can”.

I calmly wrote my book, “Goethe's World View,” which marked the end of my Weimar period.

Immediately after my article in “Zukunft,” Haeckel approached me. Two weeks later, he wrote an article in “Zukunft” in which he publicly acknowledged my point of view that ethics can only arise on the basis of a worldview.

Not long after that was Haeckel's 60th birthday, which was celebrated as a great festivity in Jena. Haeckel's friends invited me. That was the first time I saw Haeckel. His personality is enchanting. In person, he is the complete opposite of the tone of his writings. If Haeckel had ever studied philosophy, in which he is not just a dilettante but a child, he would certainly have drawn the highest spiritualistic conclusions from his epoch-making phylogenetic studies.

Now, despite all of German philosophy, despite all of Haeckel's other German education, Haeckel's phylogenetic thought is the most significant achievement of German intellectual life in the second half of the nineteenth century. And there is no better scientific foundation of occultism than Haeckel's teaching. Haeckel's teaching is great and Haeckel is the worst commentator on this teaching. It is not by showing Haeckel's contemporaries his weaknesses that one benefits culture, but by presenting to them the greatness of Haeckel's phylogenetic ideas. I did this in the two volumes of my:

“Welt- und Lebensanschauungen im 19. Jahrhundert” (World and Life Views in the 19th Century), which are also dedicated to Haeckel, and in my small work: “Haeckel and his opponents”.

In Haeckel's phylogeny, only the time of the German intellectual life actually lives; philosophy is in a state of the most desolate infertility, theology is a hypocritical fabric that is not remotely aware of its untruthfulness, and the sciences, despite the great empirical upsurge, have fallen into the most barren philosophical ignorance.

From 1890 to 1897 I was in Weimar.

In 1897 I went to Berlin as editor of the “Magazine for Literature”. The writings “Welt- und Lebensanschauungen im 19. Jahrhundert” (World and Life Views in the 19th Century) and “Haeckel und seine Gegner” (Haeckel and his Opponents) already belong to the Berlin period.

My next task was to bring an intellectual current to bear in literature. I placed the Magazin für Literatur at the service of this task. It was a long-established organ that had existed since 1832 and had gone through various phases.

I gently and slowly led it in the direction of esotericism. Carefully but distinctly, by writing an essay for the 150th anniversary of Goethe's birth, “Goethe's Secret Revelation,” which only reflected what I had already hinted at in a public lecture in Vienna about Goethe's fairy tale of the “green snake and the beautiful lily”.

It was only natural that a circle of readers should gradually gather around the direction I had inaugurated in the Magazin. They did gather, but not quickly enough for the publisher to consider the venture financially promising. I wanted to give the young literary movement an intellectual foundation and was actually in the most lively contact with the most promising representatives of this movement. But on the one hand I was abandoned; on the other hand, this direction soon either sank into insignificance or into naturalism.

Meanwhile, contact with the working class had already been established. I had become a teacher at the Berlin Workers' Education School. I taught history and natural science. My thoroughly idealistic history method and my way of teaching soon became both appealing and understandable to the workers. My audience grew. I was invited to give a lecture almost every evening.

Then the time came when I, in agreement with the occult forces behind me, could say: You have given the philosophical foundation of the world view, you have shown an understanding of the currents of the time by treating them as only a complete believer could treat them; no one will be able to say: This occultist speaks of the spiritual world because he is ignorant of the philosophical and scientific achievements of the time.

I had now also reached the fortieth year, before the onset of which, in the sense of the masters, no one may publicly appear as a teacher of occultism. (Wherever someone teaches earlier, there is an error).

Now I could devote myself to Theosophy publicly.

The next consequence was that, at the urging of certain leaders of German socialism, a general assembly of the Workers' Educational School was convened to decide between Marxism and me. But the ostracism did not decide against me. In the general assembly, it was decided with all against only four votes to keep me on as a teacher.

But the terrorism of the leaders meant that I had to resign after three months. In order not to compromise themselves, they wrapped the matter up in the pretext that I was too busy with the Theosophical movement to have enough time for the labor school in.

Miss v. Sivers was at my side almost from the beginning of the theosophical work. She also personally witnessed the last phases of my relationship with the Berlin laborers.

Today we will take as our subject the different ranks of beings to which man belongs. Man, as he is at present is a developing being who was not always as he is now. There are not only stages of development lying before and behind him, but also beings co-existent with him, just as the child today has the old man beside him who is at another stage of development. Today we will deal with seven ranks of beings, and in this connection we must clearly differentiate between receptive and creative beings.

Let us take as an example a colour which we perceive with our eyes, for instance red or green. In this respect we are receptive beings. The colour must however first be produced in order that we may perceive it; we must therefore be confronted with another being who produces the colour, for instance red. Through this we recognise the different stages of beings. If we put together everything which approaches our senses, there must also be a soul to receive it; but conversely something must also be present in order that the sense impressions may be brought to us. There are beings who can manifest. These have a more god-like or deva-character. Beings whose nature is more adapted to receiving have a more element[al] character. God-like beings are of a manifesting nature. Elemental beings are of a receptive nature.

Here, in this domain, we have the creative wisdom which manifests outwardly, and the wisdom which is received by the human soul. Wisdom is in the light and discloses itself in all sense impressions. Behind what is revealed we must assume the revealers, beings of will nature; wisdom is that which is revealed.

Man is both receptive and creative. On the one hand, for instance with regard to all sense impressions, he is receptive, with regard to thinking however he is creative. Nothing gives rise to thoughts unless he first produces perceptions. Thus he is on the one hand a receptive being and on the other hand a creative being. This is an important difference. Let us imagine that man were to be in a position to create everything he perceives, sounds, colours and so on, just as today he creates thoughts. Today he is only creative in one sphere, in thinking, and in order to have perceptions he needs creative beings around him. In bringing forth his own being he was at first creative. In the beginning he himself created his own organism. For this he now needs other beings. Now man must incarnate in a bodily form determined from outside. Here he is closer to the elemental beings than to the sphere of perception and thinking.

Let us imagine for once that man were able to bring forth sounds, colours and other sense perceptions and also his own being. Then we should have the human being as he was before the Lemurian race, who is called the “pure” man. Man becomes impure through the fact that he does not produce his own being, but incorporates something other into his nature. This pure man was called Adam Cadmon. When at the beginning of Genesis the Bible speaks of man, it speaks of this pure human being. This human being had as yet nothing kamic (astral) within him. Desire first appeared after he had incorporated other elements into himself. Thus there arose the second stage of humanity, the kama-rupic man (man with an astral body). The higher animal is to be seen as at a lower stage of this development. Without warm blood no beings can possess an independent Kama-rupa (astral body). All warm-blooded animals are derived from man.

Thus to begin with we have the pure man who up to the Lemurian Age actually led a super-sensible existence and brought forth out of himself everything that lived and was part of him.

Present day cold-blooded animals and the plants have developed in a different way from the warm-blooded animals. Those which exist today are remnants of strange, gigantic beings. Some of these can be verified by science. They are decadent animals which are descended from those which the pure man made use of in order to incarnate in them, so that he might have a body for what is kamic (astral). At first the pure man had found no means of incarnating on the earth. He still hovered above what was manifested. From among these huge, powerful beings (animals) man made use of the most developed in order to incarnate in them. He attached himself to these beings and thereby he was in a position to bring into them his own Kama (astral body). Some of these beings developed further and then became the animals of Atlantis and present day humanity. However it was not possible for all of them to adapt themselves. Those who failed became the lower vertebrate animals; kangaroos for instance are such attempts as proved unsuccessful on the way to becoming man—like pottery vessels which are rejected and left behind.

Now man tried to introduce Kama into the animal forms. Kama is first to be found in the human form, in actual fact in the heart, in the warm blood and in the circulation of the blood. Attempts were made again and again and in this way there was an ascent from stage to stage. We see unsuccessful attempts for instance in the sloths, the kangaroos, the beasts of prey, the monkeys and apes. All these remained behind on the way. The warm-blooded animals are unsuccessful attempts to become human forms endowed with Kama. Everything in them which is of the nature of Kama, man also could have within himself; but he unloaded it into them, for he was unable to use this kind of Kama. There is an important occult axiom: Every quality has two opposite poles. So we find, just as positive and negative electricity complement one another, so we have warmth and cold, day and night, light and darkness and so on. In the same way every Kamic quality also has two opposite aspects. For instance man has cast rage out of himself into the lion, and this, on the other hand, when ennobled by him, can lead him upward to his higher self. Passion should not be annihilated, but purified. The negative pole must be led upwards to a higher stage. This purifying of passion, this leading upwards of its negative aspect was called by the Pythagoreans catharsis. At first man had within him the rage of the lion and the cunning of the fox. Thus the kingdom of the warm-blooded animals is a comprehensive picture of Kama qualities. Today the opinion is commonly held that the ‘Tat twam asi’ (‘That art thou’), is to be understood as something general and undefined, but one must conceive something quite definite underlying it. Thus in the case of the lion man must say to himself: That art thou. We have therefore in the kingdom of the warm-blooded animals spread out before us the kama-rupic human being. Previously there only existed the pure man: Adam Cadmon.

The philosopher of natural science, Oken, who in the first half of the 19th century was a professor in Jena, was acquainted with all these ideas and expressed them in a grotesque way in order to nudge people to attention. Here we find an example which points to a still earlier stage of human development, before man separated off from himself the kingdom of the cold-blooded animals. Oken connected the cuttlefish with the human tongue. In this analogy of the tongue with the cuttlefish one can find an occult significance. Now we also have beings who for the first time are, as it were, being conjured up as by-products. Man has ejected from himself the cunning of the fox and retained its opposite pole. In the fox's cunning however the germ of something else is beginning to develop, for example something similar to the way in which the black shadow of an object has a secondary shadow when light enters it from outside. We incorporated cunning into the fox out of our inner being. Now spirit is directed towards him from the periphery. The beings which in this way work from the periphery into what is kamic are elemental beings. What the fox has received from us, is in him animal; what coming from outside attaches itself to him from the spirit, is elemental being. On the one hand he originated through the spirit of humanity and on the other hand through an Elemental being.

Thus we differentiate: firstly, elemental beings, secondly, the kama-rupic man, thirdly, the pure man, fourthly, the man who in a certain respect has overcome the pure man, who has taken into himself what is outside and around him and is creatively active. He has contacted and taken into himself everything which is around him in earthly existence. This gives him the plans, the directions, the laws which create life. Once man was perfect and he will become so again. But there is a great difference between what he was and what he will become. What is around him in the outer world will later become his spiritual possession. What he has won for himself on the Earth will later become the faculty of being creatively active. This will then have become his innermost being. One who has absorbed all earthly experiences, so that he knows how to make use of every single thing and has thus become a creator, is called a Bodhisattva, which means a man who has taken into himself to a sufficient degree the Bodhi, the Buddhi of the earth. Then he is advanced enough to work creatively out of his innermost impulses. The wise men of the earth are not yet Bodhisattvas.²⁴ Even for such a one there always remain things to which he is still unable to orient himself. Only when one has absorbed into oneself the entire knowledge of the Earth, in order to be able to create, only then is one a Bodhisattva; Buddha, Zarathustra, for example, were Bodhisattvas.

When man ascends still further in evolution, so that he is not only a creator on the Earth, but possesses forces which reach out above the Earth, only then is he free to choose either to use these higher forces or to work further with them on the Earth. In this case he can bring into the Earth something coming from higher worlds. Such an epoch occurred before man began to incarnate, in the last third of the Lemurian Age. The human being had developed his physical, etheric and astral bodies. He had brought these members of his being with him from an earlier Earth evolution. The two next impulses, Kama and Manas, he could not have found on the Earth; they do not lie in its evolutionary sequence. The first new impulse (Kama) was only to be found as a force on Mars. It was added shortly before man incarnated. The second impulse (Manas) came from Mercury in the fifth sub-race of the Atlanteans, with the original Semites. The stimulus of these new principles had to be brought to the Earth from other planets through still higher beings, through the Nirmana-kayas. From Mars they added Kama, from Mercury Manas. The Nirmana-kayas are yet another stage higher than the Bodhisattvas. The latter are able to order evolution which has continuity; but they cannot bring into it what comes from other regions, this can only be done by the Nirmana-kayas. [In] yet another stage higher than the Nirmana-kayas, stand those beings who are called Pitris. Pitris = Fathers. For the Nirmana-kayas can indeed bring something coming from other regions into evolution, but they cannot sacrifice themselves, sacrifice themselves as substance, so that on the following planet they can bring forth a new cycle. This can be done by the Pitris, beings who had evolved on the Moon and had now come over; they became the activating impulse towards Earth evolution. When man has gone through every possible experience, then he is in a position to become a Pitri. The next and even higher stage, the last that it is possible to mention, is that of the Gods themselves.

Thus we have seven ranks of beings: Firstly the Gods, secondly Pitris, thirdly Nirmana-kayas, fourthly Bodhisattvas, fifthly pure human beings, sixthly human beings, seventhly elemental beings. This is the sequence of which Helena Petrovna Blavatsky speaks.

Now we can add the question: What kind of organ is it which has made man kama-rupic? It is the heart with the veins and the blood that pulsates through the body. The heart has a physical part and an etheric part. Aristotle²⁵ speaks about this, for in earlier times it was only the etheric man which was held to be important. The heart has also an astral part. The etheric heart is connected with the twelve-petalled lotus flower. Not all the physical organs have an astral part; for example the gall bladder is only physical and etheric, the astral is lacking.

• 24. See: The Christ Impulse and the Development of the Ego Consciousness, lecture 1, 25.10.1909 and From Buddha to Christ 21.9.1911.
• 25. Here Rudolf Steiner is presumably referring to the minor scientific writings (Parva naturalia) ‘On Youth and Age, Life and Death’.

If we consider man's being in its entirety we have to begin with the physical body, then the etheric, then the astral body. The physical body of man can be seen by everyone. The etheric body becomes visible when the physical body is suggested away by a strong act of will. Then the space of the physical body remains filled with the etheric body. The occultist considers the etheric as actually being the lowest body. It is the body according to which the physical body is formed. Taking the descending line, the form of the etheric body is the reverse of the physical. It is only in the ascending line that they are identical. A woman has a masculine etheric body and a man a feminine etheric body.

Around the etheric body appears the astral body. It is the outer form for the entire content of the soul; for passions, emotions, impulses, desires, joy, unhappiness, enthusiasm and so on. It manifests itself in forms of every description. The surrounding part shows cloud formations; it radiates the most varied colours. Frequently somewhat tattered formations are attached to it. The forms and colours are different and changing. Green shows sympathy and compassion for one's fellow men. The lower levels of the population show much red in the astral body, brownish red, brick red, blood red. Especially with droshky-drivers one can see such a red, indicative of the lower passions.

With every human being all the fluctuations of the astral body are enclosed in an egg-shaped sheath. This has an underlying blue colour and shows, as an important factor, a dark violet spot in the middle of the brain. Helena Petrovna Blavatsky calls this egg-shaped sheath the auric egg. In the case of little children the auric egg is predominant; in their case many bright, luminous clouds of colour appear within it. In the lower parts however little children also have dark clouds, indicating lower impulses. This is the inherited Karma that they have in common with their ancestors—‘the sins of the fathers’. These sins of the fathers are inherited down to the seventh generation. People's characteristics can be traced back as far as the seventh generation of forefathers. After the seventh generation heredity dies out. One reckons three generations to a century. The man of today therefore still shows certain good or bad qualities coming from what was good or bad in his ancestors of the 17th century. Thus one can look backwards on one's forefathers as far as two hundred years or rather more.

To see how the auric egg has been formed we must consider the development of a cosmic body. The condition of the Earth lying nearest to our present studies is characterised as the physical condition. In Theosophical literature a condition of form is called a Globe and one therefore speaks of the physical Globe. As physical Globe the Earth is the fourth Globe in a development of seven states of being. Three other conditions preceded the physical Globe and a further three are still to follow. Before the Earth became physical it was astral. Everything living upon Earth was at that time present only in the astral. When man has gone through the Sixth and Seventh Root-Races (epochs) he will have become so spiritualised that he will again have an astral form. This future astral condition of form however will contain all the fruits of evolution.

Seven conditions of form together make up a Round. At the present time the Earth is going through its fourth Round and this is the mineral. During this time it is the task of mankind to work upon the mineral kingdom. A man is already working on the mineral kingdom when he takes a flint and hammers it into a wedge-shaped tool with which he makes other objects, when he transports rocks and builds pyramids out of the stones, when he makes tools out of metals, when he conducts electric current in a network over the earth; in all this man is working upon the mineral kingdom. Thus man puts into service the whole mineral kingdom. He makes the Earth into something entirely of his own devising. When the painter turns his mind to a combination of colours he is also working upon the mineral kingdom. We are now in the midst of this activity, and in the course of the next races (epochs) the Earth will have become completely transformed, so that eventually there will be no single atom on the earth that has not been worked upon by man. In earlier times these atoms became more and more solidified; now however they are becoming increasingly separated. Radioactivity did not exist in earlier times and could not therefore be discovered. It has only existed for a few thousand years, because now the atoms split up more and more.

