| 278. Eurythmy as Visible Singing: The Sustained Note; the Rest; Discords
25 Feb 1924, Dornach Tr. Alan P. Stott Rudolf Steiner |
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| It is absolutely non-existent. The sky exists: blue. The sea exists: green. The boundary between them both comes about because they touch each other (see Fig. 17). If you want to paint a house, surrounded as it is by air, leave room for your colours within the area which the air leaves free. |
| 278. Eurythmy as Visible Singing: The Sustained Note; the Rest; Discords
25 Feb 1924, Dornach Tr. Alan P. Stott Rudolf Steiner |
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If, in the forthcoming lectures, we are to become acquainted with a few things in further detail, today we have to put the question: If music essentially is the flow of Melos, and if it is Melos in particular which should be expressed in the gestures of eurythmy, what then is the musical element as such, the music shown in eurythmy, meant to express? Here we meet with two extremes. On the one hand it may be said that the melodic element is tending more and more towards what is thematic, towards the expression of something which is not in itself musical. I have often mentioned that, especially in recent times through a Wagnerian influence, as well as other influences, music on the one hand has become expression, expression of something that is not music. On the other hand, especially in the beginning of the age of Wagner, we also find pure, absolute music (the musical element as such, simply the weaving of musical sounds)—of which it was said (not without a certain justification) that it made music into a tonal arabesque, a progression of notes without content. Naturally these are both extreme cases. To put forward the idea that music embodies nothing and is merely a tonal arabesque [37] is nonsense, utter nonsense. But such nonsense may very easily arise when there is no real understanding of where the essential musical element lies. It cannot lie in the notes themselves, as I have repeatedly emphasized. The person engaged in tone eurythmy has constantly to bear in mind the necessity for expressing in the movements, in the actual gestures themselves, that which lies between the notes, regarding the notes as merely giving him the occasion for the movement. It may help you to carry out these gestures I have already indicated, with inner correctness, and the right inner feeling, if we make a certain basic provision. And the provision should consist that you, as eurythmists, regard the actual note, and in a certain sense the chord too, as that which pushes you into movement, causes you to move, and gives the impetus (Ruck: ‘jolt’) towards movement. You must continue the impetus between two notes and again regard the next note as the impetus which is given to you. In this way the movement will not express the note, and will not emphasize the note, but will express in the fullest possible way everything that lies between the notes and what comes to the fore, for instance, in the intervals. This is of great importance. Now, why is there such a strong urge in our modern age to deviate from the purely musical realm? Something quite beautiful may sometimes result from this deviation from what is purely musical, but why is the urge to deviate from it so strong? It is because the contemporary person has gradually acquired an attitude of mind in which he is no longer able to dream, no longer able to meditate. He has nothing within to set him into movement, and wants to be set into movement from outside. But this being-set-into-movement from outside can never produce a musical mood. In order that modern civilization could furnish proof of its unmusical nature, it has laid hold of a drastic means to do so. It is really as though, in its concealed depths of soul, modern civilization wanted to provide the clearest proof that it is unmusical. And the proof is given in that it has produced the film. The film is the clearest proof that those who like it are unmusical. For the whole basis of films is that they only permit those things to be active in the soul which do not arise out of the inner life of the soul, but which are stimulated from outside [See Appendix 6]. It must be admitted that a lot of modern music-making [1924] tends to lay special stress upon that which is stimulated from outside. Attempts are made to imitate what is external—not by means of the pure melodic element, but rather by employing some subject matter as far remote from the melodic element as possible. There is a very simple way, once more a kind of meditation (I recently spoke to you about the TAO meditation, which may be helpful to eurythmists in the way I have already explained), whereby you may gradually accustom yourself to seek for that which is musical even in what lies outside the musical sphere. It consists in comparing a sequence of vowels, such as: Lieb ist viel or Eden geht grell. There need be no meaning. Compare these for instance with: Gab man Manna or Ob Olaf warm war. And now repeat such sentences one after the other:
You will most certainly feel that the second examples are musical, whereas the first exist as if they would not resound. Just try to repeat these sentences one after the other: Lieb ist viel. Gab man Manna. Eden geht grell. Ob Olaf warm war. You will easily recognize that the vowels ah[1] and o lie within the musical sphere, whereas the vowels ee and a depart from it. This is an important matter for eurythmists to observe, for eurythmy must, of course, represent a wholeness. When in tone eurythmy you wish to express something very inward, the movements may be led over into ah or o, or likewise into oo. But the gestures of tone eurythmy may not readily be led over into e or a. Thus the sounds ah, o, oo may be employed in pieces of music for eurythmy in order to emphasize the mood, but a and ee should only be used when it is definitely intended to pass, at some point or other, out of the musical realm. This is important. These things are of such a nature that we have to acquire a consciousness of them above all. It is interesting, for example, when we follow the German language through several centuries, to observe that it has gradually dropped many ah, o, and oo sounds, and has taken on many ee and a sounds. In other words, the German language has become progressively more unmusical in the course of centuries. (I am speaking now of the vowels, not of the intervals.) It is really important to bear this in mind in tone eurythmy, and indeed in other eurythmy too. For the knowledge that the German language has a marked tendency towards a distorted phonetic imagination may be quite valuable. With the western Germanic languages this is even more the case. But all this rightly leads us to put the question: ‘What does music really express?’ This question cannot easily be answered by anyone who is unable to dream. For, you see, in very truth the poet, the artist, must basically be able to dream, to dream consciously—that is to say, to meditate. Either he must hold dream- pictures in recollection, or be able to find dream-pictures of the realities of the spiritual world. But what does this mean? It means leaving behind everything that makes sense in the sensory world. Take a dream (I have often spoken of these matters). Take a dream: if we are to get at its nature, we must not look at it as an interpreter of dreams does. For the interpreter of dreams takes the dream's content. Anyone who really understands the nature of dreams does not take the dream's content, but considers whether the dream rises up in fear and calms down, whether the dream stirs up an inner uneasiness which is intensified to anxiety, ending perhaps in this anxiety, or whether there is a state of tension which is afterwards resolved. This is really the decisive thing in a dream. And in the description of spiritual processes this becomes even more necessary. It is, of course, exceedingly difficult today to speak to humanity about the things which spiritual science has to impart. For instance, when I described the progression of world-evolution (Saturn, Sun, Moon and so on), people thought the very things important that were unimportant to me. It is certainly correct that the processes on Saturn were as I described them. But that is not the essential point. The essential point is the inner movement which is described. And I have always been most delighted when somebody said that he would like to compose in music what has been described in the evolution of Saturn, Sun and Moon. Of course, he would have to leave out some of it, leave out the colour element, as I described, the warmth phenomena, even the smells on Saturn (for apart from the ‘smelling-harmonium’ [38] we have no musical instrument functioning to smells, do we!). Even so, particularly Saturn evolution is such that its essence could be expressed quite well in music and could be composed. [39] When anyone dreams, and (setting aside its content) takes the tension and relaxation, the culmination of the picture sequence, or the culmination of bliss when flying, and so on; if he takes all this movement and says: ‘I am quite indifferent to the meaning of the dream; for me it all depends on how its movements take place’—then the dream already is a piece of music, then you cannot write it down except in musical notation. Once you feel that the dream can only be written down in musical notation, then you are just beginning to understand the dream, I mean really to understand it by looking at it directly. From this you will see that the musical element has content: not the thematic content, which is taken from the sensory world, but a content which appears everywhere when something is expressed in terms of the senses, but in such a manner that everything sensory can be left aside, revealing the essence of the matter. You have to treat the musical element precisely in this way. And the eurythmist has above all things to bear this strongly in mind. And he will bear it strongly in mind when he pays more attention than is usual in listening, when he pays attention to the sustained notes and the rests. For the eurythmist, the sustained note (the pedal-point) and the rest are of special importance. And it is a serious question whether a pedal- point or anything that recalls in some way the sustained note (this really is of great importance) is being adequately treated. It will be adequately treated if, every time he or she comes to a held note, or to something which either is a pedal-point in germ, or might become such, the eurythmist carries out the eurythmy in the greatest possible calmness, emphasizing standing calmly, in other words not proceeding further in space as long as the sustained note is heard. On the other hand, it is important for the eurythmist to penetrate inwardly into the musical significance of everything connected to the rest. And so it will be good to take an example. Here (see musical example) you have the opportunity of moving up after the descending mood, with a corresponding rest which even contains a bar line, something which may seem a contradiction, from the point of view of the eurythmist. I mention this because after what I just said it must appear contradictory to the eurythmist. I previously said that the bar line signifies a holding-on, doing the movement in yourself; that the transition from one motif to another signifies moving in space, if possible with a swinging movement—naturally suited to the notes in question. As a eurythmist you may say: ‘Now here I really do not know what to do. I am supposed to move forwards and yet at the same time remain standing.’ That is in fact just what you should do! You should move forwards two steps and remain standing between them. You should accomplish this when you want to express anything similar to this example, taken from Mozart's Piano Sonata in F major, where you can have a longer rest during which the bar line occurs—then you should move with a swing from one note to the other, but calmly stand still in yourself in the middle of this swinging movement, in the rest. Here you will see how you radically indicate, precisely through eurythmy, that the musical element lies between the notes, for in such a case it is the rest which you specially emphasize through eurythmy. It is this that is so very important. And now consider I said on the one hand that when a note is sustained, you should try as far as possible to stand still, remaining within yourself. Now, the pedal-point, the sustained note, frequently lies in a second voice and of course it may be aesthetically expressed when the two parts are taken (as they always have to be) by two people, each moving a different form. In this way a very beautiful interplay (Variation) may result between the two people. When the one proceeds in the movement, the other remains standing with the sustained note. The movements are carried out so that the person remaining standing moves a shorter curve, during which time the person moving onwards in the form makes a fuller curve—and they re-encounter each other. In this way the whole thing is brought into a satisfactory movement, which on the one hand may be shown between the swinging over, between the interval (which may go as far as the rest), and on the other hand in the pedal-point or the sustained note in general. It is in this way that the actual quality of tone eurythmy has gradually to develop. Only when you feel things in this way will you be able to bring out the actual quality of tone eurythmy. This shows you at the same time that music of several parts will essentially be expressed by a number of people moving a number of forms. The forms must be carried out in such a way that they really correspond to each other, just as the different voices correspond in the music itself. When you further develop the feeling of which I have spoken (the realization that the musical element lies in the tension, relaxation, in the rising and falling of the movement), you will indeed have something which the music expresses. For music does not express that which creates the meaning of words, but it expresses the spiritual element itself living in the movement of musical sound. It is consequently specially important for eurythmists to pay great heed to what the movement expresses quite inwardly in the greatest sense, that is discord and concord. Now, you know, a composer will never make use of a discord unintentionally, and indeed music without discords is not really music, because it is without inner movement. Composers and musicians in general make use of discords. Concords are actually there in order to calm the discords, to bring the discord to some sort of completion. In the experience of discords and concords something makes its appearance which approaches the mysteries of the world closer than we can put into words. Let us suppose that we hear a discordant phrase which resolves into a concord. Let us observe what the eurythmist does. He or she of course can bear in mind all that I have indicated, and shall possibly still indicate, with regard to forms. He or she will go on to a concord and may use as form the various intervals that I have indicated. But the transition from a discord to a concord, or vice versa, should be brought out in the presentation. It should be that the eurythmist, while moving on in a discord, at the moment of going over from a discord to a concord, must insert an abrupt movement (Ruck) into the movement itself. Something very significant is expressed in this way. By this means we express the fact that here, with the transition from discord to concord, or vice versa, something is brought about which the human being places outside of himself. What I have drawn above could also be drawn like this: Observe how I erase a small part. That is where you go back. You will feel that a small part has been erased. It is a passing over into the spiritual. When you erase a piece of your path you annul all musical sound [that is present] in the movement, and you indicate: ‘Something is present that is no longer possible to express in the sensory realm. Here I [the eurythmist] can only suggest the bounds to you [the onlooker]; your imagination must take you further.’ You see, it is only when we come so far in doing such things that we reach the point where the arts should be. Philistines may think, when they see something of this kind (see Fig. 15, drawing on the left), that it is a face. It is not a face; it is a line. A face is as follows: I must manage in such a way that no actual line is drawn, but a line, as it is, is allowed to arise out of the light and shade (see drawing on the right). Anyone who draws these lines, from the very moment he begins to draw, is no painter, indeed no artist at all. Only someone who allows the lines to arise either out of the colour, or out of the chiaroscuro [light and shade], is an artist. You can draw in a philistine fashion, like this: This represents the boundary between sea and sky. But in reality it does not exist! It is absolutely non-existent. The sky exists: blue. The sea exists: green. The boundary between them both comes about because they touch each other (see Fig. 17). If you want to paint a house, surrounded as it is by air, leave room for your colours within the area which the air leaves free. The house will come about. That's what art has to work for! In this matter one can indeed sometimes reach a fine state of despair. [40] You see, such despair is very difficult for someone of today to understand. Now, many and various are the types of people who apply for teaching posts at the Waldorf School [Stuttgart], amongst them, teachers of drawing. They have certainly learned something (namely drawing) that is quite useless at the Waldorf School. They say: ‘I can draw.’ Indeed there is no such thing as drawing! It is damaging when children are taught to draw, for there really is no such thing as drawing. When you reach the point of understanding this erasing of your line in eurythmy, you will also have reached the point when this understanding of the musical element in doing eurythmy really leads into the artistic realm. Thus whenever transitions occur, try (once again without being pedantic) to develop a movement which goes back over itself so that the onlooker is obliged to go back, so that he says to himself: ‘He or she was already further and is now going back.’ He will notice all this unconsciously, but he will at that moment be urged out of the sensory realm, to enter into the spiritual realm where everything to do with the senses is erased. In this way you will discover the possibility of looking for the essential nature of eurythmic movement in the rest, (Pause: ‘rest’, ‘pause’), even bringing more and more into the rest. Let us once more consider our example (see Fig. 11). Here you have a transition which, in its note values, already presents a marked feeling of going-out-of-yourself, of going with your inner being out of your skin. With the interval of the fifth there is still the feeling of being just at the boundary of the skin. The fifth is the human being. Going further, we actually pass over into what lies beyond the human realm, but in this case, because we are dealing with music, into the spiritual realm. If you achieve this emphasis of the rest by means of specially pronounced movement, and yet introduce into this movement a momentary calmness (as I have indicated), you will express the whole meaning of this ascending passage in a really satisfactory eurythmical way. When you are practising, try to find examples of musical phrases containing long rests and very pronounced leaps in pitch, and then try to make the movement as characteristic as possible. This will result in a eurythmy perfectly adapted to the expression of instrumental music; I might say, a singing eurythmy. This will also affect your eurythmy as a whole. For by this means you will feel the very marked contrast which lies between the vowels and the consonants for eurythmic expression. Even if it is true that ee and a actually tend towards a distortion of phonetic imagination, they are nevertheless vowels, and remain within the sphere of music, whereas the consonants are merely noises and lead away from the musical realm. I have also said that the consonants are really the apology for using the vowel sounds for something in the outer world. This will closely concern you, for in speech eurythmy it will cause you to introduce as much of the vowel element as possible into the consonants. This means, in other words, that you should try in eurythmy to make the consonants as short and the vowels as long as possible. Now this is not what I wanted to impress on you (for this will arise from your feelings) that there must be a certain parallel between declamation and recitation, and eurythmy. What I do want you especially to take to heart is that for speech eurythmy, too, it is most important to bear in mind that it is also the task of the speaker not only to say something when he speaks, but at times to say something even more essential when he doesn't speak. I do not mean by this those dashes of which recent poets are so enamoured, presumably because they have so much spiritual matter to communicate that they are compelled to express it in continual dashes! I expect you are acquainted with an ironical poem by Morgenstern, consisting only of dashes. [41] It does not contain a single sound, not a single word—simply dashes. I do not mean these dashes, then, but rather the fact that, in order to bring out certain effects in a poem, it is absolutely necessary, just as necessary in declamation as in eurythmy, to understand how to make proper pauses. Think of the hexameter, with its caesura, where a pause has to be made, and you will realize that something is actually said by means of the pause. Sometimes the pauses need only be short, but it is important that they should also be given their place in declamation and recitation. Imagine the phrase: Was hör ich draussen vor dem Tor was auf der Brücke schallen? recited without any pause—appalling!
is correct. Now as eurythmists, when you are concerned with the expression of a rest, and in speech eurythmy too, the effect will be eminently correct and aesthetically good as well as intrinsically justified, if you cultivate the goingback-into-yourself (going back in the form) which you have been able to learn from tone eurythmy. So that at times even in the short pauses of speech eurythmy, this retracing, this erasing the form, should by all means be seen. In conclusion I only want to add something which will serve to complete what was left out in the preceding lectures. It is this: You know that the keynote is best expressed by the position, or also by means of the step: position, step (as I explained in connection with the triad). Now imagine that you have to form the interval of the second. The second in music is something which actually does not quite express the musical element, but in which the musical element makes a beginning. It stands at the gateway of the musical realm. The second is a musical question. Thus it is necessary (and you will feel the necessity) when forming a second, which follows any keynote, that you as second (whilst the second follows from another note) strive to turn the palms of the hands upwards. Any sort of movement you like can be produced while trying to arrive with the palms of the hands turned upwards, when ascending from one note to the next, or just a movement upwards, straightening the palm of the hand. Of course you must see to it that the hand does not appear in this position beforehand. The important thing is always to acquire a view of the whole. Through this, it [the second] manifests itself Now, on the basis of what I have said, we have still to arrange the next two sessions. Notes: 1. Phonetic spelling, see p. xiv. (Translator's note.) |
| 279. Eurythmy as Visible Speech: Movements Arising Out of the Being of Man
07 Jul 1924, Dornach Tr. Vera Compton-Burnett, Judith Compton-Burnett Rudolf Steiner |
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| A certain experiment is given in the ‘Colour Teaching’ of Goethe: here one paints a disc in sections according to the seven colours—red, orange, yellow, green, blue, violet, etc., then one brings the whole thing into movement, whirling it ever faster and faster until the whole impression is grey. |
| 279. Eurythmy as Visible Speech: Movements Arising Out of the Being of Man
07 Jul 1924, Dornach Tr. Vera Compton-Burnett, Judith Compton-Burnett Rudolf Steiner |
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Up to this point we have, at least to some extent, derived the eurhythmic gestures from the actual sounds of speech. Now we must realize that everything which may be expressed through the medium of these gestures—and which is therefore in a certain sense the revelation of man himself, just as the spoken word is also a revelation of man himself—we must realize that all this is based upon the possibilities of form and movement inherent in the human organism. For this reason we may choose yet another starting-point; we may, that is to say, take the nature of man himself and develop from this the various possibilities of form and movement. We may see what manner of movement can proceed out of the human organism; and then, carrying this further, we may eventually discover how the individual movement can take on the character of the visible sound. Today, in the first place, we will take our start from the actual being of man, and we will endeavour to discover the forms and movements that may arise in this way. Then, proceeding somewhat further, we shall ask ourselves: Which sound is to be regarded as related to this or that particular movement? For this purpose I shall need quite a number of eurhythmists, and I will therefore ask them to come on to the stage. Will you place yourselves in a circle in such a way as to have equal distances between each point?
Here you see a series of gestures. These gestures in their totality represent the entire human being—the human being split up, as it were, into twelve separate elements, but still the entire human being. You might also imagine these gestures being carried out by a single person, one after the other. If you picture them being made one after the other by the same person, you would see still more clearly how in this way, when one individual makes all the movements, the whole being of man is revealed and expressed with quite remarkable force and clarity. Let us now pass through these several aspects of the human being. We will begin here: (gesture IV - Scorpio):     Try to imagine that we here have represented that element in the human being, which we call the intellect, the mind. We must realize that this gesture is the expression of the understanding, the intellect. Now let us look at this: (gesture I -Leo): From this gesture, there streams out with a sunny radiance that element which may be described as enthusiasm, which has its source in the breast. Thus we may say: gesture IV—the head: gesture I—the breast, enthusiasm. Now let us pass to this point: (gesture X) Here, the head is enfolded by the right arm, while the left hand covers the larynx. In this gesture we have represented that part of the human being that is the expression of the will. (The Word is silenced). We have man as the representative of the will, of all that can lead to action, to deed. Thus we may say: the limb system, will, deed. Fundamentally speaking we now really have before us the threefold organism of human nature: understanding, feeling, will. Then we still have that gesture which synthesizes all these elements in itself. You can see how here, in this gesture, there is the striving after balance: (gesture VII - Aquarius): A state of balance is sought between these various aspects. One may imagine that the arms move in this way (with an upward and downward movement) and that by this means one is endeavouring to experience this state of balance. Here we feel the whole human being seeking to obtain equilibrium; it is the representation of the human being who finds the perfect balance between his three forces—thinking, feeling and willing. I will only write ‘the human being in a state of balance’ (see diagram). You must take these descriptions which I am writing here as matters of the greatest significance. Now we will go one stage further; when you pass over from the thinking human being to the human being as he seeks for equilibrium you have, lying between these two aspects, that element which follows after thought, which is the consequence of thinking. Where does thinking lead us? To resolve. Thus gesture V is the resolve, the thought that wishes to transfer itself into reality: Resolve (gesture V - Sagittarius): Now we reach this point (gesture VI) [Capricorn - L] We see from the very nature of this gesture that something exceedingly significant lies here. This gesture (IV) represents thought. Thought may be very clever, but it does not necessarily enter into reality; it does not necessarily reach the point of resolve. Here we have thought; but thought may always miscarry when it comes to a question of external matters. At this point (gesture VI) thought struggles with the conditions of the outer world: the bringing of thought into connection with the external world (see diagram). This connection of thought with the outer world must actually become part of the complete human being; for the man who has reached a state of balance can, as he goes his way through the world, only bring his deeds to fulfilment when he has first entered into a relationship with the outer world. And now, starting from the understanding, we will take the other direction. What really happens before one formulates a thought? Something must lead over to the state of understanding and now, starting from the understanding, we will take the other direction. What is really standing before a thought is actually formulated, we have the state of hypothesis; we have a weighing, as it were, of the pros and cons of the matter. Thus here, in this gesture (gesture III), you see the weighing process in its relation to thought (see diagram): [Libra - TS] But how does this weighing, balancing process come about? In this connection we must make an accurate study of gesture II. What lies behind this gesture? You will remember that we take as our starting-point, feeling, enthusiasm (gesture I). This is a ‘burning enthusiasm’ (the enthusiasm which we lack so greatly in our Society, but which at least is represented here). Now, passing from gesture I to gesture III, before we reach that quiet feeling of weighing or balancing, a reasonable soberness must first make its appearance (see diagram). Gesture II—Soberness. [Virgo - B] You will be able to feel this quite easily if you enter into the gesture correctly and without prejudice.  We have, then, that enthusiasm which has its seat in the, breast (gesture I). Now we come to this point: (gesture XII): [Cancer - F] Here we have not yet reached enthusiasm, or rather, let us say, enthusiasm does not on this side pass over into a weighing, thoughtful process; it passes over into action, into the expression of will. On the path from enthusiasm to will, we find the first stage to be initiative, the going out of oneself, the impulse towards action. Enthusiasm burns with a fire that cannot endure. But when an action is to be accomplished there must be initiative, there must be the impulse towards action. Here then (gesture XII), we see the impulse towards action. Now we must pass still further; let us observe the next stage. Here the whole human being is filled with the conviction that he will succeed in accomplishing the action: (gesture XI): [Gemini—H] We can almost see Napoleon before us. Special attention, too, must here be paid to the use of the legs and feet; the eurhythmist must not stand as in the other positions, but with a firm hold on the ground. You will notice that admirals on board ship always stand in this way. (And let me here advise you, when you are on a ship, always to walk in this way; then you will not so easily feel the motion of the vessel, nor so easily become sea-sick.) This, then, is not merely initiative, but it is the capacity for action. Here (see diagram) we have already reached the capacity for action. And now, with gesture X we have the action itself (see drawing R) Then we go one stage further. When the action has been accomplished, what has been brought about by its means in the world outside man? We see the human being living in the world. He observes what has been brought about through his action. It is no longer a question of the action only. The human being has already passed beyond this; he can observe it; action has already become event—an event that has been brought about by his action, by his deed. Thus in gesture IX we have the event (see diagram): [Aries V] And now we pass on to gesture VIII: [Pisces - N] In this gesture you can see that the event has made its impression upon the human being. He has caused something to happen and this happening has left its impression upon him; it has become destiny. Thus we may say (see diagram): Event has become destiny. In this circle, then, we have the human being divided up into his component elements. We can picture this human being as containing within himself twelve elements and we can also discover the twelve corresponding gestures. And now I need seven more eurhythmists. Let us start here in the centre: Stretch out the arms, the right arm forwards and the left arm backwards; and now you must move both arms simultaneously in a circular direction. (You need, however, only actually make this gesture when all the others have been told what to do.) With this first gesture, which I have described, we have no longer merely the gesture which is held, but one which is in movement. And when we take this gesture, this movement, we find that it is the expression of the human being in his entirety. Now the second: left arm backwards, right arm forwards; you must move the left arm in a circle, the right arm remaining quiescent. Here we have shown you the second movement. It is the expression for all the loving, sacrificing qualities in the human being. Thus: the human being in his aspect of loving sacrifice (see diagram). Now comes the third movement: right arm forwards, left arm backwards, the right arm moving in a circle. This is the extreme opposite of the preceding movement. It is the anti-thesis of the loving, sacrificing qualities. This is the aspect of egoism. The fourth: stretch out the arms in front of you, with the lower arms crossed one above the other. This gesture is in the sphere of the spiritual; for this reason it may remain quiescent. Here we have everything in the human being that is creative; it is the capacity for creation. Now we come to the fifth: you must hold the arms forwards with the fingers drawn inwards, and the movement is made by means of a rocking of the body, upwards and downwards. This represents the aggressive quality in the human being, thus the aggressive element.   The sixth: you must hold the left arm still (bent inwards) while the right makes a circular movement around it. In this way we show clearly that we are not now expressing the aggressive element but the activity arising out of wisdom. And now we have the last movement: Here the hands are laced against the forehead, the one somewhat over the other; now allow them to move smoothly up and down—and again, up and down. Make this gesture, this movement. Here we have the expression of everything that is most profound, the contemplative, meditative element. The human being is here turned in upon himself; I will describe it as deep contemplation (Tiefsinn). Thus we have formed a large circle and also a small circle. In the outer and larger circle we have the twelve outer gestures, which are static, which express form; here in the inner circle we have seven figures which express movement, with one exception, that is to say. This gesture expresses a different aspect, namely movement that is brought to quiescence. Now you will soon see what a harmonious effect is produced when all these postures and gestures are combined: those in the inner circle carry out the movements belonging to them, while those in the outer circle take up their postures. We must, however, go still further: those in the inner circle make their movements; the outer figures move slowly in a circle from left to right, always holding their postures. During the whole time the others also must make their movements. Here, you see, it is as though the human being were observing the world from all sides, and bringing all his faculties and capacities into movement. Will you once again take up your postures and form the outer circle? I must just mention that in eurhythmy the direction from left to right is really reversed (that is to say it is taken from the point of view of the audience); this also applies to the direction from right to left. The outer circle moves at a moderate pace from left to right; those in the inner circle, still making their gestures, move round somewhat more rapidly. Thus the inner circle dances round at a rapid pace, the outer circle dances round more slowly. Now add all the movements and gestures. See what a harmonious effect is produced! This is one possibility. Here we have a first attempt at drawing forth from the organism its inherent possibilities of movement and gesture; and we can do this when at the same time we bear in mind the human being in his entirety. And we can indeed see how, in the future, further possibilities of form and movement will gradually be able to develop from out of this element. In very truth the human being has not grown up simply from those forces known and recognized by present day science. He has grown up out of the whole cosmos and his nature may only be understood when the whole cosmos is taken into consideration.  