When the Fourth Round comes to an end the entire mineral kingdom will have been worked upon by the hand of man. When it has been completely worked through by man, then, in order that the fruits of this work can be manifested, the Earth must pass over into an astral condition in which forms can develop. The Earth then passes over into a Mental Globe and then into the Higher Mental condition, the Arupic. It then disappears altogether out of these conditions into a shorter Pralaya. It then enters once more into a new Arupic condition, that of the next, the Fifth Round; then into a Rupic condition and then into an astral condition. After this it appears physically once more. Everything which man worked into the mineral kingdom during the Fourth Round reappears and grows up as the plant kingdom; for instance [the] Cologne cathedral will appear as a plant in the next Round.

Between the last Arupic condition of the Fourth Round and the first Arupic condition of the Fifth Round the earth goes through a Pralaya. Then in the Fifth Round the previous mineral kingdom appears in all its forms as the plant kingdom. In the Arupic condition of the Fifth Round everything is contained that man has worked over in the mineral Round. At first this reappears in the Arupic condition in the pure Akasha. This condition is in fact called ‘Akasha’. In the beginning of each new Round everything is to be found in the Akasha; later there are only imprints. Thus in these imprints we have the whole Earth with all its beings. In the transition from the Third to the Fourth Round, all the beings which came into existence in the Third Round also reappear.

With further development out of the Akasha everything has to assume a denser form. This takes place in the Rupa condition of the earth. This more material form is called in occultism, for example in certain passages from H.P. Blavatsky, the ether. In this Ether-Earth everything is contained. All beings were contained in thought, but nevertheless in the background the Akasha exists as a foundation. The ether densifies further to the Astral Light. In this Astral Light radiates the third Globe (condition of form), the Astral-Earth; it radiates in the purest Astral Light, and this Astral Light is in fact entirely composed of the same substance in which later man's auric egg shines out. This is especially the case with quite young children who are only a few months old. After this the Earth passes over into its present physical condition. Then, as the actual Earth, it becomes ever more and more physical. In the same degree however in which it becomes ever more physical, it separates off from itself the individual auric eggs for mankind. These differentiate themselves as though, in a vessel filled with water, one part of the water freezes to ice while the other part rises up in pearl-like water drops. Thus on the one side the physical earth separates off and on the other side the auric eggs become, as it were, pearl-like drops for human evolution.

At first the auric egg seems to be undifferentiated. Actually however it is not undifferentiated. It may be compared with the following: If we have a solution of cooking salt it appears as a uniform grayish mass; if we let it stand the beautiful cubic crystals of salt are precipitated. In the auric egg those forces were inherent which produced the etheric body, the Linga Sharira. Out of what became solid earth there also emerged later what had already gone through a development on the Old Moon. This contained as predisposition what eventually became the lower kingdoms as far as the first vertebrates, up to the snake. The vertebrate animals which followed were not there on the Old Moon; they were first added on the Earth. Thus the invertebrate animals emerged from the Earth when it densified to a physical condition, as did also the plants and mineral kingdom.

At the time when all these separated forms had emerged, mankind had entered into the Lemurian Age. The ever densifying human being developed from the first, the Polarian race, to the race of the Hyperboreans. This was followed by the Lemurian Age; it was then that the development of the vertebrate animals entered its first stage, and it is from that time that they have continued to evolve.

So we have to distinguish: firstly Akasha, secondly Ether, thirdly Astral Light, fourthly Earth, fifthly the Auric Egg.

This is called a spiral (Wirbel). Until the Earth stage, the fourth condition of form, the Earth became ever denser. At the price of this increasing densification, the Astral Light became individualised after the solid had thrust itself out. The Auric Eggs of human beings are the individualised Astral Light. One can therefore read in the Astral Light, not the deeds, but the emotions bound up with them; these one can read in the Astral Light. For example, Caesar conceived the idea of crossing the Rubicon and this roused in him certain feelings and desires. What took place at that time corresponds to a combination of astral impulses. The physical deeds on the physical plane have vanished for all eternity. Caesar's advance can no longer be seen in the Astral Light, but the impulse which drove him to it has remained there. The karmic (astral) correlations with what takes place on the physical plane remain in the Astral Light. One must accustom oneself to look away from all physical perceptions and only to see the karmic impulses. One must hold fast to these and consciously transpose them back into the physical. There is no purpose in looking for something which might be seen, as though one were looking at a photograph.

The greatest impulses of world history can however no longer be read in the Astral Light, for the impulses of the great initiates were passionless. Whoever therefore reads only in the Astral Light, for him the whole work of the initiates is absent: for example the content of the book ‘The Great Initiates’ by Edouard Schuré could not have been found in the Astral Light. Such impressions are only inscribed in the Ether. What one can read in the Astral Light in connection with what the initiates have done is based on an illusion, because one can only read the results of the lives of the great initiates in the impulses of their pupils. Pupils and even entire peoples have experienced strong and passionate emotions in regard to the actions of the great initiates and these have remained in the Astral Light. But it is so difficult to study the deepest motives of the great initiates because they are only present in the ether.

Cosmic events—metamorphoses such as those of Atlantis—remain at a still higher level, no longer in the Ether, but in the actual Akasha. That is the Akashic Chronicle. This latter is nevertheless connected in a certain way with the most earthly concerns of mankind. For the human being is connected with the great happenings of the Cosmos. Every single person is to be found sketched, as it were, in the Akashic Chronicle. What is present there continues further and works its way into the Ether and the Astral Light. The individual human being becomes ever more clearly discernible the more one seeks for him in the lower spheres. And one must study all these spheres in order to understand the real mechanism of Karma.

Dr. Steiner: I would like to briefly handle the questions that are burdening you. That is why I have called you together today. Are there any further questions?

A teacher: The school inspector has made an appointment for February. He would like to have a report on the teaching.

Dr. Steiner: You should keep the report as brief as possible. Certainly do not write a book, but something more like your lesson plans, containing only notes like, “binomial theorem” or “permutations.” Keep strictly to the subject.

You need to assume that such an official would view any diversion as incorrect, and that additional remarks would only make him angry. You need to assume that he has only a small amount of capacity within his soul. That is something officials cannot have due to their position. If you provide him with a long discourse that is different from the normal elementary school curriculum, you will be beating him over the head. We should never believe we could ever satisfy such people, really. Our position in regard to such people should be that we simply tell them that we do such and such. There is no reason to hope there will be any sort of insight from that side. There is more reason for hope in anyone other than a professional educator. It is better to tell how far you are, and what you have done, and leave out any other remarks.

A teacher: N.G. would like to attend school only for a half day and to use the remainder of the day to work on mechanical drawing.

Dr. Steiner: He is in the tenth grade. Of course, something of that sort could not be considered in the lower eight grades, but beginning only with the ninth grade. In such cases, we could look into the question of whether we accept part-time students who would only attend a few periods. That might be possible. He would, of course, not be a regular student, but only an auditor. We might even be able to see this as a solution to a more general problem. Those in a similar situation could attend the school as auditors.

A teacher: Should we put T.H. in the remedial class and have him attend the other subjects afterward?

Dr. Steiner: Put him in the remedial class, but then send him home after ten o’clock.

A teacher: The Independent Youth Group has asked about a pedagogical course in Jena over Easter.

Dr. Steiner: That depends upon what you want, and what you can do. Which of you in the faculty would and could do something? It would be good if we could propagate what we can refer to as “the Waldorf School Idea” and, in particular, if it would take root among younger people. It would be a good idea if the Waldorf School idea could become more widespread, so that people would see the Waldorf School as something special, something great.

A teacher: Wouldn’t it be better if we began something?

Dr. Steiner: That’s true, and if you can create something independent and win over youth for it, that would certainly be preferable. Without winning over youth, there is not much we can accomplish in the area of pedagogy. We need to win over youth, especially those in the youth movement. On the other hand, I have no doubt that if the youth movement in Jena approaches the Waldorf faculty, you would not be any less independent than if you were to begin it yourselves. What is important is what you do, and how you present yourselves. I think you could accomplish a great deal with such things.

I think that in something like that movement, we should not be overly concerned about the direction. Perhaps you know the wellknown anecdote about Bismarck. We could also apply it, with some reservations, to the Waldorf School movement. Here I am referring to the story about how Bismarck was invited to certain royal festivities simply because of his official position. As a not very high-born country squire, he could not sit at the high table, [but as High Chancellor, he sat with the Crown Prince]. But, when Mrs. Bismarck [who was a commoner] went along, members of the royal court complained that the Bismarcks should not sit up front at the high table. They went so far as to send the ceremonial master to Bismarck, but nothing could be done. Bismarck’s official position was such that he was entitled to sit closer, but nothing could be done about Mrs. Bismarck. Bismarck then said, “Well, you know, my wife sits where I sit, and you can seat me wherever you want. Wherever I sit is always the highest position.” I think that is similar to our own case. What is important is what we do. Is there anything more to say about individual students or classes?

A teacher asks about L.R. in the fourth grade. He had expressed some suicidal thoughts.

Dr. Steiner: He would be ripe for the remedial class, but let’s leave him in your class until I have seen him.

A teacher: The health of one of the first grade classes is very poor.

Dr. Steiner: In this class are the first children born during the war. However, since the children were simply divided according to the alphabet and the other first grade class is healthier, external circumstances could not be the only cause of the poor health in the class. The problem is in the humidity in the classroom and the heating.

A teacher: There are bad family situations.

Dr. Steiner: Among the children there are the most unfortunate circumstances, and these are then transmitted on to the others. There is not much we can change. However, we could improve the heating. Central heating would be best. We should try to do that. That is something we must do as part of the new construction.

A teacher speaks about D.M. in seventh-grade Latin class.

Dr. Steiner: You certainly accomplished a great deal with those you had today in Latin. You went through the entire reading from the beginning. That is quite good. They learned a relatively large amount. Who is this D.M.?

A teacher says something about the student.

Dr. Steiner: That’s the boy on the left toward the back. Now I remember.

A teacher: He likes to write with Greek letters, but doesn’t know what they mean.

Dr. Steiner: You should try to bring him away from that through something artistic. For instance, you could have him draw a top in a number of colors, red, orange, yellow, green, all seven. Then have him try to blend red into this so that he would have to use his intellect in connection with art. It is difficult to spend so much time with one boy, but you could also try to have him divide things into, say, subject, verb and object, and so forth, that can be exchanged with one another. In other words, have him do something that brings the intellect and art together. That might help. You could occupy him with such things.

A teacher: I am trying it with Amos Comenius.

Dr. Steiner: That is a good idea. You need to make it quite visible, so that both his intelligence and perception unite in it.

A teacher: I have completed La Fontaine’s Tales in the seventh grade. Some of them are rather suspect morally.

Dr. Steiner: Make a joke about that. You need to treat them as stories.

A teacher: It appears to me that La Fontaine is lacking in humor.

Dr. Steiner: You must create the humor from yourself, but, in certain situations, you can just as easily create a great deal of misunderstandings. What is important is that you attempt to be one with him. When you are done with him, I would undertake one of the major prose works. You could certainly do Mignet with those children.

A teacher: Should we do The Tempest after A Christmas Carol? Another teacher: I did The Tempest with each child taking a role.

Dr. Steiner: That is a real pedagogical problem. It depends upon how you do it. The children have the material, but they experience nothing more. On the other hand, this may be the best way of bringing them into the spirit of the language.

A teacher: I wanted to read Jules Verne with my ninth grade.

Dr. Steiner: I have nothing against Jules Verne if you treat him in such a way that the children do not become silly about it. But, you can certainly do it.

A teacher: Do you recommend that we do some short stories?

Dr. Steiner: That’s good for thirteen- or fourteen-year-olds. It is also what I meant when I mentioned Mignet. In English and French, you need to find some characteristic pieces to read.

A teacher: For economic reasons, we may need to use the school editions.

Dr. Steiner: You can obtain the material wherever you want. The main thing is that each student has their own book. Often, the school texts are simply poison for children. What is in the lower grade school books is often just terrible.

A teacher: K. was here for two years, and now he is leaving with very little knowledge. What kind of report should I give him?

Dr. Steiner: Write the truth in his report. Give the exact reasons why he is lagging behind. You can write all of that in it. You cannot keep him here. One day, the light will go on for him.

A teacher: You gave Biblical stories as the story material for the third grade. I don’t know how I should do that.

Dr. Steiner: Look at one of the older Catholic editions of the Bible. You can see there how to tell the stories. They are very well done, but of course you will have to do it still better. Here you have the opportunity to improve upon the terrible material in Luther’s translation. The best would be to use the Catholic translation of the Bible. In addition, I would recommend that you work somewhat with the translations before Luther’s, so that you can get past all of those myths about Luther’s Bible translation. There is something really wrong about all the laurels Luther has earned regarding the formation of the German language. That lies deep in the feeling of middle European people. If you go back to the earlier Bible translations and look at longer passages, you will see how wonderful they are in comparison to Luther’s translation which, actually, in regard to the development of the German language, held it back.

There is an edition of the Bible for students, the Schuster Bible. You can get it anywhere there is a Catholic majority. Before the story of Creation, you should begin with the fall of the angel. The Catholic Bible begins with the fall of the angel and only afterward with the creation of the world. That is quite beautiful, simple, and plain storytelling.

A teacher asks about a boy in the seventh grade who has amyotrophia (muscular atrophy).

Dr. Steiner: Treat him with hypophysis cerebri.

There is a question about an assistant for music class.

Dr. Steiner: We have only a few good musicians, but nevertheless, we do have some. I will keep my eye open on my trip.

Dr. Steiner speaks with Dr. Schwebsch about the problem of music and refers him to Eduard Hanslick’s book, Vom Musikalisch-Schönen and also an article by Robert Zimmermann about the aesthetics of music.

A question is asked about a gymnastics teacher.

Dr. Steiner: I think we need to be very careful about who we choose to teach gymnastics. It is important that we place gymnastics upon a broader foundation, so that it can be done in a more reasonable way. We need to find someone who is interested in that.

In the Christmas course in Dornach I showed how the soul slowly takes over the entire organism. That is something we need to take into account. I want to have this course printed as soon as possible, for there is considerable information about such questions. I had not previously had an opportunity to discuss them so exactly and in so much detail, that is, the formation of the organism, so that gymnastics teachers could actually understand them. I will look into this question further.

Marie Steiner wrote the following announcement for these performances: “Dear Friends! As a result of the interest shown by visitors to our eurhythmic performances in this new art form and the many requests to see them again, we have decided to give two further public performances on Sunday, March 23, at 5 p.m., and on Monday, March 24, at 8 p.m., in the carpentry workshop at the Goetheanum. We have decided to organize two evenings in order to give every member the opportunity to attend and to bring friends. The program includes a number of new performances, including a scene from “Faust”. Tickets at 3, 2, 1 francs are available at Hug & Co (Freiestrasse, Basel), at Fräulein Kessler (Reformgeschäft Arlesheim) and at the box office. We are grateful for any publicity for the event; for this purpose, programs are available at the Geering Bookstore (Bäumleingasse, Basel) and at the Dornach canteen.

What is being attempted here can be compared with neighboring arts, with all kinds of dance-like arts and the like, and in relation to what has already been achieved, it will be found that ours is certainly the more imperfect of the two. But we would also be misunderstood if it were believed that we wanted to compete with any neighboring arts. We readily admit that in these neighboring arts, in terms of their nature, something much, much more perfect is already being achieved today than can be achieved in our country. But, as I said, it is not about such competition. The point is that something essentially new is to be inaugurated. And what we are seeking is based, just like everything else that is to develop in these rooms, on the Goethean world view developed for our present time, for our modern ideas and perceptions and feelings. That is why our building bears the name Goetheanum, and rightly so.

What we want to develop as the eurythmic art is, as far as we can see, truly derived from Goetheanism. However, if one wants to understand this Goethean basis of the eurythmic art, one must consider the whole great and powerful way in which Goethe's artistic sense, how Goethe's whole artistic direction is based on the grandiose of Goethe's world view, which is completely unlike today's sober direction, which is usually taken as the basis of world views. In order to characterize the basic impulse of our eurythmic art in a few words, I will have to point out what, I would like to say, I can show in a nutshell, which direction Goethe's ways of looking at things took when they wanted to penetrate into the essence of things, especially into the essence of living things. I will have to point out the very peculiarity of what is known as Goethe's theory of metamorphosis.

This doctrine of metamorphosis is based on the fact that living things are constantly transforming the individual elements they contain in their formation, so that all the individual elements of a living being are transformations of each other. And the whole, in turn, represents a single element only in a certain transformation. Goethe saw how the colored petals of a plant are only transformations, metamorphoses, of the green leaves, how even those organs that do not resemble leaves at all on the outside - such as the stamens or the pistil - are only transformed leaves, how the whole plant is basically a complicated leaf and how each individual leaf is a whole plant. For Goethe, the peculiar thing is that the parts of a living being are always a certain expression of the whole, and that the whole, in turn, is an expression of a single part.

Through such contemplation, one does indeed penetrate deeply into the essence of things. Thus Goethe not only contemplated the simple plant, he contemplated the animal creatures, and thus, at the summit of natural becoming and activity, he contemplated man himself.

Now, what Goethe has developed as a magnificent view of nature, as he has done in individual fields, can be transferred into artistic feeling. What I meant by the above is not a theoretical formulation of some thought, but the full realization of the feeling of metamorphosis in nature through the artistic sense. It is the full expression of what contemplation is through the power of artistic creation. Our eurythmic art is intended to bring Goethe's way of looking at things to artistic revelation in a special case, now transferred to another area. Only now we are not to go into the form, not to take something from the form, but from the activity.

And so, when we transfer Goethe's view to a certain higher area of human activity, the following emerges: When man unfolds, as he speaks, recites poetry, sings, in short, when he sets his larynx and neighboring organs in motion, that which man unfolds as the hidden activity that is only present in his larynx and neighboring organs, which he unfolds as such hidden activity, to which he does not turn his attention, man unfolds certain movements. He turns his attention to listening to what is spoken or sung. He does not turn his attention to these hidden movements. But he develops certain movements that, just as a single leaf is an entire plant, can express the activity of the whole human being. And the other way around: if you intuitively see what is mysteriously indicated in the movements of the larynx and its neighboring organs, through which human speech, human song comes about, you can translate what you can intuitively see into movements of the whole human being. In a certain way, one can bring the human being into such a movement and shaping of the movements that he becomes entirely larynx.

That is what our eurythmic art is striving for. Please do not misunderstand me. It is not meant that it should be shown in a crazy way how one thing or another can be expressed through movements of the human body, but rather that just as mysteriously as that which emerges from the depths of the human larynx can reveal itself artistically, so, if one makes the whole human being the expression of that which otherwise only the larynx and its neighboring organs express, that which comes to light in the shaping of the whole human being can be artistic.

That is our eurythmy, what the human being brings to contemplation when he represents through his entire body those movements that are otherwise only present in the larynx and that would be expressed, for example, when one would , the air movements that arise when a person artistically shapes sound in speech or song in the voice, in the tone, a source of a new artistic element is thereby obtained from the ground, because all that is truly artistic is based on the discovery of such a natural foundation.

Goethe must have felt this when he made the following statement, which is very meaningful for his view and perception: “To whom nature reveals its manifest secret, he feels a certain longing for its most worthy interpreter, art.” The secret that is hidden in human speech and singing can actually be transformed into movements of the whole human being. In this way, the eurythmic art fulfills what Goethe wanted again when he said: “Art is based on a certain recognition, on the essence of things, when it allows us to reveal their inner laws in visible and tangible forms.

That which lives in the human soul should be revealed in visible forms through the art of eurythmy. But our eurythmic art is also an art of movement in which everything arbitrary is excluded. Other similar art forms, which, as I said, achieve more perfection in their own way than we can achieve today in our field, express in their gestures, in some mimic movement, that which is momentarily added to an inner soul emotion or the like, to a feeling, to a sensation. All this is not the case with us. We do not seek to depict any of the connections that arise between a gesture, a movement and an inner soul process. Just as music itself is based on an inner lawfulness, so the movement of our eurythmy is based on an inner lawfulness, and what is continuous in a presentation is as lawfully inner — not arbitrary - as melody or harmony in music itself is subject to inner laws.

Thus, when two individuals with different personalities perform the same thing in eurythmy, they will always perform it in the same way. The only subjective difference is that it is different from the way a Beethoven sonata is performed by two pianists. Of course, each individual brings their own subjectivity to what they perform. But the art of eurythmy is completely objective, based on its own laws. And if you find something represented by one artist, another artist would represent the same thing in exactly the same way, only varied according to subjectivity in the way suggested to you. This art of movement can therefore depict everything that is initially revealed through sound, sound sequences, modulation of sound, etc., through the movement of the individual human being. What accompanies our speech, especially when it is artistically formed, what warms this speech, as feeling is warmed by soul content, what this speech brings in rhymes, in rhythms - that, in turn, is expressed in our group movements. Groups always represent that which plays into the larynx from the rest of the human being, so that speech can be warmed, illuminated, and soul-filled, or also given rhythm or rhyming alliteration. Anything is possible in this way of expressing it through the art of eurythmy.

In this way, an art of movement that has been brought forth by human beings themselves is presented to our contemporaries. A work of art is created in the human being. The movements that we want to bring to light rest in the human being itself. Of course, all that is fundamental is only necessary for such an art to arise. But just as the larynx is necessary for the presentation of song and speech, and just as, in this presentation of song and speech, the artistic element comes to life in direct contemplation, so too can life come to life in that which arises from the inner, essential law of things, here of the human being itself, can only live in what emerges from the inner essential

Goethe says so beautifully: when man is placed at the summit of nature, he feels himself to be a complete nature, in order to bring forth a summit in turn. He absorbs symmetry, order and harmony in order to finally rise to the production of the work of art. In this way, the human being should not rise to the summit of the work of art, but create a work of art from his own inner possibilities of movement in this eurythmic performance. The important thing, dear audience, is that what is otherwise heard can be seen. Today we still present it in such a way that poems are recited or music is played on one side, so that one can hear and see at the same time on the stage the movements of the human being, which are carried out, so to speak, by the larynx that has become visible in the whole human being. That is the peculiar thing, that is also the more Goethean aspect of our eurythmic art.

As I said, everything we are able to present today is only the beginning. Pantomime and mime are completely excluded. Everything is based on an inner lawfulness. And if you do notice pantomime and mime, it is only because of an imperfection that must be eradicated later. Therefore, I ask you to also in this sense, what we can offer you today, to take. We are aware that everything is just a beginning, that everything is still quite imperfect. But we are convinced that, despite all the imperfections, the beginning of a new art movement, a new art activity has been created. Perhaps the principle still needs to be changed a lot. But we are convinced that something has been created that can become the seed of a future art. And we believe that what we can offer today as a beginning can, if fate permits, either be brought to an ever greater perfection by ourselves or by others, as with other arts. That is what I took the liberty of saying about today's performance. I would also like to add that we are very pleased that so many members of the audience have come today. In fact, so many people wanted to come that we had to turn some away. As a result, we will repeat today's performance next Sunday so that those who were unable to attend today can also get what is rightfully theirs. But that doesn't mean that there won't be another performance tomorrow at 8 a.m.

Around the same time that the idea that was to become the most important for his scientific thinking took shape in Goethe's mind, he also found the words that sharply characterize his relationship to science. On May 17, 1787, he writes to Herder that he is very close to the secret of plant development; and on Aug. 18, he writes to Knabel:

After what I have seen in Sicily and near Naples of plants and fish, if I were ten years younger, I would be very tempted to make a trip to India, not to discover anything new, but to look at what had been discovered in my own way.

He made it clear that he was not interested in discovering individual facts, but in achieving a conception of nature that was in keeping with his way of thinking. When, after his arrival in Weimar, he began to occupy himself with natural things, driven by inner compulsion and external circumstances, he found the science of these things among his contemporaries in a state that was completely at odds with his way of thinking. This circumstance shaped his entire preoccupation in this direction. He sought enlightenment in the works of naturalists. He always found himself compelled to look at things from points of view that were foreign to the researchers he turned to.

This is most evident in his botanical studies. In this field, Linné was the leading authority at the time. Goethe immersed himself in his writings, but was soon forced into opposition to his way of thinking. Linné sought out the characteristics of the individual plant forms. According to the degree of their relationship, he placed these forms in a systematic series. He does not ask whether there is a natural relationship between the different forms. This is because his conception of nature is dominated by the theological idea of a plan of creation: “We count as many species as different forms have been created in principle.” Anyone who starts from this basic view cannot see what the forms have in common. Rather, he will emphasize the distinguishing features in order to get to know the diversity that lies in the plan of creation. Goethe's way of looking at things was the opposite: “That which he - Linnaeus - sought to keep apart by force, had, according to the innermost need of my being, to strive for union.”

The difference between Goethe's and Linnaeus's approach lies in the fact that Goethe seeks the creative forces within nature itself, which bring the manifold forms of life into existence, while Linnaeus assumes that the creative power exists outside of nature. Therefore, Goethe must seek to immerse himself so deeply in nature until this creative essence becomes visible to him, whereas Linné is content to study the created in its diversity and surrender to the belief that this diversity is based on a wise cosmic plan. It was against Goethe's nature to surrender to such a belief. This nature is characterized by a statement he made to Jacobi:

God has punished you with metaphysics and given you a thorn in the flesh, but blessed me with physics. I follow the atheist's (Spinoza) Verbum Deo caro factum (The Word of God made flesh) and leave to you everything you call and may call religion. You believe in God; I see.

Just as one sees external sensual facts with the eyes of the body, so Goethe wanted to see the deeper-lying facts with the eyes of the spirit, which contain the reasons for those external facts. He searches for an essence that is contained in all plants, because - as he writes down in Palermo on April 17:

There must be such a thing! Otherwise how would I recognize that this or that structure is a plant if they were not all formed according to one pattern.

For Linnaeus and his like-minded colleagues, this question is superfluous, because the common pattern of all plants, in his opinion, does not lie within, but outside of nature in the idea of creation. What is outside of nature cannot be the subject of research.

One can see what is important to Goethe. He includes an element in research that excludes the opposing world view from it. Goethe had the courage to scientifically recognize what others believed should remain a matter of faith: therein lies the essence of his view. Kant found such striving contrary to the human spirit. He believed that our intellect is only called upon to bring the sensual diversity of beings into a conceptual unity. What this unity, which exists only in our minds, corresponds to in reality, we cannot know, he said. Goethe opposed this view. He was convinced that it is possible for the human mind to penetrate to that real unity of things (see the essay “Anschauende Urteilskraft”).

What Goethe calls the primal plant, the primal animal or the type of animal are components of this real unity of nature. These primal plants and animals cannot be perceived by the external senses. They cannot be given to us as sensual, but only as spiritual intuitions. No single actual plant is a primal plant. In this respect, Goethe's view differs from that of contemporary natural science. The latter believes that it has found the original essence when it can point to a single, sensually perceptible organism that has the simplest possible structure and from which more complex living beings have gradually developed. Goethe, on the other hand, says:

But once you have grasped the idea of this type, you will [only] realize how impossible it is to establish a single species as a canon. The individual cannot be a model for the whole, and so we must not look for the model for all in the individual. The classes, genera, species and individuals are related to the law as individual cases are to a law; they are contained in it, but they do not contain and give it.

When we survey the individual classes, genera and species, an ideal form arises in our mind that is not realized anywhere in the senses: and this is the original being in the sense of Goethe's conception. The modern naturalist would call such a form a mere idea, a thought. Goethe, however, sees in it a real being. This is characteristic of him. He regards the ideal as a reality, as truly present in nature.

From this basic view, Goethe's relationship to the modern conception of nature and his significance within it can be seen. This conception of nature differs fundamentally from the one prevailing at the time of Goethe. But it also differs from his own. Under the influence of the research of Lamarck, Darwin and others who followed similar paths, a revolution in natural science took place in the nineteenth century. It was recognized that one organic form can change into another over time. The consequence of this idea is the assumption that one form is not similar to another because it was originally created similarly by a higher being, but because it actually gradually emerged from the other. The forms of predators are no longer seen as similar to each other because they are all originally designed similarly, but because one actually emerged from the other. Thus, the view was arrived at that originally there were only a few or only one organic form, which developed over immeasurably long periods of time into today's diversity. What was previously seen as existing side by side is now seen as emerging from one another in a temporal sequence. This is essentially the difference between the modern conception of nature and that of Goethe's contemporaries.

This modern view of nature is, however, initially nothing more than a description of a state of affairs. And it stops at this description. It differs from the usual approach in inorganic science. When two elastic spheres in motion meet, they both change their motion. Inorganic natural science is not satisfied with describing the process of the change of motion, but seeks a law from which this process can be explained. Once this law has been recognized, the process can be understood. One can develop the process of motion after the encounter from the one before it.

The corresponding process in organic natural science is that one living form can be developed logically from another in thought. One then not only describes its temporal emergence from this other, but also comprehends it. The means to this comprehension in the organic realm would have to be something like the natural law in the realm of the inorganic.

Goethe strove to discover in organic nature that which corresponds to the law in inorganic nature. And he recognized it in his Primordial Plant and in his Primordial Animal. Through the inorganic laws of nature, an ideal unity is brought into the abundance of mechanical, chemical and physical phenomena; through them we see what is next to each other in a large, structured context; Goethe also wanted to recognize such a unity in the organic world of forms. The extension of the physical-mechanical way of explaining to the whole field of natural science is the characteristic of his view. It must be admitted, however, that modern natural science is moving in a similar direction. But it does so in a fundamentally different way from Goethe. He sought for the organic world something that would explain the diversity just as the laws of nature explain the inorganic phenomena, but which is of a higher nature than the latter. Today, we look for the same laws in the organic realm as we do in the inorganic realm. We imagine that the laws of organic action are actually physical laws, only in complicated combinations that are not easily understood. In exactly the same way, it is thought, as hydrogen and oxygen combine to form water under certain conditions, so under more complicated conditions, carbonic acid, ammonia, water and protein combine to form living substance, without the need to imagine special organic physical-chemical forces in addition to the physical-chemical ones.

This is not Goethe's view. He does not want to see inorganic laws applied to organic life, but he wants to discover new ones for this field that correspond to them. For anyone with a deeper insight, contemporary natural science virtually demands expansion in the direction that Goethe has taken.

When it comes to actual discoveries, one can fully agree with du Bois-Reymond, who said:

Even without Goethe's participation, science would have progressed as far as it has today. ... Sooner or later, others would have made the advances he achieved.

This applies perfectly to the individual facts that Goethe discovered. But these facts are not the essence of his scientific endeavors. This consists in the indicated basic direction of his scientific thinking.

In this respect, it is remarkable how Goethe came to his individual discoveries.

When he set about studying the animal and human organism, he was guided by the idea that both must be based on a common archetype, which appears in man only at a higher stage of development than in animals. This was demanded by his fundamental view of the unity of ideas in nature. However, the most important natural scientists of his time saw a significant difference between the organization of higher mammals and that of humans in that the former have the so-called premaxillary bone in the upper jaw and the latter does not. Goethe could not do anything with this assertion of the natural scientists. He therefore looked for the premaxillary bone in humans and found it. In the embryonic state it is still separate from the laterally adjacent bones, but in the developed human being it has grown together with them. In individual cases, if the development is not quite normal, the separation can remain. So Goethe did not make the discovery of the intermediate bone for its own sake, but to dispel an opinion that contradicted his basic view. It will become clear in what follows that the same applies to the discovery of the vertebral nature of the skull bones.

Fundamental to Goethe's scientific ideas is his concept of the metamorphosis of plants. In this area, he consciously set out to find an ideal form that underlies all the diverse plant forms as a pattern. He felt as if he were studying botany as if he had a text in front of him that he couldn't read at first, but could only look at the individual letter forms. The individual organs of the plant appeared to him as a diversity that must correspond to a unity, and the abundance of plant forms also seemed to point to something that they all have in common. He relentlessly pursued the goal of being able to move from one structure to another in such a way that this transition becomes a continuous unity, as when moving from spelling to reading. And on [June 15, 1786] he was able to report to Frau von Stein: “[...] my long spelling has helped me, now it works all at once, and my quiet joy is inexpressible.” It was, however, a long way from spelling to actual reading. In his estate, which is in the Goethe Archive in Weimar, there are diary-like pages on which he has recorded the individual stages of this journey. (See Goethe's works in the Weimar edition, 2nd section, volume 7, p. 273ff.) They were written during the Italian journey. The opulent world of forms in the south offers him the opportunity to recognize unity in abundance. He is tireless in his efforts to find plant specimens that are suitable for shedding particular light on the laws of germination, growth and reproduction. If he thinks he is on the trail of some law, he first formulates it hypothetically and then tests it for accuracy in the course of further experiences. One such hypothetical law is: “Everything is a leaf, and through this simplicity the greatest diversity becomes possible.” Finally, on May 17, 1787, he writes to Herder about his completed discovery with the words:

It had become clear to me that the true Proteus lies hidden in that organ of the plant that we usually refer to as the leaf, which can hide and reveal itself in all formations. Back and forth, the plant is always only a leaf, so inseparably united with the future germ that one cannot be thought of without the other.

Goethe means that all the organs of the plant, from the germ to the fruit, no longer appear to him as mere diversity, but he can, in the idea, carry out their emergence from one another just as it develops in reality before his eyes. Just as a sentence is formed out of words into a spiritual unity, so all the organs of the plant are united in the ideal image of the primal plant. Therefore, the term “leaf” should not be taken literally either. It is only intended to convey that the unity of the plant's being lives in the other organs as well as in the leaf, only in a modified form. When he set down his idea in the essay “An Attempt to Explain the Metamorphosis of Plants” in 1790, he therefore expresses himself more clearly:

It goes without saying that we would need a general word to describe this organ that has been metamorphosed into such different forms and to compare all the appearances of its shape with it; at present, we have to be content with getting used to holding the appearances backwards and forwards against each other. For we can just as well say that a stamen is a contracted petal as we can say of the petal that it is an expanded stamen; that a sepal is a a stem-leaf that is contracted and approaching a certain degree of refinement, than we can say of a stem-leaf that it is a sepal that has been expanded by the intrusion of rougher juices.