When we have taken all that we have just seen and really observe it closely, then we may say that we have before us the human being divided up into all his different faculties, into the various qualities and forces of his being. But, in the outer world, the human being is always divided up into the various members of his being. This is to be seen in the animals. The human being bears within him all the faculties of the principal animals. These are gathered together in him, synthesized and raised to a higher level. Thus we have in the first place the four main animal types. Here we have enthusiasm, the breast element—Leo, the lion (see diagram). The lion has as its dominant characteristic what we have here in this, its corresponding gesture (I). Further: Here (X) is that element which is manifested in the outer world in everything standing under the sign of external action, under the sign of the will: Taurus, the bull (see diagram). Then here (VII), you have that which seeks to blend in the human being as a whole all the elements of experience, of action: you saw this in the way the movement was shown. Here we have that which welds together all the separated qualities, just as the etheric body welds together all the different members of the physical body. At one time the etheric man was also called the ‘Water Man’. Here (see diagram) one really ought to write: The Etheric Man. According to ancient designation however, this is also the ‘Water Man’—so here I may justifiably write: Aquarius, the Water Man. You now know that this signifies the etheric man. Then we have the fascinating quality of cleverness, of brains, that which creates an impression (IV). And it is just here that tradition has brought about a gross error. In reality this has to do with all that is connected with the innermost organization of the head. So that I ought really to write: the eagle. This confusion between the eagle and the scorpion seems, however, only to have arisen in comparatively recent times. Here then, we must picture the eagle (see diagram). But everywhere today we shall find this sign designated as Scorpio. (I do not necessarily mean to imply that people have gradually learned to regard the understanding as something that stings them!) Now we have here the four main characteristics of the human being. The others lie in the intervening spaces; enthusiasm does not immediately pass over into action; something lies between; At this point we have initiative. This impulse, which leads us over from enthusiasm to activity, which takes us out of ourselves, is incorporated in the feeling system, in that part of the human being that is enclosed by the ribs. In the ancient language of physiology this part of the organism was designated as ‘the crab’. Here also, then, I may call this point Cancer, the crab (see diagram). In the zoology of earlier times the word ‘crab’ did not merely signify that animal which we today call the crab; it signified all those animals possessing a specially strongly developed rib-organization. This is what was originally meant by the word ‘crab’. Everything, which had a special development of the ribs, was ‘a crab’.   Now when the human being wishes to pass over into the sphere of action he must be able to move properly; he must bring both sides of his organism into a properly balanced movement. Thus the element of left and right in the human being must be brought into action in a harmonious manner. Here we must observe that type of animal that is so organized that it has continually to bring the left and right sides of its organism into a synthetic and harmonious movement. Some animals, when walking or running, have to do this to a very marked degree: Gemini, the twins (XI) (see diagram). As I said, from here we pass on to the action, and from the action to the event. When we examine this transition from the action to the event we find, in the animal kingdom, that it is best symbolized by those animals having curved horns. This brings us to the event: Aries, the ram (IX). Naturally, I should have to speak at considerable length if I wished fully to justify this statement. Then we go further and reach the point where the human being is merged in the external world, where he gives himself up to the external world; we come to the point where his action becomes destiny. Here the human being lives in the moral element as the fish lives in water. As the fish is merged in the water in which it swims, almost becoming one with it, so does the human being live with his destiny in a moral outer world. Thus: Pisces, the fish (VIII). Now I have already said that one must find a gradual transition from enthusiasm to quiet thought. We find this transition when the burning enthusiasm becomes sobered. The cooling element, that element which has not yet caught fire, when embodied in the animal kingdom, was called in ancient times: Virgo (II) (see diagram). And after this soberness comes the quiet, weighing process, the balancing: Libra, the balances. Those animals that seem to consider everything were, in the dim past, designated as the balances (see diagram). Now we pass from IV to VII, from Scorpio, or more properly the eagle, to Aquarius, to the etheric man. First we have the resolve, where thought determines to make itself felt in the outer world. It is easy to see why certain animals which dart from place to place from a certain nervousness of disposition - as for instance, certain woodland animals - it is easy to see why in ancient times such animals were named ‘Archers’. This is something different from what was later supposed; it is simply a characteristic of certain animals: Sagittarius, the archer (V) (see diagram). (Today, even, I believe that in certain dialects the expression ‘Schutze’ (archers) is used for those wretched little insects that dart about in the kitchen regions.) And now we come to the bringing of thought into relationship with the world. At this stage, where one butts at everything - where one has not yet achieved the blending of all the human qualities nor reached as yet the sphere of destiny - at this stage we have the goat. Thus here I must write (VI): Capricorn, the goat. Man in his entirety is summed up in the circle of the Zodiac. But all this must be regarded as expressing human qualities and faculties, and these human qualities again make their appearance in the postures we have been studying. Now in the inner circle we have had the expression of the human being as a whole: Sun. Next we passed over to the human being in his aspect of loving sacrifice: Venus; then to the more egotistical aspect: Mercury; to the creative, productive aspect: Moon; to the aggressive aspect: Mars; and then to the aspect of wisdom in the human being, that which radiates wisdom: Jupiter. And finally, we have that which passes over into a certain melancholy, into an inner contemplation, into a profound inwardness: Saturn (see diagram). As we enter the sphere that reveals the human being to us in the way I have just described, we pass over from the postures that are held, to the gestures which are in movement. And if we now wish to synthesize all this, to gather it together into a single whole, we can do so in the way I have shown you, by bringing the circle into movement. By so doing we externalise all that which together makes up the complete human being, that is to say, the synthesis of all the animal qualities, the animal characteristics. A certain experiment is given in the ‘Colour Teaching’ of Goethe: here one paints a disc in sections according to the seven colours—red, orange, yellow, green, blue, violet, etc., then one brings the whole thing into movement, whirling it ever faster and faster until the whole impression is grey. The physicists assert: white—it is however, not white, but grey. The separate colours can no longer be distinguished; everything appears as grey. Now if the eurhythmists had moved with such rapidity that the separate gestures were no more to be seen, but all were whirled together into a whole, then you would have seen some-thing of extraordinary interest: the picture of the human being expressed through his own movements. Here (in the inner planetary circle) you have all those qualities in the human being which tend outwards, those possibilities of inner activity whereby the animal nature is gradually led over into the human. Thus, in the outer circle we have: all the animals as man; and here, in the inner circle, we have: a synthesis of the animal qualities transmuted into the human by means of the sevenfold planetary influence. And now I must ask you (the details I shall give you next time) to bear in mind the sounds: a, e, i, o, u, ei, au—seven vowels. When we take the consonants really according to their innermost nature, grouping those letters together that are somewhat similar in sound, we get the twelve consonants. Thus we have twelve consonants and seven vowels. We arrive at the nineteen possibilities of sound when we see the consonantal element in the Zodiac, and the vowel element in the moving circle of the planets. This is the language of the heavens; whenever a planet stands between two signs of the Zodiac, in reality a vowel is standing between two consonants. The constellations arising through the motions of the planets are indeed a heavenly utterance that sounds forth with infinite variety. And that which is here uttered is the being of man. Small wonder, then, that in the possibilities of gesture and movement the cosmos itself is brought to expression. Such thoughts as these enable us to realize that in eurhythmy we are really reviving the temple dancing of the ancient Mysteries, the reflection of the dance of the stars, the reflection of the utterances of the gods in heaven to human beings below upon the earth. It is only necessary, by means of spiritual perception, to find once again in our age the possibility of discovering the inner meaning of the gestures in question. Today, then, we have discovered nineteen gestures; twelve static, and seven permeated with movement—of which latter one is quiescent only because rest is the antithesis of movement. (In the Moon we have movement annulled by its very velocity.) Thus we have learned to know these gestures, and I have also been able to indicate how they lead over into the realm of sound. Here we have taken the human being as our starting point and have travelled the opposite path. Previously we started from the sounds; now we take our start from the possibilities of movement and follow this path till it leads to man, to a visible language, to the sounds themselves. |
| 291. Colour: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight
10 Dec 1920, Dornach Tr. Harry Collison Rudolf Steiner |
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| We do that only when we can feel the message of the dawn's red, of the blue sky and of the green plant, when we can experience the sound of plashing waves. For “light” does not refer only to what is apparent to the eye, but I use the expression for all sense-perceptions. |
| 291. Colour: The Connection of the Natural with the Moral-Psychical. Living in Light and Weight
10 Dec 1920, Dornach Tr. Harry Collison Rudolf Steiner |
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In our last exposition we discussed the possibility of seeing what connection there is, on the one hand, in the Kingdom of Nature with the moral or the soul, and on the other hand, to see, in the soul, that which pertains to Nature. On this point modern humanity faces a disquieting riddle. I have frequently stated in public lectures that when man applies natural laws to the universe, and looks into past times, he says to himself: Everything surrounding me has come out of the past, out of some nebular condition, and thus out of something purely material, which then was somehow differentiated and transformed, giving rise to the mineral, the vegetable, the animal and the human Kingdoms; a condition however which would somehow, even if in another form than in the beginning, also obtain at the end of the universe. But then what is born in us as morality, as our ideals, will be faded and forgotten and there will be the great graveyard of the physical and in this final condition of the physical that which has arisen in man like foam-bubbles of psychic development will have no meaning, just because it is only a kind of foam-bubble. The only reality then would be that which has developed physically out of the primeval mists into the marked distinctions of the various beings, only to return to the universal state of cinders. Such a view of things, to which one must come if one acknowledges honestly the modern outlook on nature, such a view can never build a bridge between the physical and the moral or psychic. Therefore this philosophy, if it is not to be completely materialistic, seeing physical events as the only thing in the world, requires as it were, a second world—created out of the abstract. This second world, if one recognizes the first as given only to science, would be given only to faith. This faith, again indulges in the thought: Surely everything moral that arises in the human soul must have its compensation in the world; there must be something which rewards good and punishes evil, and so on. However philosophically you look at it, the result is the same. And in our time there are certainly people who acknowledge both views, in spite of the fact that they exist side by side without a bridge between them. There are people who believe everything the purely natural scientific view has to say, who subscribe to the Kant-Laplace theory of primeval mist, and everything in favour of a final cindery, slaggy condition of our evolution; and at the same time they acknowledge some religious view of things—that good works