When Goethe speaks of the unified organ that underlies all visible organs, he means an idealized structure that enables the observer to see the sequence of forms present in the plant in a living sequence and development. He has described how the text that he reads from the individual letters is formulated in the aforementioned essay and in the poem 'The Metamorphosis of Plants'.

Does the unity that Goethe perceives in the plant from germination to fruitfulness suddenly come to an end? He answers this with a decisive 'No'. In the fruit, the potential for a new plant is present in the form of the seed. This is a whole plant, only contracted into a sensually simple form. During germination, it undergoes further transformation, and the new plant thus presents itself only as a continuation of the parent plant. Goethe expresses this by saying that procreation is only a growth of the organism beyond the individual. However, since the basic ideal organ is changeable in its sensory appearance, the plant forms that descend in continuous succession from a progenitor can also take on different forms over time. And thus the present-day view that the diversity of forms has gradually developed in a temporal sequence from a few or only one original species is justified by Goethe's view. What is today called the theory of descent thus finds a lawful explanation through Goethe's view.

It was in Goethe's nature to extend the ideas that had occurred to him for explaining the plant world to the whole of organic natural science. As early as 1786, he wrote to Frau von Stein: he wanted to extend his thoughts about the way in which nature, as it were, plays with a main form to produce the manifold life, to “all realms of nature, to all of her realm”.

Therefore, after his return from Italy, he also eagerly continued his studies of the animal organism, which he had already begun in the mid-1770s and which led him to the discovery of the interosseous bone. In this field, however, he did not succeed in achieving results as perfect as in the science of plants. He was unable to create an ideal structure in this field, as he had done with the “primordial plant”. The essays he wrote in 1795 and 96 (“First Draft of a General Introduction to Comparative Anatomy, based on Osteology” and “Lectures on the First Three Chapters of the Draft of a General Introduction to comparative anatomy, proceeding from osteology), written in 1795 and 96, as well as the earlier fragment, “On the Form of Animals,” found in his estate and published in the Weimar edition, contain only rudiments and preliminary studies for the general idea of the archetypal animal. Nor is there more to be found in the poem “Metamorphosis of Animals” (AOPOIEMOR). He has only achieved something more important in one detail. He recognized the relationship between the brain and the limbs of the spinal cord, and also that between the bones that enclose the brain and the vertebrae that enclose the spinal cord. Goethe's efforts were obviously aimed at tracing all the organs of the animal body back to an ideal basic form, as he had already done with plant organisms. This is much more difficult for all the organs of the animal form than for plants, because the more perfect a creature of nature is, the more diverse the outward appearance of the organs that are the same in their ideal form. The simplest case is that of the mutual relationship between the spinal cord and the brain and the bones that enclose them. Through his general view of nature, Goethe came to suspect that the bones that enclose the brain are not only spatially adjacent to the vertebral bones of the spinal cord, but are also ideally related to them. Full certainty was brought to him by a chance event that he experienced in 1790 on the dunes of the Lido in Venice. He found a sheep's skull that had so happily disintegrated into its individual bony components that the observer could recognize remodeled vertebrae in the individual pieces. Contemporary science has not entirely confirmed this isolated discovery by Goethe, but it has confirmed it in its essential parts. The anatomist Carl Gegenbaur conducted research on this subject and published his findings. They deal with the head skeleton of the selachians, or ancestral fish. The skull of these animals is clearly the remodeled end part of the backbone and the brain is the remodeled end member of the spinal cord. One must therefore imagine that the bony capsule of the skull of higher animals also consists of remodeled vertebral bodies, which, however, in the course of the development of higher animal forms from lower ones, have gradually shape that is very different from vertebral bodies and that are also fused together in such a way that they have become suitable for enclosing the brain, which also developed from a limb of the spinal cord. Over time, this adhesion has become such a permanent feature of higher animals that a separation into the individual components, as in the case of the interstitial bone, cannot even be observed in the embryonic state in which the organs concerned are still soft. On the contrary, the separation into individual skull bones occurs only at a later stage of development in higher animals today. Initially, they form a continuous cartilaginous capsule.

But this case is characteristic of Goethe. He discovers something that later natural science rediscovers by completely different means, simply because it follows from his general view of nature. Goethe also viewed the relationship between the brain and spinal cord in the same way as the later research mentioned above. In 1790, he made the following entry in his diary:

The brain itself [is] only a large main ganglion. The organization of the brain is repeated in every ganglion, so that each ganglion [is] to be regarded as a small subordinate brain.

Today, when speaking of Goethe's relationship to science, many people feel that the most important question is: Did Goethe believe that over time one species of plant or animal actually transforms into another, or did he not go beyond the observation of the ideal unity? From what has been said so far, it is clear that his approach provides a meaningful explanation for an actual transformation. In contrast to this, it seems completely irrelevant whether he actually spoke about such an actual transformation. One must bear in mind that such an expression was far less necessary in his time than it is today. It would also not have seemed as significant as it did a few decades later. All experiential foundations for how one was to imagine the actual relationships and transformations in detail were lacking. Therefore, the actual science could not do anything with such ideas. It was only when Darwin created scientific foundations for individual thoughts in this direction that one could talk about them. Goethe, according to the state of empirical science at the time, could only form very general concepts. And he spoke about such concepts clearly enough.

But if we consider all forms, especially organic ones, we find that nothing exists, nothing rests, nothing is closed off, but rather everything is in constant motion. (Formation and Transformation of Organic Beings [on morphology). The intention is introduced.

This, then, we have gained, and can claim without fear that all perfect organic natures, including fish, amphibians, birds, mammals, and at the top of the latter man, were all formed according to an archetype, which only tilts more or less back and forth in its [very] constant parts and still daily forms and remodels itself through reproduction.

If Goethe had expressed his view of the transformation of organic nature more clearly than in such phrases, he would have been lumped together with the fantasists who had all kinds of adventurous ideas about the metamorphosis of natural beings. We also have a statement from him about this: “However, the time was darker than one can imagine now,” he writes in retrospect in

For example, it was claimed that it only depends on the person to walk comfortably on all fours, and that bears, if they remained upright for a while, could become people. The audacious Diderot dared to make certain suggestions as to how to produce goat-footed fauns to be placed on carriages in livery, for the special pleasure and distinction of the great and rich.

Just as far as the science of that time was from such ideas, just as close was the un-science to them. He was careful in his indications of an actual tribal or blood relationship of the organic forms, so as not to see his explanations mixed up with the latter.

Goethe wanted to extract everything necessary for the explanation of natural phenomena from nature itself. This has been shown by considering his studies of the organic world. This fundamental view of his mind can be observed just as clearly in his theory of colors. In Goethe's time, this field of natural science was built on assumptions that were not taken from nature. And even today it still bears this character. The eye's perception provides light and dark and the variety of colors. The theory of colors seeks to discover the relationships between these elements of perception. Light is the absolute brightness; its opposite is absolute darkness. Goethe, in accordance with his entire nature, had to stop at the sensory perception of light. Newton, the founder of the more recent color theory, did not do that. He was of the opinion that light is something other than what it directly presents to the eye, namely an extremely fine substance. What presents itself to perception as light should be substance in reality outside of perception. And white light, as it reaches the earth from the sun, for example, is said to be a composite substance. This composite substance is broken down into its individual components, which are the seven primary colors, by the prism. So this theory explains a vivid process, namely the appearance of colors in the illuminated space, by means of a non-vivid, hypothetical process. Present-day natural science takes a similar view. It has only replaced the substance with a wave motion of that substance. Goethe could not work with such a view. Within the world of the eye, there are neither substances nor movements, but only qualities of light and color. He wants to work with them alone, not with hypothetical entities that cannot be found within experience. He observes how the sensory elements of perception of the eye relate to each other. He notices that where light and dark meet, color arises when the spot is viewed through a prism or a glass lens. He records this immediately perceptible fact. He conducts experiments that are suitable for elucidating the phenomenon. If a white disc on a black background is viewed through a convex glass lens, it appears larger than it actually is. Through the edges of the enlarged surface, you can see the black background below. The part of it that is covered by the enlarged white disc appears blue. The situation is different when a black disc on a light background is observed in the same way. The edge that appeared blue there now appears yellow. Goethe does not go beyond these perceptible facts. He says: When a light color is moved over a dark one, the blue color arises; when a dark color is moved over a light one, the yellow color arises. These colors also arise in a similar way through the prism. Through the inclination of the prism surfaces against each other, just as through the lens, a dark color is passed over a light color or vice versa, when a point is observed where the dark and light colors meet. A white disc on a black background appears displaced when viewed through the prism. The upper parts of the disk slide over the adjacent black of the background; while on the opposite side the black background slides over the lower parts of the disk. So through the prism you see the upper part of the disk as if through a veil. The lower part, on the other hand, can be seen through the superimposed darkness. The upper edge therefore appears [blue], the lower edge yellow. The blue increases towards the black, a violet tone, the yellow downwards a red tone. With increasing distance of the prism from the observed disc, the edges broaden. At a sufficiently large distance, the yellow from below spreads over the blue from above; and green is created in the middle. To further educate himself, Goethe looks at a black disc on a white background through the prism. This causes a dark color to be pushed over a light color at the top and a light color over a dark color at the bottom. Yellow appears at the top and blue at the bottom. When the prism is removed from the disc, peach blossoms appear in the middle.

If the light is broken up into so many colors there, [I said to myself,] then here, too, darkness must be seen as broken up into colors.

Goethe calls these experiments subjective because the colors do not appear fixed anywhere in space, but only appear to the eye when it looks at an object through a prism. He wants to supplement these experiments with objective ones. To do this, he uses a water prism. He lets the light shine through this prism and catches it behind it through a screen. Because the sunlight has to shine through openings cut out of cardboard, a limited illuminated space is obtained, surrounded by darkness. The limited body of light is deflected by the prism. If this deflected light falls on a screen, an objective image appears on it, which is colored blue at the upper edge and yellow at the lower edge if the cross-section of the prism becomes narrower from top to bottom. Towards the dark space, the blue turns into violet; towards the light center, it turns into light blue; towards the dark, the yellow takes on a red tone. Goethe explains this phenomenon as follows. At the top, the bright mass of light radiates into the dark space; it illuminates a dark area and makes it appear blue. At the bottom, the dark space radiates into the mass of light; it darkens the brightness, which then appears yellow. If the screen is removed from the prism, the edges broaden; and at a sufficiently large distance, the blue in the middle shines into the yellow; and green is created. Through such experiments, Goethe finds the view that he has gained from subjective experiments confirmed by objective ones. In his opinion, colors are therefore produced by the interaction of light and dark. The purpose of the prism is to superimpose light on dark and dark on light. Yellow is light subdued by darkness; blue is darkness attenuated by light. Where yellow is further dimmed by overlying darkness, red arises; where blue is attenuated by darkness, violet appears. These are the basic laws of Goethe's theory of colors. They are nothing more than the expression of the experience given to the eye. And because they are brought about by the simplest conditions, Goethe calls them the archetypal phenomena of the color world. All other phenomena within this world arise when further conditions are added to the simple ones. One then obtains the derived phenomena, which, however, can be traced back to a sum of simple ones. In this way of thinking, Goethe's theory of color remains strictly within the bounds of empirical observation. Because Newton and the physicists did not proceed in the same way, Goethe became their opponent. He attacked Newton so fiercely because he felt that he lived in a completely different conceptual world from his own. However, he did not become fully aware of this fundamental contradiction. Otherwise he would have simply developed his own point of view and ignored the other, which was based on entirely different premises. Instead, he went through each of Newton's experiments individually, seeking to prove the error in each particular case. This is how the “polemical” part of his theory of colors came about.

Goethe's efforts in the fields of mineralogy, geology and meteorology were less successful, although he also tried to penetrate the phenomena of these fields from the point of view of his world view. Here, too, he succeeded in making individual discoveries. But again, the guiding ideas are more important than these individual discoveries, although he remained stuck in the rudiments everywhere. In mineralogy and geology, too, he seeks to explain phenomena by striving to expand the world of concepts. He believes that he can recognize how large inorganic masses are formed during his journeys into the resin. His view that not only the sensually perceptible but also the spiritually perceptible is real is also evident in this area. He imagines the stone masses to be permeated by an ideational lattice work, and indeed a six-sided one. As a result, cubic, parallelepipedal, rhombic and columnar bodies are cut out of the ground mass. This lattice work should not be just an idea, a thought, but a real system of forces at work in the stone mass. This lattice work of forces represents a transitional stage between the inorganic processes and the archetypes that Goethe sees as underlying organic nature. He sees geology as a realm between physics and organic. Therefore, he also rejects the idea that the composite rocks have arisen from their components by aggregation, but believes that these individual components were originally contained in a uniform groundmass and have been separated from each other by internal formative laws. Unfortunately, Goethe did not succeed in applying these fundamental ideas to a larger number of inorganic formations. But from them we can understand his antipathy to the volcano theory of the Earth's formation as defended by Hutton, Alexander von Humboldt, Leopold von Buch and others. This view explains the development of the Earth's surface in terms of violent revolutions. It is now impossible for a mind like Goethe's, which always adheres to what is empirically given, to assume that at any time in the earth's development forces were present that do not currently fall within the scope of experience. The only natural view is that which derives this development from the forces recognizable by observing the present conditions, from which all earth formations can be explained if one only assumes that these forces were active for a sufficiently long time. To Goethe, nature appeared consistent in all its parts, so that even a deity could not change the laws innate to it and ascertainable through experience. He therefore could not see why these laws should have expressed themselves in the past by “lifting and pushing, hurling and throwing”. The fight against the volcanic theory led him back to individual discoveries, to the one about the origin of the boulders found in some areas, which, based on their composition, must once have belonged to the mass of distant mountains. Volcanism provided the explanation that these “erratic blocks” were hurled to their present location by the tumultuous uprising of the mountains far from their present location. Goethe found an explanation that corresponded to his view in the assumption that [breaks off]

Yesterday, in the description of the development of the various cycles of earthly development, we reached a point which made us realise how the three celestial bodies, the Sun. the Moon and the Earth, gradually separated from one another. We began by considering this separation and stopped at the point where the Moon separated itself from the Earth, but we also tried to reach this same point by setting out from the present time and going back to the Atlantean epoch. Let us now consider the condition of the Earth at the time of Atlantis. Long, long epochs of time must be borne in mind, taking up millions of years, so that the great changes which took place, not only in the universe, but also upon the earth, need no longer surprise us.

Let:us consider once more the Earth, after its separation from the Moon. It was still enveloped by a volume of air, which presented, however, quite a different aspect from the present air. You must not think that this air inwardly resembled a glowing stove—although its temperature was far higher than is the case now. At that time many substances which are now solid existed within the Earth in a liquid state. An air thickly permeated with gases of the most varied substances, enveloped the Earth, an atmosphere which we might designate as fire-air, a repetition of the former Moon-condition,

When the Earth became independent after its separation from the present Moon, it was surrounded by a strange atmosphere which may be designated as fire-air, Through the fact that the Earth freed itself from the atmosphere which went away with the Moon, the beings who lived upon the Earth were able to attain certain higher stages of development. Within the atmosphere of the Earth the most advanced animal-men had reached a higher stage than the one which they had attained upon the Moon, and these were the beings who later developed into men. A great number of these animal-men remained behind upon the Moon-stage. As a result, they not only remained behind, but owing to the entirely new conditions which now arose, they sank half a degree below the level which they had previously attained, (animal-men could, only live upon the Moon) and thus they became animals. Animals did not as yet exist upon the Moon. We therefore have two kingdoms: Human beings—and the kingdom of animal-men, beings who had remained behind and had gradually sunk to the level of animals.

The same applies to the plant-animals. A certain number of these had developed to a higher stage, to that of animals; others had remained behind and changed into plants. A The kingdom of plant-minerals also followed this line of development: some became heavy minerals, while others ascended in their development to the level of plants.

Not everything arose in accordance with one standard of measure, for the animals which we know to-day arose, for instance, partly through the descending development of men-animals and partly through the ascending development of plant-animals. In the vegetable kingdom also we have side by side the plant-minerals in an ascending course of development and the plant-animals in a descending course. The plants now chiefly constituting the pleasant plant-carpet of our earth, arose through the ascending development of the Moon's plant-minerals; this is, for instance, the case with the violet. On the other hand, everything that gives us a decaying impression is in a descending development, whereas our green, leafy, plants will in future attain to higher stages.

Our minerals developed entirely upon the Earth; there were no minerals upon the Moon, such as exist to-day. The mineral kingdom is the former plant-mineral kingdom which sank down to a lower stage and which was embedded into the earth as a firm crust. When the Earth cast off the Moon, the substances which remained behind and which later on became
minerals, solid metals,. etc., were still an altogether liquid mass. The substances which at that time had already reached a solid state, were hurled out into the cosmic spaces, because, had it kept these substances, the Earth could not have developed, further. Then the first metals which reached a solid state were added. Sometimes they had most peculiar forms! What you now encounter in the mountains as granite or gneiss, at that time revealed quite clearly that it had arisen through the descending development of vegetable beings, of plants which had become stones.

You may gather from this that upon the Sun and upon the Moon the mineral kingdom was a vegetable kingdom. The vegetable kingdom has not developed out of the mineral kingdom, but minerals have developed out of the vegetable kingdom! The coal which is now dug out of the earth is nothing but a complex of petrified plant—plants which decayed and became stones, so that now they can be dug out of the earth as petrified plants. If you were to go back still further, you would see that once even the hardest stones were plants; and that they have arisen out of plants through the descending development of plants to the mineral kingdom.

A clairvoyant sees this in the following way: If you investigate gneiss, the mineralogist will tell you that it consists of feldspath, hornblende and mica—but he cannot go further. The clairvoyant says: Feldspath in gneiss appears to spiritual vision quite clearly as the petrified stalk and the green leaves of plants, the petrification of those parts which built them up; whereas the mica foundation is related to that part of the plants which still develops to-day as the plants sepals and corollae. When a modern occultist observes a piece of gneiss he will say: This is a petrified plant, and even as plants now possess leaves and flowers, etc., so the mica foundation of gneiss has developed out of the sepals and petals of ancient epochs.

Thus it can be explained how every mineral developed out of former plants. For the substances which came over from the ancient Moon were plants, which then became densified in the liquid mass of the Earth. Even as one can see the water in a receptacle freezing into solid ice, so it is possible to observe in the early stages of the Earth's development the gradual forming of solid masses. Thus the solid crust of the Earth slowly developed out of the liquid Earth. The further we proceed, the higher and purer become the beings who live upon the Earth, and those that were unable to ascend became petrified. It was the same both with animals and men. Man reached the stage of being able to transform his body in a still higher measure.

The Moon-men floated and swam about in a primordial ocean; they were predisposed to this swimming movement. This may sound strange to modern men, nevertheless it is true; and let it be said without reserve, that I do not wish to mitigate some of these apparently grotesque descriptions;, for generally people laugh at truths when they are revealed for the first time.

The human. being who swam about in this primordial ocean had as yet no eyes and endowed with sight such as we have to-day: man, indeed, received the foundation of sight upon Saturn, but in this primordial ocean he did not need to see; he had to orientate himself in other ways. The ocean contained all the food which he required for his life and also animals, some benevolently disposed towards him; and some not. At that time man still possessed an organ which now exists in the head, it is the size of a cherry and is called the pineal gland (in reality it is not a gland). Once upon a time, this organ was of immense size; it enabled man to orientate himself in the ocean and it protruded from his head like a lantern. Man moved about, by using this lantern-like organ in front; it was a sensitive organ, not an organ of sight. He used it when swimming about. Later on, he no longer needed it and so it shriveled.

At that time it was not possible to speak of an Ego foundation. In regard to everything which man did, he was still under the guidance of higher spiritual powers: We may compare him with the animals of to-day. From a spiritual-scientific aspect, we now look upon animals by saying that man differs from the animal through the fact that he has an individual soul; every man has his own soul, his individual Ego.

This is not the case with animals; for whole groups of animals have one soul in common. For instance, all the animals pertaining to the lion species have one soul, which lives in the astral world. Similarly all the animals of tiger-nature have a soul in common. In the case of animals we therefore speak of group souls. All the horses together have one group soul; these horses belong together. Even as the single fingers belong to the hand, so the animals belong to their group soul. Consequently we cannot speak of individual responsibility in the case of animals. Only of an individual soul can we say that it is either good or evil.

At that time, the human beings possessed a kind of group-soul embedded in the bosom of the Godhead. We must however realise that that which now lives in us as our Ego already existed in those early epochs, but it did not live within the human body.

Man's origin must be sought in two currents: that which came over from the Moon and continued to develop, constituted the animal-man who lived upon the Moon; but that which now lives in us as our individual soul, existed in those times in the higher realm, in the care of the Godhead,—only man's body lived below in the primordial ocean. Later on body and soul united; the soul descended and spititualised the body, so that man became an individual soul.

Imagine a receptacle containing water; in it are many many drops of water, but it is impossible to distinguish them. If you were to take many hundreds of small sponges dipping them into the water, the drops first contained in the volume of water would be individualised. Similarly imagine your spirituality soaring above the primordial ocean and compare your soul reposing in the bosom of the Godhead with the drops of water; the bodies absorb the souls, even as the small sponges absorb the drops of water; the souls thus became independent, in the same way in which the water becomes individualised into drops through the sponges. Below we have the primordial ocean with the floating-swimming bodies, and above there are the souls. We cannot describe this better than by saying: “And the Spirit of God moved (literally: brooded) over the face of the waters,” which means that he elaborated that which was below until it was able to take in the soul-drops.

The bodies themselves had to soar and float, and for this purpose the beings within them needed a special organ. At that time man had no lungs, but a kind of air-bladder; this kept him afloat in the ocean.

The fish which have remained behind upon that stage, have even to-day an air-bladder and no lungs. The lungs developed little by little, as the air freed itself from the moisture and man could raise himself above the water, so that he began to breathe in air. A long process, lasting millions of years, finally enabled man to breathe in the air through his lungs. This gave rise to the physical form capable of absorbing the soul. The more man became a being who breathed through lungs, the more he became capable of taking in the soul. You cannot express this better than with the words: “And God breathed His own breath into man's nostrils and he became an individual soul.”

At the same time this enabled man to develop something which he did not possess before; he became capable of forming red blood. Before that time all human beings had a constitution which gave them the same temperature as their environment; if they were surrounded by a higher temperature, they were adapted to it. Red blood did not exist at that time and the animals above the stage of amphibians are human bodies which have remained behind at a much later stage of development. After the epoch in which man began to develop red blood, the animals also began to develop into warm-blooded beings.

Even as a plant cannot develop out of a stone, but stones developed out of plants, so the animal developed out of man. Every being upon a lower stage developed out of beings who once stood upon higher stages, this is the theory of evolution. Man first had to transform himself into a being with red blood, and then he could leave behind the animals. You may literally see in animals the stages left behind in man's development. In every animal man perceives more or less a piece of himself which he has left behind. Paracelsus expressed this so wonderfully in the words: When we look about in the world, we see, as it were, the letters of an alphabet; in the human being alone these letters unite and form a word. Consequently the meaning of that which lies spread out in man's environment is to be seen in man himself.

You must then bear in mind the following: An apparently insignificant process (but in the light of spiritual science it is an extraordinarily important process) took place at that time: it already began in the early stages of the Earth's separation from the Moon, when the Earth was still connected with the Moon, and it consisted in a certain cooperation between Mars and the Earth. During the whole first half of the Earth's development, the forces of Mars streamed into the Earth, so that this first half is actually designated as the Mars condition of the Earth. Iron is connected with this passage through Mars and iron then began to play an entirely new role in the earthly process of evolution.

Iron plays a far more superficial part in plants, but you can see how things are connected: cosmically, the Earth passed through Mars and Mars gave it iron; iron was then stimulated to exercise the functions which it now possesses and iron appeared in the blood. The aggressive side of human nature, that which turns man into a warrior here on earth, is connected with the iron in the blood. The Greek myth knew this, for it designated Mars as the God of War.

The human body thus became capable of taking in the Ego; for without red, warm blood a body cannot be the bearer of an Ego. This is very important. Pulmonary breathing is the first condition for the formation of warm, red blood. The required processes then arose upon the earth and became embodied with the blood. Little by little, man developed so as to become a red-blooded being breathing through lungs, and then he left behind the other creatures, the lower warm-blooded animals.

In occultism, animals are not only differentiated in the ordinary way, but another differentiation is pointed out. We distinguish the “inwardly sounding animals”, those which can express their own pain and pleasure in sounds from the “non-sounding animals”. If you descend to the lower animals, you may still hear sounds, but these are purely external, produced by rubbing together certain parts of the body,or by climatic influences; these are sounds produced by external causes. Only the animals which branched off when man had developed into a warm-blooded being were able to express pain or pleasure through sounds coming from within.

This was the time when man's larynx was transformed into an organ of sound. The fact that outside the liquid earth substance became crust, produced an inner process in the human being; parallel with the external process of hardening, an osseous and cartilaginous skeleton developed within the human being out of the soft parts of his body. Beings with a skeleton did not exist before that time.

The minerals outside are the counterpart of the bones. The Earth perpetuated this epoch in the masses of rock and man in his skeleton. Man then gradually became an upright walking being, thus changing over from his former horizontal position into a vertical one. He turned round, so that his front extremities became organs of work, and his other extremities were used for walking. There is a connection in all this, for no being without a sound-producing larynx and an upright walk can be an Ego-being.

Animals were predisposed for this, but they degenerated. Consequently they could not transform themselves into beings endowed with speech, for speech is connected with a larynx located in a in a body having an upright position. We may gather this through a primitive fact. Many dogs are undoubtedly cleverer than parrots, yet a parrot learns more, because its larynx is in a more vertical position. Parrots and starlings learn to speak a little, because their larynx is located vertically.

This shows you that the Earth and man advance to ever new stages of development. The atmosphere also changed: a condition developed in which the Earth was surrounded by a misty, foggy air. This took place at the time, when the Lemurians saw their continent crumbling away, so that they wandered out to Atlantis and became Atlanteans.

During this, phase of evolution; in which man acquired the first elements of speech, which were, to be sure, sounds expressing mere feelings, the soul emerged more and more. Essentially speaking, the Atlantean had a dull kind of clairvoyance. As he came out of the sub-earthly ocean, his eyes developed to the extent of enabling him to participate in the light raying out from the sun through the masses of mist. Physically, his power of sight and perception developed more and more, but he gradually lost his old clairvoyance. The most advanced race of the Atlanteans developed in a certain region of the Earth's surface during the last third of the Atlantean era, which was a significant close of phase of evolution.

In view of the existing conditions, the Atlantean who traveled more to the West, became inwardly neutral natures, cold and indifferent, and developed later on into the copper coloured population of America. The others who traveled further South, became the black Negro population, and those who turned to the East became later on the yellow Malayan population. These populations concentrated themselves in the most unfavourable places which prohibited a further development. But the peoples who lived in a region now occupied by Ireland, and further West, in a country now covered by the ocean, reached the highest stage of development. The mixtures of not and cold streams which existed there, permitted the human body to develop in the best and speediest manner. A pronounced Ego-feeling, a first foundation of such a feeling, developed from the still magical will power of those epochs. It was then that man first learned to say “I”. The human beings then also learned the first foundations of counting and of arithmetic, and they developed the first capacity of forming judgments and of combining thoughts.

There were always Beings among them who had progressed further, who were the leaders of humanity and their relationship to man was that of Beings who belonged to a higher realm. These Beings became the teachers and guides of men and it was they who induced them to migrate towards the East. From the site which lay in the neighbourhood of present-day Ireland certain peoples had already migrated to the East, settling as far as Asia. Now the most highly developed masses of peoples began to migrate to the East, and everywhere along their journey they formed colonies, the most powerful of these colonies, with the most highly developed culture, existed in the neighbourhood of the present Gobi desert. Later on, a certain number of peoples travelled from there to many parts of the world: one group went to the present India; where they encountered an indigenous yellow-brown race, with whom they became partly united.

It was after the Atlantean flood, that this colony travelled South and founded the first culture of the post-Atlantean epoch, the first culture of our own age. The most advanced teachers who went with this colony, the first great teachers of ancient India, are called the ancient Indian Rishis. The Hindoos of to-day are the descendants of that ancient population, but if we wish to discover traces of this culture we must go far back into times which are not known to history; the Vedas, for example, already belong to a later epoch, for nothing was recorded in those early days.

The ancient Hindoo nation represents the first cultural group after the Atlantean age and consequently they resembled the Atlanteans most of all. The Atlantean was a kind of dreamer; his consciousness was dull, he did not have any power of judgment and self-consciousness and like a dreamer he wandered about half consciously. The ancient Hindoos were the first to overcome this condition, but they were still partly rooted in it. The ancient Hindoo longed to experience the spirit realm of past times and yearned for the clairvoyance which the Atlanteans still possessed. In ancient India the early Yoga training still consisted of a kind of dulling of human consciousness, which transferred the human being back to the times when he could still perceive in his environment spiritual beings. The Hindoo longed for this clairvoyance of ancient Atlantis and in the Yoga training the Rishis taught him the methods of producing clairvoyance, though these methods followed another line of development.

The Atlantean did not possess any power of judgment, whereas in India the power of judgment had already awakened; but men loved, so to speak, that which they had already overcome and they knew how to conjure it up again, by dulling their consciousness and by recalling that which they had seen in earlier epochs. The culture of ancient India preserved this through its highest representatives. The Hindoo did not seek to enhance his consciousness, but he dimmed it down to a dreamy state, and this explains the passivity of the Hindoo character. It would be a great disadvantage, indeed harmful, if modern culture were to take hold in a greater measure of life in India.

During the first epochs, the human beings did not perceive minerals; and what the Atlantean saw least clearly of all ,was the mineral kingdom. Through his visions, the spirit-world was the one which existed for him, and this world lived in everything. He perceived the human being surrounded by colours—by sympathetic colours if he liked him. This was the world which the Hindoo tried to conjure up again. But human progress requires that man shall enter more and more into a relationship with that which exists upon the earth in the world of matter, The Atlanteans did not need any instruments; they orientated themselves through their clairvoyance and they attributed no importance whatever to physical instruments. The Hindoo followed the Atlantean in this, and consequently he looked upon the physical world as Maya, as a kind of illusion and lie. He had no interest in the world which is accessible to the ordinary senses. He asked the dream-like world of the Spirit to rise up before him.

The progress from this Indian culture to the next cultural epoch, i.e. the Persian one preceding the time of Zarathustra, consisted in the fact of humanity learning to appreciate external reality. A second colony went out from the Gobi desert and founded a kingdom in Asia minor which existed in remote times and which gave birth to the kingdom of Zarathustra. The Persian began to perceive the existence of a world in which he had to be active. The Divine essence appeared to him as something which he had to overcome, against which he had to measure his strength. From the spiritual world he drew the forces which he needed in order to work in this world. The world appeared to him as something dark, which had to be transformed with the aid of the good forces. The Hindoo established a science pertaining exclusively to the spiritual world, which told him nothing about the external reality. But to the Persian this external reality presented another aspect, it was something which had to be constantly transformed through his own work.

The third colony which went out from the Gobi desert went further West into Asia Minor and founded the Chaldean-Babylonian-Egyptian cycle of culture. In addition to the earlier science of the Spirit, these nations also possessed a science of the physical world. An astrology and geometry arose in Egypt which taught the Egyptians how to treat and cultivate the earth. Science extended to spheres which the Hindoo still looked upon as a world of illusion. Now this world of illusion had become a world calling for the keenest thought, for a manner of thinking connected with physical things. When the Hindoo immersed himself in the starry world, this world was to him only the expression of the Godhead. But the Chaldean loved the physical World; to him it was a part of the Godhead into which he penetrated and immersed himself. This activity leading him from the divine into the physical world appears to us in the Babylonian-Assyrian culture.

We have now reached a point leading us to the fourth cultural cycle, which we designate as the Graeco-Latin culture. The human being is now included in the external perception, The Egyptian knew that the world was not a chaos, but that it was fraught with meaning and that it had been constructed throughout immeasurable aeons of time. The sphinx and the pyramid expressed great cosmic thoughts. The ancient Egyptian concealed his knowledge of these truths in images: he created the sphinx, which faces us like a riddle of evolution itself: the development of man's higher essence from earlier animal-like conditions. This was the wisdom which the Egyptian spoke out into the world in his own way. In ancient Egypt you may find calculations and measurements,which were drawn directly from heaven. The cities were built in such a way that the Egyptian expressed in these constructions a sacred order of laws and they sought to express in images the cosmic laws which governed the universe. This did not as yet include the individual human essence, which only begins to unfold in Greek art, and which shows us that man now takes hold of his own being as an immediate reality and seeks to create it as an image in space.

Man became more and more familiar with the world which the Hindoo designated as Maya. He began to face his own self. Within the world which in ancient India was considered as an illusion, the Greek created a world of realities and realised that he had to create it without the help of the Gods; more and more he united himself with the external reality and out of his own strength he permeated the external reality with a divine essence. If you study the Greek “polis” you do not find in it any trace of jurisprudence. Man had to establish this during the Roman epoch as “Roman right” which governed the private social intercourse of men, as Roman citizens.

The human being thus acquired an ever greater knowledge of that which takes place in the world of external reality.

The fifth cycle of culture is the one in which we now live, with our materialistic civilisation. It is the time in which man has descended most profoundly into the external world. Compare, our age with preceding ones: We know, to be sure, how to apply the forces of the spiritual world to our physical environment—we carry the spiritual world into it. But in the light of spiritual science this presents strange aspects. Think of the time when the human being still produced his flour by grinding corn between two stones—he did not apply much spiritual power to do this. In ancient Egypt and Chaldea he still immersed himself in the wisdom of the heaven; he still learned a great deal concerning the spiritual significance of the earth itself and of the starry sky. The Greek still placed into the world of physical reality the idealised human form. What is the aspect of our own time? A great amount of spiritual power is used to produce modern natural science with its technical appliances. How great is the difference between obtaining food by primitive means, and obtaining it from America with the aid of telephone, engines, etc.! Yet these complicated technical means are after all used to satisfy the same needs also felt by animals and which animals are able to satisfy by primitive means! Try to investigate how many of the modern inventions really serve spiritual life, and how much spiritual power is used for the sake of furthering material life! What an enormous amount of spiritual power must human beings develop at the present time for the satisfaction of material requirements! There is no great difference whether an animal satisfies its hunger by grazing, or whether man obtains his food from America or Australia through all kinds of means.