somehow find their reward, and evildoers are punished, and so on. This fact, that today there are many people whose souls are influenced by both the one and the other arises because in our time there is no little real activity of the soul, for, if there were, the same soul could not simply assume on the one hand a world-order which excludes the reality of the moral, and on the other acknowledge some power which rewards good and punishes evil. Compare with this bridgeless and lazy thought of so many modern people—these moral and physical points of view—what I explained to you here last time as a product of Spiritual Science. I pointed out to you that we see around us, first of all, the world of light-phenomena, that we therefore see in the outer world everything which is apparent to us through what we call light. I pointed out to you how dying world-thoughts are to be seen in everything that surrounds us in the form of light: world-thoughts which one in the untold past were thought-worlds of definite beings, thought-worlds from which world-beings in their time drew their world-secrets. We meet these thoughts as light today, they are, as it were, the corpses of thought, world-though that is dying. This meets us as light. You know (to know it we need only open my Occult Science at the right place) that if we look back into the far distant past, man was not the same as we know him today; there was only a sort of sense-machine during the Saturn epoch, for instance. You know also that at that time the universe was inhabited, as it is also now. But these other beings occupied the position within the universe which man holds today. We know that those spirits which we call the Archai or Primeval Powers, stood during the old Saturn epoch on the plane of humanity; they were not like the human beings of today, but they were on a corresponding footing; during the old Sun epoch Archangels stood on the human plane, and so on. We look back therefore into the past and say: as we now go through the world as thinking men, these also went as thinking beings with human character through that world. That which lived then in them has become external world-thought; and that which lived then in them as thought, so that it would be visible from outside as their light-aura, that appears in the realities of light. So that in the realities of light we have to see dying thought-worlds. Now darkness interplays with these light-realities, and opposite to the light there lives in the darkness what psychically and spiritually can be called the will, or with a more oriental application, love. If we look out into the world therefore, we see on one side the light-world, if I may so call it; but we should not see this light-world, which was after all always transparent to the senses, unless the darkness was perceptible in it. And in darkness we have to seek on the first plane of the psychic that which lives in us as will. Just as the outer world can be regarded as a clash of darkness and light, so our own inner selves, in so far as they expand in space, can be regarded as light and darkness. Except that for our own consciousness light is thought, imagination; the darkness in us is will which becomes goodness, love and so on. You see, we get here a philosophy of the world in which the soul contains not only what is psychic, and nature contains not only what is natural. We get here a philosophy in which nature is the result of former moral events, where light is “the dying world of thought.” Therefore we can also say: when we carry our thoughts in us, in so far as they live in us as thoughts, they are produced from our past. But we continually penetrate our thoughts with the will, out of the rest of our organism. For precisely what we call purest thought is the remains of our ancient past, penetrated by the will. So that even pure thought is penetrated by the will—as I have clearly expressed in the new edition of my The Philosophy of Spiritual Activity. But what we carry in us goes on into distant futures, and then what now is laid in us as the first seed, will shine in external phenomena. There will then be beings who look out into the world as we do now, and they will say: Nature shines round about us; why? Because men acted in a certain way on earth. For what we see now around us is the consequence of seed borne by former dwellers on earth. We stand here now and survey Nature. We can stand like dry, barren, abstract creatures, as the physicists do, and analyze light and its phenomena: we will then analyze them, being inwardly as cold as laboratory-workers; in the course of it some very beautiful, very intelligent things will be found, but we do not stand face to face with the outer world as complete human beings. We do that only when we can feel the message of the dawn's red, of the blue sky and of the green plant, when we can experience the sound of plashing waves. For “light” does not refer only to what is apparent to the eye, but I use the expression for all sense-perceptions. What do we see in all we observe around us? We see a world which certainly can uplift our soul, and in a sense is revealed to our soul as the world that we must have in order to be able to look with our sense on to a physical world. We do not stand there as complete beings if our attitude is that of a dry physicist. We are complete beings only if we say to ourselves: there the light and the sounds are the last presentation of what in long ages past beings formulated in their souls: we have to thank them. Our view then is not that of dry physicists, but of gratitude to those beings who so many millions years ago, let us say during the old Saturn time, lived as human beings as we do today, and who felt and experienced in such a way that we have today the wonderful world around us. That is an important result of a philosophy, steeped in reality, which leads to our realization of this. You realized it with the necessary intensity, you fill yourself with this necessity for feeling gratitude towards our far distant predecessors because it is they who have created for us our surroundings. Not only are you filled with this thought, but you must make up your minds to say: We must regulate our thoughts and feelings, according to a moral ideal which floats before us, so that those beings who come after us may look upon a world for which they can be as thankful to us as we can be to our far-off predecessors who now literally surround us as spirits of light. A complete philosophy leads, you see, to this world-feeling or this cosmic concept. A philosophy that is not complete leads indeed to all kinds of ideas or conceptions and theories of the world, but it does not satisfy the complete man, for it leaves his feeling empty. The first has its practical side, though man today scarcely realizes it. The man who takes the world today seriously, and who knows that he may not let it head for collapse, should look at the school and university of the future, which people do not enter at eight o'clock in the morning with a certain feeling of slackness and indifferent, and leave at eleven or twelve or one o'clock in the same mood, or at most with a slight pride that they are so and so much wiser ... let us assume they are! But we can envisage a future in which those people who leave at eleven or twelve or one o'clock step out from their places of learning with feelings towards the world that reach out into the universal: because side by side with their cleverness there is planted in their souls the feeling of gratitude towards the far-off past in which beings have worked to form our surrounding Nature as it is; and a great feeling of responsibility towards the world to b e, because our moral impulses will later become shining worlds. Of course it remains a question of faith, if you want to tell these people that the primeval mist is real and the future state of slag or cinders is real, and in between there are beings creating moral illusions which rise in them as foam. Faith does not lay down the last, though to be honest, it should. It is not essentially different for a man to say: There is a kind of compensation, for Nature itself is so arranged that a compensation takes place; my thoughts will become shining light. The moral organization of the world is revealed. What at one period is moral organization, is at another physical organization; and what at one time is physical organization was once moral organization. All moral things are therefore destined to emerge into physical things. Does the man who looks at Nature spiritually need still another proof that the world is morally organized? No; in Nature itself, spiritually seen, lies the justification of the moral order. One rises to this image when one regards man in his complete manhood. Let us start from a phenomenon we all experience every day. We know that the phenomenon of sleeping and waking means that man is released in his ego and his astral body from the physical and etheric body. What does this mean in reference to the Cosmos? Let us imagine it in a diagram. Imagine physical and etheric body, astral body and ego bound together during wakefulness and separated during sleep: What now is—I might call it—the cosmic difference between the two?  Now if you consider the state of sleep, you experience light. And by experiencing light, you experience the dying world of past thoughts; and in doing so, you have a tendency to become aware of the spiritual as it stretches out into the future. That man today has only a dim perception of it doesn't alter the fact. What is for the moment essential is that we are in this state susceptible to the light. Now if we dip down into the body we become inwardly psychic—by which I mean that we are souls and not scales—we become psychically sensitive to darkness in contradistinction to light. This contradistinction is not merely a negative one, but we become aware of something else: as in sleep we were receptive of light, so in wakefulness we are sensible of weight. I said we are not scales, we are not sensible of weight in the sense that we weigh our bodies; but by diving down into our bodies we become inwardly and psychically sensible of weight. Do not be surprised if this at first seems somewhat vague. The ordinary consciousness is, for real psychic experience, as dormant in wakefulness as in sleep. In sleep man today does not consciously notice how he lives in light. Awake he does not notice how he lives in weight. But it is so. The fundamental experience of man in sleep is the life in light. In sleep he is not psychically sensible of weight, of the fact of weight; weight is, as it were, taken away form him. He lives in imponderable light; he knows nothing of weight; he learns to recognize this only inwardly, above all subconsciously. But it reveals itself at once to the imagination; he learns to recognize weight by diving down into his body. For spiritual-scientific research this is shown in the following manner. When you have risen to the stage of knowledge known as Imagination, you can observe the etheric body of a plant. In doing so you will feel inwardly that his etheric plant-body draws you continually upward, it is without weight. On the other hand when you look at the etheric body of a man, it has weight, even for the imaginative picture. You simply have the feeling it is heavy. And from this point you come to realize that the etheric body of man, for instance, is something which transfers the weight to the soul within. But it is a super-sensible primeval phenomenon. Asleep, the soul lives in light, and therefore in lightness. Awake, it lives in weight. The body is heavy; this force transfers itself to the soul: the soul lives in weight. This means something which is now carried over into the consciousness. Think of the moment of waking: what is it? When asleep—you lie in bed, you do not move, the will is crippled. It is true, vision is also crippled, but only because the will is. Vision is crippled because the will is not in your own body, and does not make use of the senses. The main fact is the crippling of the will. What makes the will active? This: that the soul feels weight through the body. This combined life with the soul produces in earthly man the fact of the will. And the will ceases in man himself when he is in the light. Thus you have the two cosmic forces, light and weight, as the great antitheses in the Cosmos. In fact, light and weight are cosmic antitheses. Think of the planets: weight draws towards the central point, light goes out from it into the whole universe. One imagines light only as quiescent: in reality it is directed outwards from the planet. Whoever thinks of weight as a force of attraction, with Newton, really things very materialistically; or he imagines some sort of demon or something sitting in the middle of the earth and pulling the stone with an invisible string. One speaks of a force of attraction which no one can every prove except in imagination. Now people are not able to realize it actually, but they speak of it, with Newton as the force of attraction. In western civilization the time will come when whatever exists must be somehow represented materially. Thus, someone could say to these people: Well, you want to represent the force of attraction as an invisible string, but then you will have to represent light at best as a kind of swinging away, as a shooting off. One could then represent light as a force of dispersion. It is enough for him who prefers to remain nearer reality, if he can simply realize the opposition, the cosmic opposition of light and weight. And now, many things that concern man are based on what I have been saying. If we have considered the daily event of going to sleep and awaking, we say: In going to sleep, man passes out from the field of weight, into the field of light. By living in the field of light, when he has lived long enough without weight, he gets again a strong longing to feel weight around him, and he returns once more to weight—he awakes. It is a continuous oscillation between life in light and life in weight, between going to sleep and awakening. If a man has developed his powers of perception sufficiently, he will be able to feel this sort of rising from weight into light, and the feeling of being possessed again by weight on awaking, as a personal experience. Now, think of something else: think of this: between birth and death man is bound to the earth, because his soul, having lived a time in light always hungers again for weight, and returns to the condition of weight. When a condition has been set up—we shall speak further of this—in which this hunger for weight no longer exists, man will follow light more and more. He does this up to a certain point, and when he has arrived at the outermost periphery of the universe, he has exhausted that which gave him weight in his lifetime; then begins a new longing for weight and he begins his path over again, back to a new incarnation. So that in that interval also between death and a new birth, at the midnight hour of existence, there arises a kind of hunger for weight. This is man's longing to return to a new earth-life. Now while he is returning to earth he has to go through the spheres of the other adjacent heavenly bodies. Their effect on him is various and the result of these influences he brings with him into the physical life. So you see the question is important: What influence have the stars in the spheres through which he travels? For according to his passage through his stellar sphere, his longing for earth-weight is variously formed. Not the earth alone radiates, as it were, a certain weight which is the object of man's longing, but also the other heavenly bodies, through whose sphere he travels, as he moves towards a new life, influence him with their weights. So that man, while returning, can get into different situations, which justify one in saying this: Man while returning to earth longs once more to live in the earth-weight. But first he passes through the sphere of Jupiter, who also radiates a weight of such a kind as to add something joyful to the longing for the earth's weight. Thus the longing takes on a joyful mood. Man passes through the sphere of Mars. Mar's weight influences him also, and implants activity in his soul, which is joyfully longing for the earth's weight, so that he may use forcefully the next life from birth to death. The soul has reached the stage of possessing in its subconscious depths the impulse clearly to long for the earth's weight, and to use earthly incarnation forcefully, so that the joyful longing is expressed with intensity. Man passes also through the sphere of Venus. With this joy and strength and longing is mingled a loving understanding of life's tasks. You note, we are speaking of several different weights, issuing from the heavenly bodies, and are connecting them with the living contents of the soul. We are seeking, again, in looking out into universal space, to assess what is spread out in physical space in moral terms. Knowing that will lies in weight, and that light is the opposite of will, we may say that Mars radiates light, as do Jupiter and Venus also, and that in the forces of weight lies at the same time modification through light. We know, in light are dying world-thoughts, in the forces of weight lie worlds to come through the seeds of will. All this streams through the souls moving in space. We are looking at the world physically, and, at the same time, morally. The physical and moral do not exist side by side, but in his limitations, man is disposed to say: here, on one side, is the physical, there on the other, the moral. No, they are only different aspects, in itself the thing is one. The world which develops towards light, develops at the same time towards a compensating revelation. Moral world-order reveals itself out of the natural world-order. You must be clear that such a view of the universe is not reached through a philosophical interpretation, but that one grows into it by learning gradually through Spiritual Science to spiritualize physical concepts: for thus it takes on a moral quality of its own accord. And if you learn to look through the physical world into the world in which the physical has ceased to be and the spiritual exists, you will find the moral element is present. It would be possible even now to explain quite “learnedly” what I have just said. You have this line, which is not an ellipse, because it is more rounded, here. (See Diagram 2)  [Dr. Steiner was here describing on the blackboard the three variations of the curve of Cassini. One of them is similar to an ellipse, the second to a figure of eight (Lemniskate) the third is composed of two separated parts. –Ed.] An ellipse would be like this: but that is only a special form of this line, this line could also, if we altered the mathematical equation, take this form. It is then the same line as the other: one time I go round like this and close here ... under certain conditions I do not go up here to the top like this—but round here—and return again, closing at the base. But the same line has still another shape. If I begin here, I must apparently close here also; now I must leave the level, the space, must cross here and return here. Now I must leave space again, continuing here, and closing at the base. The line is only modified somewhat; these are not two lines, but only one; it has also only one mathematical equation; it is a simple line, only I have gone out of space. If I continue this demonstration another possibility arises: I can simply take this line (Lemniskate) (figure 8), but I can also represent it so that half of it lies in space; by coming round here—I must leave space and finish it off so: here is the other half, but outside ordinary space, not inside. It is also there. And if one developed this method of perception which mathematicians, if they would, could certainly do today, one would come to the other conception—of leaving space and returning into it. That is something which corresponds to reality. For every time you undertake something, you think: before you will it, you go out of space, and when you move your you return again. In between, you are outside of space: then you are on the other side. This conception must be thoroughly developed—from the other side of space. Then you arrive at the conception of what is truly super-sensible, and above all at the conception of the moral element in its reality. Today it is so difficult, because people will divide everything they want to experience according to dimension, weight and number, whereas in fact the reality leaves space at every point, I might say, and returns again to it. There are people who imagine a solar system with comets in it. They say: the comet appears, traverses a huge ellipse, and after a long time returns. In the case of many comets that is not true. It is like this: comets appear, go out, disintegrate there, cease to be, but form themselves again on the other side and return again, describe in fact lines which do not return at all. Why? Because comets leave space and return at quite another place. This is certainly possible in the Cosmos, that comets somehow disintegrate out of space and return again at a totally different place. I must point out that Spiritual Science could deal with the most learned scientific concepts if it had the chance or possibility of permeating with spirit that which is today carried on without spirit, particularly in the so-called exact sciences. Unfortunately this possibility does not exist; things especially like Mathematics, etc., are pursued today for the most part in the most materialistic way. And therefore Spiritual Science is called upon to make itself known to educated laymen, there were many with pretensions to learning to reproach it. Spiritual Science can deal with the highest scientific conceptions, and this with full exactitude, because it is conscious of its responsibility. Among all its other tasks, Spiritual Science has the task of purging our mental atmosphere from those mists of untruthfulness which obtain not only in outward life, but which can be shown to exist in the very heart of every science. And, again, there emerges from these depths, something which has such a devastating effect on the social life. We must summon up the courage to illumine these things with the right light. But for this it is necessary to cultivate an enthusiasm for an outlook on life which really does combine the moral and physical world-orders, in which the light-giving sun can be regarded not only as the concentration of crumbling thought-worlds, but also as that which springs forth from the depths of the earth as the preparation for what lives on into the future, seedlike, permeating the world in accordance with Will. |
| 346. Lectures to Priests The Apocalypse: Lecture V
09 Sep 1924, Dornach Tr. Unknown Rudolf Steiner |
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| The power which the sun develops in its movement through a Platonic year lives in the colors of green emeralds, wine yellow topaz and red rubies. And so you see that if one begins to speak about the spiritual world people are no longer satisfied if one explains their questions about earthly things with the trivialities which come out of our laboratories and dissecting rooms. |
| 346. Lectures to Priests The Apocalypse: Lecture V
09 Sep 1924, Dornach Tr. Unknown Rudolf Steiner |
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The most important thing we must do here is to read the Apocalypse in the way it should be read today. Already for the reason that we must become fully conscious of what is guiding spiritual life today, since spiritual development is now taking place under the sign of the consciousness soul. Hence it will be a matter of orienting ourselves to what the Apocalypticer tells us and of absorbing it in a fully conscious way. The communications of the Apocalypticer have meant nothing to ordinary priests so far, and at most they meant something to the highest initiates, although there have been ever fewer of them in recent times. Priests must now become aware of the real contents of the Apocalypse. We pointed to the seven churches from a particular point of view, for the world is very complex and one can look at things from many different viewpoints; so that we can describe the community in Ephesus in the way that we did yesterday. We then find that the Christianity there developed out of certain heathen conditions. However, we can also point out that much of the basic structure of the first post Atlantean epoch was contained in these impulses—in fact, to an even greater extent than it was contained in the later phases of Indian civilization. So that in a way one can look upon the Christianity which developed in Ephesus as a Christian continuation of the first world view and view of life after the Atlantean epoch, whereas the original Persian culture lived more in the second community—Smyrna—and passed over into Christianity. Then again, Pergamos is described as a community which cultivated the third post Atlantean culture. If we let the message to Pergamos work upon us, we find a more or less clear reference to the words of Hermes, which lived in this cultural milieu. Then in Thyatira we are referred to the fourth post Atlantean culture, in which the Mystery of Golgotha took place. If we let this important message work upon us, we are constantly reminded of the direct way in which the message of the Mystery of Golgotha worked. And then comes the church in Sardis, which we discussed yesterday. I showed you that this church in Sardis was somewhat astrologically oriented, and that it was oriented towards astronomical work. Therewith this community bears a lot of the past in it—which of course every