This is hot an adverse criticism, for this had to come. Man had to submerge himself in the physical world. The Hindoo still looked, upon it as an illusion, but modern man considers the physical world as the only reality. We have reached the deepest point in our descent and this rendered possible the greatest progress upon the physical plane: This descent, however, must not be in vain, even from a spiritual aspect!

A new element has now arisen, an element that was implanted into the world during the first third of the post-Atlantean epoch: it is the rise of Christianity, the most significant influence in the whole development of the earth. In the light of occultism, everything which proceeded is only the preparation for Christianity. Buddha, Hermes, and so forth, prophetically pointed towards Christianity, for Christianity must lift man out of his deepest entanglement with matter. And it will raise man out of this entanglement. Man's ascent from matter begins again. The task of spiritual science is to help in this ascent into the spiritual world.

The next epoch of our Post-Atlantean culture will bring still more inventions and discoveries; but man will more and more perceive mere letters in the physical world. A genuine Christianity will speak of the external world as condensed Spirit, and the Spirit will once more arise out of matter. We shall then no longer say that the external world is an illusion, for we shall recognise it fully and lose nothing, and yet rise up to a higher spiritual world.

Christianity will contribute most of all towards this course of development. During the sixth epoch, great masses of men will be deeply moved and seized by truths which are now revealed to few, and this will give mankind an insight into the spiritual world. What now exists as thought will in future be a real force. Many people will have this power of thought during the sixth epoch of culture. The theosophical Christianity of to-day will spread among great masses of men. These thoughts will grow stronger and stronger and they will have a creative influence upon the human form.

Once upon a time the human body had quite a different aspect from that which it has to-day; indeed, if I were to describe to you this human body of ancient times, you would be greatly surprised. Because it was still soft, the Ego could exercise a far greater influence upon it. Modern man has only retained an insignificant rest of the psychic influence of will upon his body, for instance, when you are seized by sudden fright you grow pale, because the inner soul-condition penetrates as far as the blood and your complexion changes. But other bodily conditions can show you how little we are now able to control our body. With the gradual ascent into the spiritual world this will change; man's body will become softer and softer and he will once more be able to influence the thoughts which now still exist so sparsely, will gradually grow stronger; these thoughts will then be able to transform even the body. Man will be able to mould his own body—but this will only be the case in a very distant future.

Sex arose in the human being only during the Lemurian age; before that time he was bi-sexual, both male-and female. With the incorporation of the Ego, the human being was split into two sexes. We shall learn to know this better, when we shall consider more closely the development of the human blood. This will lead us to the problem of the division into sexes and also to the fact that the now existing division of the sexes will again disappear.

Thus we look into a future in which the human being will exercise quite a different influence upon his body.

What is, for example, that which sends the blush of shame into our face? What is it? A last remnant of the influence which man once exercised over his body. Man will more and more be able to work consciously into his body, and then will come the time when he will be able to transform the muscle of his heart into one which obeys' him.

Science describes the heart as a mere physical apparatus: as a pump. But the blood does not only stream through the body because the heart pumps the blood through it; everything which constitutes the blood depends upon the soul; the blood pulses more or less quickly according to our feelings, and it is the blood which produces the movement of the heart. But in future the human being will have a conscious influence upon the heart; therefore the heart is an organ which is now at the beginning of its development. The heart is a muscle with a spiritual development, an organ through which the human being will be able to express himself as he develops towards a higher stage, thus exercising a creative influence upon his whole body.

The heart is only at the beginning of its development, and for this reason it is a cross to materialistic science. Materialistic science tells you: all the muscles through which you move, are formed of transversal strips, but all those muscles which move automatically consist of longitudinal strips. The heart however is a peculiar organ upsetting every calculation! It is an automatic muscle, nevertheless it has, even to-day, transversal fibres.

To-morrow I will show you how certain things can be explained in the light of spiritual science.

Spiritual science thus throws light upon that which surrounds us. We shall redeem everything which has become matter from its present rigid condition. This is how the thought of redemption, may be grasped in its deepest essence! Man has developed to an ever higher stage, leaving behind him certain kingdoms in the course of this development. He will become powerful and redeem that which he has left behind; he will help to redeem the earth! But if he is to redeem the earth he must not despise it, but unite himself with it.

Here in Berlin, as well as in other localities where our Society has spread, much has been discussed that concerns the comprehensive realm of theosophy, that emanates, so to speak, from the high regions of clairvoyant consciousness, and it is natural that a desire should have arisen to do something toward a serious and adequate substantiation of our spiritual current.

The present General Assembly, which brings our members together here at the seventh anniversary of our German Section, may be taken as the proper occasion for contributing something toward strengthening the foundations of our cause. This I shall attempt to do at this time in the four lectures on Anthroposophy.

The lectures in Kassel on The Gospel of St. John, those in Düsseldorf on the hierarchies, those in Basel on The Gospel of St. Luke, and those in Munich on the teachings of oriental theosophy, were all occasions for rising to high altitudes of spiritual research and for bringing back spiritual truths difficult of access. What occupied us there was theosophy and, at least in part, its ascent to exalted spiritual peaks of human cognition.

It does not seem unjustifiable, given a gradually acquired feeling in the matter, to see something deeper in what is called the cyclical course of world events. At the time of our first General Assembly, when the German Section was founded, I delivered lectures to an audience composed only in part of theosophists; those lectures may be characterized as the historical chapter of anthroposophy. Now, after a lapse of seven years that constitute a cycle, the time seems ripe for speaking in a more comprehensive sense on the nature of anthroposophy.

First, I should like to make clear through a comparison what should be understood by the term anthroposophy. If we wish to observe a section of country, together with all that is spread out there in the way of fields, meadows, woods, villages, roads, we can do so by going about from village to village, through streets and meadows and woods, and we will always have a small section of the whole region in view. Again, we can climb to a mountain top and from there overlook the whole landscape. The details will be indistinct for the ordinary eye, but we have a comprehensive view of the whole.

That approximately describes the relation between what in ordinary life is called human cognition or human science, and what theosophy stands for.

While the ordinary search for human knowledge goes about from detail to detail in the world of facts, theosophy ascends to a high vantage point. This extends the visible horizon, but without the employment of quite special means the possibility of seeing anything at all would vanish. In my book, Knowledge of the Higher Worlds and Its Attainment, is set forth how one can reach this ideal peak without losing the power of clear vision.

But there is a third possibility, lying between the two described. It is to ascend part way, remaining half-way up. At the bottom you cannot survey the whole; you observe only details and see the top from below. At the top, everything is beneath you, and above you have only the divine heavens. In the middle you have something above and something below you, and you can compare the two views.

Any comparison lags and limps, but all that was intended at the moment was to place before you the manner in which in the first instance theosophy differs from anthroposophy. The latter stands in the middle, the former on the summit: it is the point of departure that is different. Thus far the comparison is helpful, but it is inadequate in characterizing what follows.

Devotion to theosophy necessitates rising above human points of view, above the middle, from self to higher self, and it implies the ability to see with the organs of this higher self. The peak attained by theosophy lies above man, ordinary human knowledge, below, and what lies half-way between, that is the human being himself: between nature and the spiritual world. What is above reaches down to him; he is permeated by the spirit. In contemplating the world from a purely human angle, he does not take his point of departure from the summit, but he can see it—see the spirit above. At the same time he sees what is merely nature beneath him; it reaches into him from below. There is a risk connected with theosophy; unless the above-mentioned means are employed to see with the higher self—not with the ordinary self—there is danger of losing contact with the human element, and this results in forfeiting the ability to see anything at all adequate, of recognizing reality below. This danger disappears, however, as soon as those means are employed. Then we can say that theosophy is what comes to light when the God within man says, “Let the God within you speak; what He reveals of the world is theosophy.”

Take your stand between God and Nature and let the human being in you speak. Speak of what is beneath as well as what is above you, and you have anthroposophy. It is the wisdom spoken by man.

This wisdom will prove an important fulcrum, a key to the whole realm of theosophy. After a period of immersion in theosophy, nothing could be more profitable than seriously to seek the firm center of gravity provided by anthroposophy.

All that has been said so far can be historically substantiated in many directions. We have, for example, the science calling itself anthropology. As it is practised, anthropology comprises not only the human being, but everything pertaining to him; all that can be gleaned from nature, everything necessary for understanding man. This science is based on moving about among objects, passing from detail to detail, observing the human being under a microscope. In short, this science, which in the widest circles is regarded as the only one dealing authoritatively with man, takes its view from a point beneath human capacities. It is chained to the ground; it fails to employ all the faculties at the disposal of man, and for this reason it cannot solve the riddles of existence.

Now contrast all this with what you encounter as theosophy. There one searches the most rarefied regions for answers to the burning questions of life. But all those who are unable to keep pace, whose standpoint is anthropology, consider theosophy an air-castle, lacking foundation. They are not able to understand how the soul can ascend step by step to that summit from which all is spread out beneath it. They cannot rise to the planes of imagination, inspiration, and intuition. They cannot ascend to the peak that is the final goal of human evolution.

Thus we find anthropology on the lowest step, theosophy on the summit. What becomes of theosophy when it wants to reach the top but is not in a position to do so with the right means? We can find the answer in the historic example of the German theosophist, Solger, who lived from 1770–1819. Conceptually, his views are theosophical, but what means does he employ to attain the summit? Philosophical concepts, concepts of human cerebration long since sucked dry and emaciated! That is like climbing a mountain for the purpose of observation, and forgetting to take your field-glasses; you can distinguish nothing whatever down below.

In our case the field-glasses are spiritual, and they are called imagination, inspiration, and intuition. Man's ability to reach that peak diminished more and more through the centuries—a fact that was clearly felt and acknowledged as early as the Middle Ages. Today it is felt too, but not acknowledged. In olden times that capacity to ascend existed, as you know, though only to a minor degree. It was based on a clairvoyant twilight condition in man. There really was an ancient theosophy of that sort, but it was written that such revelations from the summit should come to a close, that they should no longer be open to the ordinary means of cognition.

This old theosophy, which considers revelation a thing of the past, became theology, and thus we find theology running parallel with anthropology. Theology's ambition is to climb the heights, but for its means it depends upon something that was once revealed, was then handed down, and is now rigid; something incapable of continually revealing itself anew to the striving soul. Throughout the Middle Ages, anthropology and theology frequently opposed without rejecting each other, but in recent times the contrast is sharp. Nowadays theology is admitted along with anthropology as something scientific, but no bridge is found between the two. If we do not stop with the details but ascend half-way, we can establish anthroposophy by the side of theosophy.

Within modern spiritual life attempts have been made to practise anthroposophy, among other things, but again, as in the case of theosophy, with the wrong, inadequate means of a defunct philosophy. The meaning of philosophy can really no longer be understood by philosophers—only by theosophists. Historical contemplation alone yields this understanding. Philosophy can be comprehended only by contemplating its origin, as can be seen by an illustration. In former times there were the so-called Mysteries, abodes where the higher spiritual life was cultivated, where the neophytes were guided by special methods to spiritual vision. One such Mystery, for example, was in Ephesus, where the neophytes could learn through their training the secrets of Diana of Ephesus; they learned to look into the spiritual worlds. As much of such matters as could be made public was communicated to the profane and received by them, but not all of these realized that higher secrets had been revealed to them. One of those to whom such communications from the Mysteries of Ephesus had penetrated was Heraclitus. He then proclaimed these, by means of his partial initiation, in a way that could be generally understood. In reading the doctrines of Heraclitus, “The Obscure,” we still find immediate experience, the experience of the higher worlds, shining through between the lines. Then came his successors who no longer realized that those doctrines originated in direct experience. They no longer understood them, so they began to improve them, to spin them out in concepts. They began to speculate intellectually, and this method persisted through the generations. Everything we have in the way of philosophy today is but a heritage of ancient doctrines squeezed out and sucked dry of all life, leaving only the skeleton of the concepts. Yet the philosophers take that skeleton for a living reality, for something created by human thinking. There is, as a matter of fact, no such thing as a philosopher who can think creatively without having recourse to the higher worlds.

Just such a skeleton of concepts was all that the philosophers of the nineteenth century had to work with when they took up what may be called anthroposophy. The term actually occurred. Robert Zimmermann wrote a so-called Anthroposophy, but he constructed it of arid, empty concepts. Indeed, everything that has attempted to transcend anthropology without employing the right means has remained a shriveled web of concepts no longer connected with the subject.

Like philosophy, anthroposophy too must be deepened through theosophy; the latter must provide the means for recognizing reality within the spiritual life. Anthroposophy takes the human, the middle standpoint, not the subhuman, as does anthropology. A theosophy, on the other hand, as practised by Solger, though spiritual in its point of view, employs only inflated concepts, and when Solger arrives at the summit he sees nothing. That is spinning at the loom of concepts, not living, spiritual observation. It is something we do not intend to do. We aim in these lectures to confront the reality of human life in its entirety. We shall encounter the old subjects of observation, now illuminated, however, from a different point whence the view is both upward and downward.

The human being is the most important subject of our observation. We need but to contemplate his physical body to realize what a complicated being he is. In order to gain a sentient understanding of anthroposophy's aims, let us first ponder the following. The complicated physical body as we encounter it today is the product of a long evolution. Its first germinal potentiality came into being on old Saturn, and it evolved further on the old Sun, the old Moon, and the Earth. The etheric body was added to it on the Sun, the astral body on the Moon. Now, these members of the human being have changed in the course of evolution, and what we encounter today as the complicated physical human body, with heart, kidneys, eyes, ears and so forth, is the product of a long development. It has all grown out of a simple germinal form that originated on Saturn. Through millions and millions of years it has continually changed and been transformed in order that it might achieve its present perfection. If today we wish to understand a member or an organ of this physical body—say, the heart or the lungs—we can do so only on the basis of this evolution. Nothing of what we encounter today as the heart existed on the old Saturn. Only gradually did these organs assume their present form, one being developed and incorporated earlier, another later. Some organs we can actually designate Sun-organs, as having first appeared during the Sun evolution, others Moon-organs, and so on. If we would understand the present physical body of man we must assemble our concepts from the whole Universe—that is the theosophical method of observation.

How does anthropology set to work? Theosophy ascends to the ultimate heights and from this spiritual summit examines individual phenomena. Anthropology remains on the ground, takes its point of departure from the details, and now even investigates individual cells in their juxtaposition. Everything is mechanically lined up and the cells are studied individually, but this does not reveal their relative age. Yet, far from being immaterial, it is important to know whether a given group of cells developed on the Sun or on the Moon. Much more could be said concerning these complicated conditions. Consider, for example, the human heart. True, as constituted today it evolved late, but as regards its first germinal potentiality it is one of the oldest human organs. During the period of the old Sun, the heart was dependent upon the forces governing there. During the Moon period its development continued; then the Sun withdrew from the Moon, with which it had been united, and henceforth its forces acted upon the heart from without. Here the heart underwent a different development, so that from then on a Sun element and a Moon element can be observed in its tendencies. Then Earth, Sun, and Moon were united again and worked upon the heart. After a pralaya the Earth evolution followed, during which the Sun first withdrew again. This separation resulted in an intensification of the Sun's influence from without. Then the Moon withdrew as well and also acted upon the heart from without. So, being among the oldest human organs, the heart comprises a Sun element, a Moon element, a second Sun element during the Earth evolution, a second Moon element during the Earth evolution, and finally, after the withdrawal of the Earth, an Earth element—all corresponding to cosmic evolution.

If these elements of the heart accord, as in the cosmic harmony, the heart is healthy; if any one element preponderates, it is sick. All human sickness derives from disharmony among the elements within the organ in question while their cosmic counterparts are in harmony. All healing depends upon strengthening the element that lacks its share, or subduing superfluous activity, as the case may be, thereby bringing the elements into harmony again. But talking about this harmony is not enough. In order to effect it one must really penetrate into the wisdom of the universe; one must be able to recognize the different elements in each organ. That will suffice to give an idea of genuine occult physiology and anatomy, which comprehend the whole human being out of the whole cosmos and explain the details out of the spirit.

Occult physiology speaks of Sun and Moon elements of the heart, larynx, brain, and so forth, but since all these elements are at work upon man himself, something in him confronts us today in which all these elements are consolidated. If we look into the human being himself and understand these elements, we also understand the etheric body, the astral body, etc., the sentient soul, the intellectual soul and the consciousness soul, as man is constituted today. That is anthroposophy, and in anthroposophy, too, we must start at the lowest step, gradually ascending to the highest.