community does from a historical viewpoint. But precisely this community in Sardis also bears a lot of the future in it. And now take what we're trying to bring into our spiritual view of the present. We are living in the fifth post-Atlantean epoch. If one looks at Sardis' past one sees that there was still something germinal there which hadn't been taken to completion at the time when John wrote the Apocalypse. The whole tone of this fifth epistle is different. It points to the future. The future to which he pointed at that time, which is as it were germinally contained in Sardis is our future; it is the time in which we're living. So the development of the successive post Atlantean periods is hidden in the developing Christian churches, and the same thing is indicated from another side in the seven seals. We have another indication, as it were, of what the secret of the seven churches is in the seven seals. We will describe the other meaning of the seven seals later, but when the fourth seal is opened, it corresponds to a secret of the fourth post Atlantean epoch, for a pale horse appears, and there is talk about the death which has come into the world. This touches upon one of the most important secrets of the Apocalypse—at least, it is very important for our time. In a way, death really entered into humanity during the fourth Post Atlantean epoch. You should make this clear to yourselves. One finds out what human nature is if one contemplates something like this; one can really get to know it quite well. If we go back to the first, second and third post Atlantean epochs we find that the way man felt about himself, and his whole frame of mind was different in these early times than it became later. Man had a distinct inner feeling that he was growing into his earthly abode. Even though this consciousness had dimmed considerably by the time of the Mystery of Golgotha, men had a distinct memory in their ordinary consciousness that they had lived up in the spiritual world before their life on earth. In the first, second and third post Atlantean epochs, everyone knew that they had been a spiritual being before they had become a child. One doesn't find this, in external documents very much, but the fact is that people, took the continuation of their stay upon earth backwards into the spiritual world for granted. Human beings only began to feel that their life on earth was closed off by the two portals of conception or birth and death in the fourth post Atlantean epoch, which coincided with the Mystery of Golgotha. This consciousness or attitude of soul first arose in the fourth post Atlantean epoch, so that this consciousness of being strictly enclosed by the boundaries of earthly life developed from about the eighth century before Christ up to the 15th century after the Mystery of Golgotha. A new consciousness is being prepared in the present epoch, but we're only at the beginning of it. Only about five centuries have elapsed since then, and this corresponds to about the third pre-Christian century with respect to the preparation of the fourth post Atlantean consciousness. The consciousness which they had then was quite different from the one they had when the fourth post Atlantean consciousness was fully developed. Likewise, most men today are not wearing the clothes of the new consciousness yet, but they are still wearing the consciousness of the fourth post Atlantean epoch. Our whole civilization tends to create this situation. Just think of how much has been carried over from the fourth post Atlantean epoch and of how much people are living in the fourth post Atlantean epoch in a matter of fact or coquettish way. The fourth post Atlantean epoch is still working on in our entire high school education. Scholars who use Latin are still back in the fourth post Atlantean epoch. People in public life still think in the way that they thought in the fourth post Atlantean epoch. We haven't arrived at full humanity with respect to the development of our consciousness soul, as it were, in the fifth post Atlantean epoch. And this is why men of the present still think that their earth life is closed off by the two portals of birth and death. The consciousness soul is being developed, but this development only becomes evident in people who have a special talent for it. I have met quite a few talented people like this during my lifetime; but one usually doesn't notice them. There is an awareness that a man with this fifth post Atlantean consciousness doesn't completely fit into the period between birth and death, that death plays into earthly life, that one really dies a little bit every day, that we're dying continuously all the time and that death exists. Some people are very much afraid of death, because they feel that it is undermining their ability to be human on earth. On the other hand, I have also known people who loved death because it always accompanied them, and they were really longing for it. This is something which will arise evermore during the fifth post Atlantean epoch, namely, people will see death walking alongside them. To put it even more concretely: men will perceive an intimate fire process in themselves which is connected with the development of the consciousness soul. They will experience this development of waking consciousness like a kind of fire process which consumes them, especially at the moments when they pass over from sleeping to waking consciousness. The consciousness soul is a very spiritual thing, and spiritual things always consume material ones. The consciousness soul consumes material and etheric things in human beings through a kind of intimate fire process or transformation process. This is something which men will perceive more and more in the course of this fifth post Atlantean epoch. Except that you shouldn't think that it's like a burning candle flame; one shouldn't think of it in such a physical way. Rather he will incorporate this proximity of death into his moral soul. The situation with most people today is as follows. If you see how the good resolves and firm intentions which they have disappear in the next moment, hour, day or month, then in accordance with the prevailing, materialistic world view, one considers this to be something which simply occurs. But one will gradually begin to feel differently about this. One will begin to feel that a good intention which one was too weak to carry out weakens one's life and reduces one's moral value, and one will see that one becomes morally lighter and less significant in the universe thereby. People today generally feel that what is present here is a weakness in their soul, and not something which works on in the universe. But this will change. Likewise, there will be certain intellectual qualities which people will increasingly feel are weakening them, as if a fire in their soul were consuming them. These phenomena are already here, and some of them exist on a large scale. But they are not being felt in an honest way. There is a way to find one's way into the spiritual world where one goes step by step and where one also takes what is given in How Does One Attain Knowledge of Higher Worlds? and in other books into account; thereby one arrives at a harmony between spirit, soul and body. But through the way in which most people cultivate a spiritual life today without these exercises, namely, through the way in which people in various confessions pursue a religious life, the latter is active in them in such a manner that it reduces their moral value and makes them lighter. These are things which people are becoming aware of more and more. People in this fifth post Atlantean epoch are changing a great deal. For it is a significant change if one feels that one's whole manhood is strengthened or weakened by what one is in one's soul. It's quite a change if one feels that destiny is not only a matter of circumstances which work upon one and which are present around one outside, but that it is something which makes one morally lighter or heavier. It's not as if one's physical body were protected against this, for one feels that one becomes lighter or heavier as a whole human being. You see, this is the consciousness which is being prepared, and one can see externally and empirically that it is being prepared. The time is beginning today when the priesthood will have to think of these things, when the faithful are standing before them. For it's a question of dealing with what is rising in men's consciousness in such a way that a man is comforted and strengthened. These things are not fully conscious yet, and they are coming up together with all kinds of unrest, nervousness and disharmonious emotional contents. You priests will find that it's becoming increasingly impossible to treat individual people in accordance with the general ideas which you have formed. Don't be offended by this, but in a certain sense clichés have been the decisive thing in the past and in many respects they still are today. If you ask what a priest did with someone who came to him with some kind of delusive ideas, one will hear that he tried to make him feel aware that he was a sinner, and that he did the same with a second case, and so on. Thus everything is pervaded by clichés. I once went to three burials in one day, and I noticed that the same priest began each burial with the statement, “As high as the heavens are above the earth, so much higher are my thoughts than your thoughts.” Here we have another cliché, which was relatively justified in the fourth post Atlantean epoch. Like the other things that I mentioned, this has reached over into the fifth and it rules our thinking, whereas a finer observation shows that all things must be transformed in our cultural epoch. Priests must begin to be able to look into the hearts of other human beings again. Very few people can do this today. Human beings know terribly little about other human beings today. For you see, if one reads the passage about the white raiment which people who have fulfilled the task of the fifth cultural epoch will have to wear, and if one does this with a certain reverence—because one can't really read the Apocalypse without reverence—one gets the impression that here it's a question of looking deeply into the special kind of consciousness which each human being has with the eye of a priest. It's a question of their becoming acquainted with the people who appear before them in the fifth post Atlantean age. We are being admonished to become acquainted with each human being in his soul garment, and not just in the clothes which he wears through what he is in the outer world. This admonishment of the Apocalypticer is addressed to our present time through this letter. Today's priests must penetrate the souls of human beings as they momentarily disregard all the external things into which men are placed. Priests must really begin to look at human beings in the way I described, namely, in the way one must look at them if one wants to investigate their karma. The day before yesterday I said that if one wants to investigate someone's karma one has to immerse oneself in his soul and in the qualities which can come to expression in any profession and basically in any capacity, and one shouldn't look at people from the viewpoint of their vocation, social ties, and ability or non-ability. For one has to look at what a human being was in his past earth life. Now priests don't have to go quite that far, but they must begin to see through external things and to look at man's inner life and his purely human side, and at what gives each inner human being an individual constitution. It's really the case that if we read up to this Book of Revelation we feel that what is written in it is like a direct exhortation to present-day humanity. And if we read on we can get an even deeper impression. Just consider the following. We're going through the fifth post Atlantean epoch; during this fifth post Atlantean age man is changing his consciousness in such a way that he sees through the work and activity of death itself. He will understand it. He will not learn to see through it in such a way that he knows how much longer he has to live; but he will see the working of death itself; he will have it as a constant companion. Of course he will have to have a soul content which will make this standing next to him of death seem natural, and this is something which will have to be created in the various spheres of life. If one's soul forces are constantly alert one will be able to have death next to one as a good friend and a constant companion. You should realize that when you look out into your environment today, you are still seeing things like a man of the fourth post Atlantean epoch. You're basically looking at life which has death in it in every plant and rock, but you don't see the death, because you still don't see it in yourself. People