Man's lowest member is the physical body that he has in common with the sensory world that is perceived through the senses and the sensory-physical mind. The theosophical point of view, starting from the universe, contemplates man in his cosmic contexts. In the matter of the sensory-physical world, anthroposophy must start from man, in so far as he is a sensory being. Only then can we deal appropriately with the etheric body, then the astral body, the ego, and so forth, and what is to be learned from them.

Observing the human being in this anthroposophical sense, we ask what it is that must first engage our interest. It is his senses, and it is through these that he acquires knowledge of the physical-sensory world. Starting from the physical plane, it is therefore these that anthroposophy must consider first. Let the study of the human senses then constitute our first chapter. Thereafter we will ascend to the study of the individual spiritual regions in man's nature.

Beginning with the study of the human senses, we at once find anthroposophy invading the territory of anthropology, for anthroposophy must invariably start from all that the senses tell us is real. But it must keep in mind that what is spiritual, influences man from above. In this sense it is genuine anthropology. Ordinary anthropology has thrown everything pertaining to the human senses into complete confusion, groping its way from detail to detail and examining only what is on the ground, so to speak. Important matters are disregarded because men have no Ariadne-thread to lead them out of the labyrinth of facts into the light. Anthropology cannot find its way out of this maze and must fall a victim to the Minotaur of illusion, for the saving thread can be spun only by spiritual research.

Even in the matter of the human senses, anthroposophy has a different story to tell than has external observation. At the same time it is interesting to note how external science has lately been forced by material facts to go to work more thoroughly, seriously and carefully. There is nothing more trivial than the enumeration of the five senses: feeling (touch), smell, taste, hearing, and sight. We shall see what confusion reigns in this enumeration. Science, it is true, has now added three more senses to the list, but as yet doesn't seem to know what to do about them. We will now list the human senses according to their real significance, and we will endeavor in the following to start laying the foundations of an anthroposophical doctrine of the senses.

The first sense in question is the one that in spiritual science can be called the sense of life. That is a real sense and must be as fully acknowledged as the sense of sight. What is it? It is something in the human being of which, when it functions normally he is not aware. He feels it only when it is out of order. We feel lassitude, or hunger and thirst, or a sense of strength in the organism; we perceive these as we do a color or a tone. We are aware of them as an inner experience. But as a rule we are conscious of this feeling only when something is out of order, otherwise it remains unobserved. The sense of life furnishes the first human self-perception; it is the sense through which the whole inner man becomes conscious of his corporeality. That is the first sense, and it must figure in the list just as does hearing or smell. Nobody can understand the human being and the senses who knows nothing of this sense that enables him to feel himself an inner entity.

We discover the second sense when we move a limb—say, raise an arm. We would not be human beings if we could not perceive our own movements. A machine is not aware of its own motion; that is possible only for a living being through the medium of a real sense. The sense of perceiving our own movements—anything from blinking to walking or running—we call the sense of our own movements.

We become aware of a third sense by realizing that the human being distinguishes within himself between above and below. It is dangerous for him to lose this perception, for in that case he totters and falls over. The human body contains a delicate organ connected with this sense: the three semicircular canals in the ear. When these are injured we lose our sense of balance. This third sense is the static sense, or sense of balance. (In the animal kingdom there is something analogous: the otoliths, tiny stones that must lie in a certain position if the animal is to maintain its equilibrium.)

These are the three senses through which man perceives something within himself, as it were; by their means he feels something within himself.

Now we emerge from the inner man to the point at which an interaction with the outer world begins. The first of such reciprocal relations arises when man assimilates physical matter and, by doing so, perceives it. Matter can be perceived only when it really unites with the body. This cannot be done by solid or fluid matter, but only by gaseous substances that then penetrate the bodily matter. You can perceive smell only when some body sends out gaseous matter that penetrates the organs of the mucous membrane of the nose. The fourth sense, then, is the sense of smell, and it is the first one through which the human being enters into reciprocal relationship with the outer world.

When we no longer merely perceive matter but take the first step into matter itself, we have the fifth sense. We enter into a deeper relationship with such matter. Here matter must be active, which implies that it must have some effect upon us. This takes place when a liquid or a dissolved solid comes in contact with the tongue and unites with what the tongue itself secretes. The reciprocal relationship between man and nature has become a more intimate one. We become aware not only of what things are, as matter, but of what they can induce. That is the sense of taste, the fifth sense.

Now we come to the sixth sense. Again there is an increase in the intimacy of the interaction. We penetrate still deeper into matter, things reveal more of their essence. This can only occur, however, through special provisions. The sense of smell is the more primitive of these two kinds of senses. In the case of smell, the human body takes matter as it is and makes no effort to penetrate it. Taste, where man and matter unite more intimately, is more complicated; then, matter yields more. The next step offers the possibility of penetrating still more deeply into the outer world. This takes place by reason of an external material substance being either transparent or opaque, or by the manner in which it permits light to pass through it, that is, how it is colored. An object that rays out green light is internally so constituted that it can reflect green light and no other. The outermost surface of things is revealed to us in the sense of smell, something of their inner nature in taste, something of their inner essence in sight. Hence the complicated structure of the eye, which leads us much deeper into the essence of things than does the nose or the tongue. The sixth sense, then, is the sense of sight.

We proceed, penetrating still deeper into matter. For example, when the eye sees a rose as red, the inner nature of the rose is proclaimed by its surface. We see only the surface, but since this is conditioned by the inner nature of the rose we become acquainted, to a certain extent, with this inner nature. If we touch a piece of ice or some hot metal, not only the surface and thereby the inner nature are revealed, but the real consistency as well because what is externally cold or hot is cold or hot through and through. The sense of temperature, the seventh, carries us still more intimately into the fundamental conditions of objects.

Now we ask ourselves if it is possible to penetrate into the nature of objects still more deeply than through this seventh sense. Yes, that can be done when objects show us not only their nature through and through, as in the case of temperature, but their most inner essence; that is what they do when they begin to sound. The temperature is even throughout objects. Tone causes their inner nature to vibrate, and it is through tone that we perceive the inner mobility of objects. When we strike an object its inner nature is revealed to us in tone, and we can distinguish among objects according to their inner nature, according to their inner vibration, when we open our inner ear to their tone. It is the soul of objects that speaks to our own soul in tones. That is the eighth sense, the sense of hearing.

If we would find an answer to the question as to whether there exist still higher senses, we must proceed cautiously. We must beware of confusing what is really a sense with other terms and expressions. For example, in ordinary life—down below, where much confusion exists—we hear of a sense of imitation, a sense of secrecy, and others. That is wrong. A sense becomes effective at the moment when we achieve perception and before mental activity sets in. We speak of a sense as of something that functions before our capacity for reasoning has come into action. To perceive color you need a sense, but for judging between two colors you do not.

This brings us to the ninth sense. We arrive at it by realizing that in truth there is in man a certain power of perception—one that is especially important in substantiating anthroposophy—a power of perception not based on reasoning, yet present in him. It is what men perceive when they understand each other through speech. A real sense underlies the perception of what is transmitted to us through speech. That is the ninth sense, the sense of speech.

The child learns to speak before he learns to reason. A whole people has a language in common, but reasoning is a matter for the individual. What speaks to the senses is not subject to the mental activity of the individual. The perception of the meaning of a sound is not mere hearing because the latter tells us only of the inner oscillations of the object. There must be a special sense for the meaning of what is expressed in speech. That is why the child learns to speak, or at least to understand what is spoken, before he learns to reason. It is, in fact, only through speech that he learns to reason. The sense of speech is an educator during the child's first years, exactly like hearing and sight. We cannot alter what a sense perceives, cannot impair anything connected with it. We perceive a color, but our judgment can neither change nor vitiate it; the same thing is true of the sense of speech when we perceive the inner significance of the speech sound. It is indispensable to designate the sense of speech as such. It is the ninth.

Finally we come to the tenth sense, the highest in the realm of ordinary life. It is the concept sense, which enables us perceptively to comprehend concepts not expressed through speech sounds. In order to reason we must have concepts. If the mind is to become active, it must first be able to perceive the concept in question, and this calls for the concept sense, which is exactly as much a sense by itself as is taste or smell.

Now I have enumerated ten senses and have not mentioned the sense of touch. What about it? Well, a method of observation lacking the spiritual thread confuses everything. Touch is usually tossed in with our seventh sense, temperature. Only in this meaning, however, as the sense of temperature, has it in the first instance any significance. True, the skin can be called the organ of the temperature sense—the same skin that serves also as the organ of the touch sense. But we touch not only when we touch [TRANSLATOR'S NOTE: The verb tasten can mean “to touch.” Indeed, the sense of touch is der Tastsinn, but more often it signifies something like our “groping,” as one gropes in the dark by means of the sense of touch: “feeling around for something.” In this sentence the first “touch” is to be understood in this sense, the second (berühren) as meaning “to come in contact with.”] the surface of an object. We touch when the eye seeks something, when the tongue tastes something, when the nose smells something. Touching is a quality common to the fourth to seventh senses. All of these are senses of touch.

Up to and including the sense of temperature we can speak of touching. Hearing we can no longer describe as touching; at least, the quality is present only to a small degree. In the senses of speech and concepts it is wholly absent. These three senses we therefore designate as the senses of comprehension and understanding. The first three senses inform us concerning the inner man. Reaching the boundary between the inner and the outer world, the fourth sense leads us into this outer world, and by means of the other three we penetrate it ever more deeply. Through the senses of touch we perceive the outer world on the surface, and through those of comprehension we learn to understand things, we reach their soul. Later we will deal with other senses transcending these.

Below the sense of smell, then, there are three senses that bring us messages out of our own human inner being. The sense of smell is the first to lead us into the outer world, into which we then penetrate deeper and deeper by means of the others. But what I have described to you today does not exhaust the list of senses. It was only an excerpt from the whole, and there is something below and something above the ten mentioned. From the concept sense we can continue upward to a first astral sense, arriving at the senses that penetrate the spiritual world. There we find an eleventh, a twelfth and a thirteenth sense. These three astral senses will lead us deeper into the fundamentals of external objects, deep down where concepts cannot penetrate. The concept halts before the external, just as the sense of smell halts before the inner man.

What I have given you is an urgently needed foundation upon which to build cognition of the human being. Through its neglect in the nineteenth century, everything pertaining even to philosophy and the theory of knowledge has been most horribly jumbled. Merely generalizing, people ask what the human being can learn by means of the individual sense, and they cannot even explain the difference between hearing and sight. Scientists talk about light waves in the same way they do about sound waves, without taking into account that sight does not penetrate as deeply as hearing. Through hearing we enter the soul-nature of things, and we shall see that by means of the eleventh, twelfth, and thirteenth senses we penetrate their spirit as well: we enter the spirit of nature. Each sense has a different nature and a different character.

For this reason a great number of expositions given today, especially in physics, concerning the nature of sight and its relation to its surroundings may be regarded unhesitatingly as theories that have never reckoned with the true nature of the senses. Countless errors have arisen from this misconception of the nature of the senses. That must be emphasized, because it is quite impossible for popular representations to do justice to what has here been set forth. You read things written by people who can have no possible inkling of the inner nature of the senses. We must understand that science, from its standpoint, cannot do other than take a different attitude. It is inevitable that science should spread errors, because in the course of evolution the real nature of the senses was forgotten.

This true nature of the senses is the first chapter of anthroposophy.

I should like to-day to add various things to the considerations of Cosmic and human truths, which we have been studying of late, and I shall want to add several things concerning the sort of truths we discussed in the last lecture, truths connected with the development of mankind in our own age.

How, in order to amplify those things from one side, and another, it will be necessary to-day to insert here and there an observation which may strike you as being personal; but you know that I only make personal observations on the rarest occasions, and when I do, it is always, as to-day, to explain something strongly objective.

We are living at present in an epoch which demands something quite definite from human beings. It demands from everyone what must be called a decision arising from the innermost depths of human nature. It must be considered, and clearly seen that we have now really entered for the first time on the age of human freedom, and the upheavals in intellectual, moral or social spheres, are, after all, nothing but the expression of man being brought into the region of freedom through the deeper forces connected with human development. We have merely to consider the life of individual man or the life of Nations, and to look at them in a quite unprejudiced way, to see what occurs; and then we can say to ourselves that there are to-day innumerable factors, through which each single individual, or whole races, communities and Groups of mankind, are deteriorated either from without or within, factors which leave them unfree. This being carried along by the relationships and events around then, is something which fundamentally lay in the real evolution of humanity; but now man has to emerge from this stage. The future of the Earth will consist in man developing more and more what we have just characterised by saying that, to-day, for the first time, man is faced with such significant decisions.

The fact that man is thus placed before such significant decisions, my dear friends, decisions which have to be made from the innermost depths of man's heart and soul, is expressed in the external course of events. As a rule, however, the great changes which have occurred in all the spheres of political, social, Spiritual and scientific life in the course of the second half of the 19th Century, have been too little observed.

One can notice signs of this transition, both in great and in small things everywhere to-day. Let us take one instance which lies very close to us. You know that amongst the many enemies of our Anthroposophical Movement to-day, are also to be found the Clergy of this Country (Switzerland), and they show quite clearly that behind them stands the power of the Jesuits, and that power appears to have a certain validity just in Switzerland. One has merely to keep in mind what reveals itself to-day in various spheres, to see how this Jesuitical power is amalgamated, for many people, with what they call the external religious education and so on. As regards this Country it may be interesting to bring before our souls an extraordinary document which, because it is so interesting, I have had photographed. This document originated in Switzerland and was produced there in 1847. I will read it to you:—

“Dedicated to the contemporary Army and their brave leaders as a permanent monument, in memory of the 24th November 1847, when the Dominion of the Jesuits passed away from Switzerland. The Almighty has given victory to the just cause. Those days, from the 12th to the 30th November 1847 are therefore unforgettable to every Confederate soldier—those days during which in consequence of resolutions passed on the 20th July and 4th November 1847, the seven Catholic separated States—Lucerne, Uri, Schweiz, Zug, Freiburg, and the Valais, were infested with war, but because of our Army under the command of Heinrich Du-four of Geneva, they had one after another to capitulate. To these days belong some of the most note-worthy events which Swiss history offers. With a relatively slight sacrifice of dead and wounded our clever and war-experienced leader, by his strategical arrangements, was successful, after many conflicts, in freeing those people who were slaves to the tyranny and power of a hypocritical Clergy full of fanaticism; and the inhabitants blinded by their Catholicism, who as enemies faced the Confederate army including the Militia over 80,000 strong. After a few days were entirely conquered, which made it possible to dissolve that Sonderbund and to drive the Jesuits out of Switzerland”

The concluding sentence, which is especially interesting in my opinion runs: “May God's Fatherly protection rule over our Army.”

You see under whose protection at that time the expulsion of the Jesuits was undertaken, and how “God's Fatherly protection” was similarly evoked for the future, that it might always continue to rule over the Swiss people as at the time, when General du-four was successful in ridding Switzerland from the Jesuits. That occurred in 1847.

Now, my dear friends, not these things alone, but many others, have undergone radical transformations in the course of the last half Century, transformations of quite a definite character. Their characteristic is that anyone who gives himself over merely to the sequence of external events, such as have transpired during this epoch, must of necessity come into confusion. The very best way to come into confusion, and to be unable to find a way out of certain knots and tangles, is just to let the external events of the last half- or two-thirds of the last Century work upon us. If a person to-day wishes to find his way aright, a certain orientation which comes entirely from within, a certain impulse, is absolutely necessary. In that chaos, which is the basis of all the confusion into which we fall if we rely solely on external things, all the best strivings of recent times have been entangled. It cannot of course be denied, that our newer age has accomplished many things in various spheres of life; especially in the sphere of technique and the science which is connected with technique, great significant progress has been made. Triumphs have been celebrated, and this praise is thoroughly justified. But if you take the best results, the best scientific and technical conquests of our civilisation, although you will find many things of use, many illuminating things, many things which bring man on materially, you will find nothing either in science or in technique or in any other sphere, or even in that sphere which has brought good to man, nothing which can shine from the outer world into man's soul so that he can get a guiding impulse from those things coming from that external world. Therefore, Spiritual Science had to come, just at this very time, because out of Spiritual Science something must come which is drawn from no external world, but simply from the Spiritual world; and which is so taken up that when it flows into the outer world it represents an impulse which has nothing to do with anything drawn from that outer world itself. It is an impulse carried into the outer world from Spiritual worlds,—and that is what is sought to be given through our Anthroposophical Spiritual Science. In this connection, we are radically misunderstood to-day, and my yesterday's remarks were a kind of explanation of this from a certain aspect. I wanted especially to show that it must not be said of our School-Impulse (which of course is born out of Spiritual Science), or of our practical undertakings, that we carry into them anything of a theoretical view of the world. I tried to show yesterday how far such a statement is from reality. But neither may one say the opposite, and this too is connected with a right understanding of our Anthroposophical Spiritual Science. One may not say the reverse, that, as people usually imagine to-day, any external activity is the result of a theory, of a programme; one must not imagine that what we accomplish—whether in the sphere of pedagogy or practical life—proceeds from any programme such as is usually imagined to-day.

A few days ago, for instance, someone said:—“Well, this peculiar idea regarding the Threefold State, would not have arisen if this Threefold idea had not sprung from Anthroposophy,” and I had to correct such an utterance radically. And here I must add a few personal things, which are meant quite objectively, and have a good deal to do with these matters. I had to say:—“It is really the case that what meets you and others to-day as the Threefold Division of the Social Organism, in so far as it was conceived by me, sprang from no abstract thought, nor from meditating on how the social life could be so arranged that something could come into it of that Utopian character one finds in many writings to-day. It did not arise in this way.” That came to me as the perception of a Spiritual stream, which flowed together naturally in life with other streams, especially with the economic stream. The economic perception arose from its own soil, on the basis of its own life.

A few years ago, I had to explain how this perception of the economic life of our recent times, of the economic necessities arose I had to object then, when I was told that the Drei-Gliederung (Three- foldness) proceeded out of Anthroposophy, just as one can take something out of a programme to-day and put it forward as an impulse. I said:—My boyhood was spent as the son of a railway official. That was in the 60's and 70's, when railways had only half evolved from their embryonic life. The great traffic only came gradually and later, but I shared in just those measures which were taken under the very first arrangements made for railways. I was thus absolutely under the impression of this life of commerce which was then arising, and it was the perception which I got from that, which of course, was later united with something else, that led to my presenting the social life as I had to do, in the sense of the three-fold Social Order.

We have to consider that in the 70's of the last Century, the essential, basic element of the newer evolution, was the transformation of traffic. International commerce developed in this epoch. I myself, in the last years of this inter-national commercial evolution, was under the daily and hourly influence of the details that developed in connection with that world-traffic, and then, in the last third of the 19th Century, or rather in the last quarter of it, came that great turnover, the great transformation, which led from world-intercourse, to world-trading, and economics.

My dear friends, those are two quite different things. It was world-commerce which first led to world-economics. World-trade is but the latest phase of the development of National economics. That which is, in its essentials, prepared in single Countries, has been spread abroad through the world-trade and been carried into other Countries. But nevertheless, there exists a certain individuality as regards the productions of each Country. All this, under the influence of the developing traffic, became different,—the world passed over from world trade to world economics. World-economics can only exist when the raw product is purchased in one Country and then sent to another where it is worked over industrially; so that not only through the trading, but through the economics itself, one Country or land became dependent on another, and thereby economics were spread over many different Countries. This spreading of trade, of commerce, this—what I must call a welding of the world into a common world- sphere in economics, came about for the most part in the last decades of the 19th Century;—and this arose perhaps in its most permeating, penetrating form, in the arrangements made in the European Textile Industries in connection with the Indian and American cotton. In the cotton industry, one could especially experience the transformation of ordinary trade into world- economics. Just at the time when it could be seen how these things were going on, I was for eight years tutor in a house dealing in cotton brought from India and America to Europe, and in this house Cotton-Agents—which means also the manufacturers of such goods,—congregated together. Those people too traded in cotton, and so at that time I was in the midst of the interests connected with these things.

I lived entirely in that centre, never having been one of those who regarded external things as trivial, considering that one should withdraw from external things into a mystic twilight, I was deeply interested, especially when despatches came, which had to be deciphered with a Code. Once there came a dispatch which included the word “wire-puller,” and one had to look up this word, which meant, “such and such a firm wants so many bales of cotton at this or that price.” With the word “wire-puller” one could draw forth things which might have a very significant business importance.

You see, during this epoch I was greatly interested in those patterns which came, samples of American and Indian cotton, cotton piled high up in the office, each with its own little specification, labels on which were written quite interesting things. While I was studying these carefully, (pardon these personal observations, but they are connected with the objective side), I also studied Goethe's “Fairy Tale of the Green Snake and the Beautiful Lily,” and those two things were carried on absolutely side by side, and fundamentally it was from that which flowed to me then out of my study of the “Fairy Tale of the Green Snake and the Beautiful Lily,” that twenty one years later, 3x7 years after, there flowed that which led to my first Mystery Play, “The Portal of Initiation.” I just wanted to bring forward this couple of instances—which I could multiply many times; but you see, I had to explain to that man who came to me saying that my ideas of economic life came from an abstract Anthroposophy, that it was not abstract. Anthroposophy is not abstract, although people say think so. I had to tell that man that I had taken part in the life of commerce. I even wrote hills of lading; even if in addition to the signs which I had to write on the bills of lading, I made many blots, nevertheless I wrote them. I grew up in the middle of that cotton industry and trade, and it was in connection with these things which are in connection with the whole feeling of our present time, out of my perceptions of these, then that my economic ideas arose. They are not mere theories, but are in reality drawn from life itself. I feel that one can only draw such things out of life if one has the good-will really to look at life itself. One must also, of course look at life just where many despise it, if one wishes to get at those things which can be made practical in life and prove themselves as such. Just out of what resulted from the practise of life and from being in the very midst of it, and seeing the confused tangle and knots in it, those things arose later; for among the men I met at that time were some whose destiny still caused them to find the aftereffects of the great crisis in 1873. At this time, one could clearly see their remarkable connections between the World-views and the economic life, which must now be overcome by our mode of thought. The Director of that railway on which my father worked, was at that time a man named Pontout, who was regarded as a small demi-god by the neighbourhood in which I then lived,—Frau Pontout, for what reason I do not know, was always called the Baroness; she was considered an extremely pious woman. They were both really, from a certain point of view, extremely religious people. Pontout then resigned the post of General Director of the Southern Railway and entered a great business undertaking, which stretched its tentacles from France to Serbia; and, because of his piety he was able to carry out a gigantic business in the service, not of course of a World-power, but of those powers in whose service he placed himself, whenever he took the Prayer-book in his hand. Then the whole business smashed, and there arose that famous Pontout-crash, from which at the right moment, a certain clerical community withdrew their fingers, leaving Pontout alone in it. But even at that time one could see a certain philosophy or let us say a certain order of ideas, being carried into financial undertakings; and one could very well learn from that what one ought not to do. Of course, many people could not believe that I thus learned the right way, and that this led to my thinking in a very different way of the connection between Anthroposophy and the “Kommenden Tag” and “Futurum,” than did Pontout of the connection between the Catholic Church and the Serbian bank.

These things are all taken from life, my dear friends, and the fact that one can read them from life, that we do not approach life with theoretical dogmas, is just what should come from Anthroposophy, if it be rightly understood. Anthroposophy is distinguished, or should make itself distinct from other World-views, in that it can be selfless; that means that it does not trumpet its dogmas abroad, but simply provides an introduction, by which one can learn to know life itself in all its fullness and breadth. Only in this way can Anthroposophy satisfy the most weighty and important demands and necessities of man's present evolution.

I told you that anyone able to look with open eyes at what happens could see confusion everywhere, that even in what was good there was confusion, and that a person could not help going astray if he simply swam on in what the external world offered. Into that an impulse had to flow from spirit-lands, an impulse which coming from quite a different source, was called upon to give a direction which could not be got from the external world, even though there may be good in it. It is just that which Anthroposophy should bring to expression; just consider what an impulse lies in this age, where in external events everywhere whether in scientific or any other branch of cultural life, or in outer life, these insoluble-knots were being formed. It was just then, that coming out of Spiritual depths, something had to find its way into the world which could give it the right direction.

You must consider how, on the other hand, something else came to humanity. That is the following:—Whenever a person gives himself up to the stream of those insoluble knots, he is tempted not to care to seek for guidance for his own soul, but to give himself over to the confusion of external life, and is then only carried along by the river of confusing external events. I could see to my great sorrow, that human beings under this influence, become less and less independent. On the one hand, they were driven to form an independent judgment of things, but their independent judgment could only form that which then forced itself out of that sphere of chaotic external events, urging them into paths unknown to them. These people wanted to be free, they wanted to be independent, for the demand for freedom lives in the subconscious nature of man. People imagine they are free, but all the time, because freedom means a strong shaking up in one's inner soul, and because they did not want to be shaken up, they gave themselves over to that stream which runs its course in the way I have described. In this way, they come under Ahrimanic influence, which strives for the Spiritual with all kinds of beautiful and well-chosen words which have their roots simply in personal egotism, and a longing to allow this personal egoism to carry them into the social life around them.

It is one of the most important characteristics of the age, that human beings are full of this egotism, so that when they speak of social demands they really mean; how can their egoism best be carried along by social life? They speak of the demands of social life, but all the time they mean egoistic life; they want a social life of such a kind that Egoism can thrive best in it.

Of course, the Three-fold Social-Order could not speak in this way, it cannot speak of a Paradise! It must leave that to the Lenins and Trotzkis etc. The Three-fold-Order can only speak of what is organically possible in the social body, of that which is capable of life, of that which can fulfill itself. To that we must attain; for if we simply picture and strive for illusion we shall certainly not get very far.

We must accustom ourselves, my dear friends, not to consider life from any abstract principle, but to live our life, regarding the details of life with full consciousness, whether they belong apparently to Spiritual or material things. A great transformation has taken place, in that the economic life of the whole world has become a single body, but humanity is not able to understand it, could not bear it. It has been proclaimed, but not inwardly understood. Many things have appeared concerning “World Economics,” but they are all mere phrases, for this perception of the whole economic life as one body has not been inwardly digested. And so it has come about that humanity has been driven into a World-trade, but it has not understood how to adapt life to it, and so has now come to live in such a World where barriers on barriers have been set up to preserve all sorts of impossible national commerces, hemmed in by all kinds of customs, duties, passports and other limitations, by which they hope to preserve in a most terrible way, something for which the time is long past.

All that we experience today is nothing but this result of the misunderstanding of what has arisen because the last third of the 19th and the first two decades of the 20th Century, presented a state of chaos, of the confusing tangles to which one ought not to give oneself up externally, for that is also something which shows itself in the inimical attacks made now on Anthroposophy. These attacks which appear to-day, (both extensively and intensively) are now assuming the most incredible dimensions; and we may say, if we take these things externally, that we can see in the very way these attacks are expressing themselves, the spirit by which they are inspired. For instance, the following has been said of “Steiner's Goetheanum in Dornach”—“We should like anyone who wants to form his own judgment of Dr Steiner's views, to visit that Temple, that image of his spirit, and to see it with their own eyes. For what does this man take himself and others, for whom he chooses to pour the hallucinations, the feverish dream of his brain into concrete, to carve them in wood, and in glass, and to have them painted on the wall?”

Finally, my dear friends, another very extraordinary party has joined the various people, the Chauvinists the extreme Socialists, and especially the leaders of Socialism, and so on. They are not of recent date, one heard of their activities in 1912, 1913, They add quite extraordinary sentences to what I have just read to you:—Somebody writes: “these are only tiny samples of attacks, appearing at present under the Uranus-influence.”

You see that mockery is not lacking, especially shown in the indignation of an opponent filled with hate, from which I will quote. The odd people who now are uniting with those others, are especially Astrologers; and behind these lies a special ruthlessness, (of which many of them are unconscious,) because in this astrology there is something attractive, and one can do much with such things. Some of these are very extraordinary if one brings them into connection. For instance, here is another attack which contains these words:—

“We hold it very necessary to keep an open eye on Rudolf Steiner, that man who supports himself on Judaism, on the most distorted Communistic and idealistic ideas, and who wanted to become the Minister for Culture in Wurttemberg during the revolution.”

Here you see, a man is speaking of my relationship with the Jews and Communists. Let us quote another attack, from the other side. It is good to compare these things, because in the comparison many details come to light. “None of the former religious founders, such as Christ and Buddha, none of the wise men and prophets” (I do not think that I have ever in the remotest degree taken upon myself such a title but the opponents do, as it seems here) “have ever paid such heed to the external; to earthly treasures, palaces, temples. On the contrary, they remained without much property, they instructed human beings without reward, they led them higher Spiritually, and taught them to pray in their own quiet chambers. They perieated and spread their Spiritual ideas and wise teachings without needing the material help of rich financiers.”

Here you see, on the one hand, my relationship with the Catholics and Jesuits; and on the other, with rich financiers. Only one thing is lacking, and that is my relationship with prominent generals. But my dear friends, I know that no one can take it amiss if I emphasise quite especially,—it must be emphasised once, for this must be said—I say it quite expressly, it must be sooner or later investigated whether I have used anybody, whether Communists, financiers or generals, for my own purpose; for I could have dispensed with those people. It must be ascertained whether I came to them or they to me; that is something which must be kept in mind, my dear friends, for a great deal depends on it.

There is another point; when on the one hand we must meet with the statement that “he can only support himself on the basis of the Communists” and so on, and on the other it is asserted that the wise men of old managed to spread their Spiritual teachings without the material help of rich financiers, one can say that rounds very much like the calumnies which appeared in 1909, when it was said that I was an especially dangerous 'Freemason.' That assertion came from the side of the Jesuits; but from the other side the Calumny arose, that I was myself a Jesuit! You see how well these people know me! One ought to reflect whether perhaps, that which it is most necessary of all to keep in mind, whether in the Jew or Communist, or even in the rich financier, “Man” himself has not been overlooked; for to-day it is a question of man and what must be sought in the human in every form; for in the last resort, my dear friends, neither the old party-strata, e.g. Communists “nor the old racial connections such as the Jews, nor even the old ranks of financial advisers signify a great deal to-day, because to-day we must with all our power enter into what is universally human.”

But it would seem, my dear friends, that those who are in Spiritual relation with all kinds of movements except with that which is really able to bring a Spiritual impulse into the present confused state of human evolution, are quite specially filled with Ahrimanic influence, so we may calmly listen to what they say, which runs as follows:

“The starry influence of 1921 will bring on Dr. Rudolf Steiner, as on all other men with similar horoscopes either psychic upheavals, or shatterings! will lead to a deepening of Spiritual effort; or, if the astral influences are not appreciated Spiritually, thy will bring about severe material losses, harm or bodily diseases. And many another person born in February in such critical years may also be even in personal danger, which, of course is clearly visible if one looks into each particular horoscope.”

Now my dear friends, it is not in the least necessary that such things should be said of the Uranus and Saturn-influences;—that it is necessary to master the life of Self, and so on. I have tried to describe to you, for instance, from what depths the Threefold Order of the Social Organism of the “Portal of Initiation” came about, and I myself can remain quite unmoved as regards what comes from the Uranus and Saturn-influences. These are not the things that worry me. The things that worry me are of quite a different nature, and as long as such things as the following play a part, there is good cause for anxiety; although the things connected with it must be seen in quite a different light.

A certain enemy filled with hatred is here quoted as having said the following:—“Spiritual flashes of light, like lightning-flashes are darting towards that wooden mousetrap, such flashes are plentiful; and it will need a certain cleverness and cunning on the part of Steiner, so to work that one day a real flash of light does not strike that Dornach magnificence, and bring it to an untimely end.” Now my dear friends, you see, there is something clearly indicated here, which people want to see occurring on the top of the Dornach Hill, and they could then search for the reason of such threats, in the fact of Uranus being near the Sun. You see, not only are these attacks very numerous, but they are filled with a striking intensity; and above all my dear friends, as far as I am concerned, I must say that where such Uranus influences express themselves, they show that they come from no good side, for in their way of appearing they show whose Spiritual child they really are.

On the other hand, we must be quite clear that if we look beyond the Spiritual flames of fire of which it is said that enough exist already, and turn to the physical flames, then, my dear friends, a waking-anxiety is necessary on the part of those who cling, perhaps with a certain love, to what has come to expression here, and all that is connected with it. It is really necessary to feel anxiety about this, in order to preserve that work which is really carried out here with sacrifice. For, those people who look at this work filled with hate, with a will tending to such a ruthless deed, are to-day sufficiently numerous.

You might say I ought not to read out such things to you; but, my dear friends there can be no question as to that, for these things are well-known amongst other peoples in the world, they take care of that. But that such things should be known to you who feel perhaps differently, at least most of you, the fact that you must be told about such things, I take on myself. For, through that custom which has been widely prevalent in this room, these things might be concealed from you. Unfortunately, many things have thus been concealed. And so a certain wakefulness must flash in on our friends, as to those who are filled with hatred for our Anthroposophical Spiritual Science.

It was not simply by way of a joke yesterday that I said:—“Our enemies are in many respects very different people”;—they will yet show themselves quite different people unless we make an effort to be awake, and guardians of that which has been accomplished, with so much sacrifice and such hard work; because if, as is the case at present, where evil is, there ever so many are awake, it should also be possible that where what we regard as good exists, there also we should be awake. You see, my dear friends it will be ever more important to be true Watchers of that Spiritual treasure of which we must say again to-day in a certain connection, that it is not brought into the world through any subjective idea, but from the observation of life itself; out of the perception of those demands which are taken from the most important human things of our age, and which will become more and more important as we advance into the near future. I want you to pay attention to those people whose Will it is, to destroy what is necessary for man-kind. That Will for destruction is very, very strong in many to-day. May you yourselves then be strong, for that which lies in this Spiritual Movement, and which has brought this Goetheanum into expression has not arisen out of the chaos around us. It is an impulse which has been brought into the chaos. That Bau, whenever one comes near it, will make us feel that it gives strength, and life. Be you therefore true Watchers of what you have apparently chosen as your very own, when you joined this Anthroposophical Spiritual Movement.