will soon begin to see death all the time. This is what one will increasingly have to say to present-day men. People's whole perception will change as they see death more and more. If one sees death one sees many things which are completely hidden in the phenomena. We see nature in a rather stable way today because we don't look into certain fine, intimate things in nature at all. We walk through the countryside, and we see signs which say that there is a lot of foot and mouth disease in this area. However, in reality something happened in the more intimate things above such a place—if one can see it—which can be compared with an ocean which is roiled by a storm or with a volcanic eruption. This is what will approach mankind in the sixth post Atlantean epoch. Today people can observe the eruption of a Vesuvius or a great earthquake by means of a seismograph, but because they don't see death yet they don't see the tensions in the etheric which become manifest in all kinds of things, such as when a significant genius lives somewhere or is born there. People can see the tremendous working and weaving of the spirit behind the planets and stars and their configurations just as little; the latter are just an external manifestation of the former. People will see all of this in a certain way during the sixth post Atlantean epoch. The sun and the stars and planets in their present form will have fallen down from the heavens. One will see the working and weaving of spirit where the materially abstract stars shine today. Thus the way that men see themselves will change a great deal in the course of the fifth post Atlantean age and the way they see the whole world around them will change greatly in the course of the sixth. For example, don't think that an initiate sees the world like a non-initiate does. Something similar applies to successive stages of consciousness. Human beings see the world differently in successive epochs. The fact that we are living at a time when man and the way the world looks are being transformed is indicated in a number of ways but also by the fact that there is a relative uniformity in the description of the first four letters. The first letter is unsealed and a horse appears, a white horse. The second letter is unsealed and a red horse appears, but it's a horse. The third letter is unsealed and a black horse appears, but it's a horse. The fourth letter is unsealed and a pale horse appears, but again it is a horse. The fifth letter is unsealed and no horse appears; there is no mention of horses anymore. The decisive thing here is indicated in an entirely different way. If we go on reading the letters, we find that a very important transformation which is occurring during our age is pointed to in this way. We can only say that we must prepare ourselves to become the new, transformed community of Sardis. This new and transformed community in Sardis must realize that it's rather trivial to know plants, animals and rocks, for one only really knows these things if one finds the activities of the stars and planets in every stone and in every plant. The stars must fall down from heaven in a spiritual way. One can already begin to perceive this. I would just like to give a particular example of this. People accept the outer forms of such things. One doesn't pay much attention to the way in which something like this is present in the whole spiritual evolution of mankind. Each person can only do something at the place where he stands. Before I went on my last trip to England, the following thing happened. You may know that when I'm here I give the people who are working on our building one or two hours a week during their working time, where I talk to them about scientific and spiritual things. I let the workers give me the themes, and they really like to do this. The workers like it if they can choose the themes. Now they wanted to know about things which are possible in present-day spiritual life. This is one of the things which priests should really understand. When I walked into the classroom before I went on my trip to England, a worker had a prepared question: Why is it that only certain rocks and plants have an odor? Where does the fragrance of flowers come from? Now these workers were educated by the lectures which have been given for years to such an extent that they're not particularly interested in chemical explanations, where one tells them that one has this or that substance which is giving off this or that aroma, along the lines of explanations which tell one that destitution comes from poverty. The workers want real explanations. Now you see, I had to tell them the following. I will briefly repeat what I explained to them for about an hour. Things which smell refer us to our sense organs; we perceive the aroma through our organ of smell. But let's ask ourselves whether we have developed our organ of smell to the point where we can compete with a police dog. You will have to admit that we can't. On the contrary, you will have to admit that man has a rather crude organ of smell and that one runs into more sensitive organs of smell if one goes down to certain lower forms in nature. One can see this from the following. Take a dog, which has this sensitive organ of smell, so that it can become a police, dog. You will see that it has a receded forehead which follows the olfactory nerves that bear smells into its system. All of this is puffed up into a forehead in us; our intellectual apparatus and especially our ability to recognize things is a transformed organ of smell. This explains why we find more sensitive organs of perception when we descend to lower creatures. Now spiritual science teaches us that the fragrant flowers of a large number of plants are really organs of smell; they're vegetable organs of smell which are extraordinarily sensitive. And what do they smell? They smell the omnipresent, world's aroma. The worldly smell which is emitted by Venus is different from the ones which are given off by Mars or Saturn. For instance, violet smells are the aromatic echo of the cosmic smell which violets perceive. Such pleasant smelling plants perceive the elements of the world's smell which come from Venus, Mercury and Mars. Stinky asafetida smells Saturn odors and reproduces them. Here one has to explain to people how the stars fall down, because they want to know this; for the things of the world are basically nothing else than what they give out or radiate down. If one wants to talk about things in a realistic way, one has to say that the stars are really falling down already, because they are in the plants. Plants are aromatic and they are also olfactory organs. This morning I let the workers give me some more questions. One of the questions was: If what was said about smells is correct and plants are sensitive organs of smell, where do plant colors come from? I had to explain that although plant aromas come from the planets, plant colors come from the power of the sun. I gave an example to make this seem plausible. However, one of the workers wasn't entirely satisfied with this answer, and he said: this doesn't explain why rocks have colors; I can understand why plants have colors, for if there's a plant growing in the cellar where there's no sunlight, it has a form which has an aroma, because the world's aroma passes through the walls of the cellar; but the sun doesn't shine through the walls and so plants remain pale or even white; but how do rocks become colored? Then I had explain[ed] that we have the course of the day, with a revolution with respect to the sun in hours, and we have the course of the year which brings about the seasons during which the sun goes up towards the zenith and back down again; but we also have something else. I had to explain the Platonic year, and I explained that although the sun is now in Pisces at the vernal equinox it was previously in Aries, Taurus and Gemini, and that it takes 25.920 years for it to go all the way around. So that the sun is connected with the course of a day, the course of a year and the course of a world year; and whereas plants get their colors from the sun in the course of a year, rocks get their colors in the course of a world year. The power which the sun develops in its movement through a Platonic year lives in the colors of green emeralds, wine yellow topaz and red rubies. And so you see that if one begins to speak about the spiritual world people are no longer satisfied if one explains their questions about earthly things with the trivialities which come out of our laboratories and dissecting rooms. They want to know things, and they feel very satisfied if they know them in a Sardisian way or in a way where one brings in the stars and planets and their activities. After all, by placing Sardis into the present time, one is doing the same thing that the Apocalypse is doing. You see, this is an example, but on the other hand, one has to begin to carry this sensing of the stars and their beings into the present People will have to begin to see that the Christ is a sun being again. But this is what they fight most of all. But if I tell you such things, namely, if I tell you that our modern, fifth post Atlantean epoch must be the resurrected Sardis, in the way that this is concisely and wonderfully described in the fifth community and in the fifth seal, when these things are unsealed, if I say this to you, you will feel that one of our tasks is to develop this particular understanding of the Apocalypse today, namely, to be able to understand the tasks which are demanding our heartfelt attention every day. It doesn't do any good to merely interpret the Apocalypse today. We must put the Apocalypse into practice in everything we do, otherwise we might just as well forget about it. A desire to interpret it in order to satisfy one's curiosity doesn't have much value. Thus I have tried to show you the second thing which belongs to a reading of the Apocalypse. Yesterday I tried to indicate the formal aspect to you; today I tried to indicate that it takes will power to read it. But this is only natural. For apocalypses have always arisen through inspirations of the will, and here we touch upon a really apocalyptic point, because it is an apocalyptic point which is full of life.  We already have people today who are being trained in an apocalyptic way; but they are being apocalyptically trained so that they receive their training of the will in a way which is oriented specifically towards the Roman catholic church; these are the Jesuits. There is something very apocalyptic about the Jesuits' training and exercises. The Jesuits' exercises involve a training of the will, which always underlies the perception of apocalyptic things. Hence anyone who takes a real priesthood in the sense of a Christian renewal seriously today has to keep this training of the Jesuits in mind. He must understand the Apocalypse so that he can find the right impulse for his will in it, whereas although the impulse for the will which was given by Ignatius of Loyola was wonderful, it was very one-sided, and it has become Ahrimanically hardened today. For Ignatius of Loyola is a good example of how wrongly we can look at the world if we don't gain knowledge of it in a spiritual scientific way. People ascribe the present development of the Jesuits to Ignatius of Loyola. But it no longer has anything to do with him. Ignatius of Loyola reincarnated a long time ago, and of course he has separated himself from the movement completely, for he lived as Emanuel Swedenborg; and so the Jesuitic movement has become completely Ahrimanic since then. It is no longer connected with Ignatius and it is active in an Ahrimanic way. Here you have a kind of shadowy counter image of what you must train yourself to do, when you take apocalyptic things into your ego in the way I mentioned, so that your ego becomes' a sum of active forces which are also apocalyptic. |
| 327. The Agriculture Course (1938): Lecture VII
15 Jun 1924, Koberwitz Tr. Günther Wachsmuth Rudolf Steiner |
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| If we look at a tree with understanding we shall find that the only parts of it which can really be reckoned as plant are the tender twigs, the green leaves and their stalks, the blossoms, the fruits. These grow out of the tree just as herbaceous plants grow out of the soil, the tree being in fact “earth” in relation to the parts that grow out of it. |
| 327. The Agriculture Course (1938): Lecture VII
15 Jun 1924, Koberwitz Tr. Günther Wachsmuth Rudolf Steiner |
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I propose to devote the time that remains at our disposal to the consideration of the rearing of live-stock and the cultivation of fruit and vegetables. Naturally there will not be time to treat the subject at very great length, but in order to obtain a fruitful starting point, we must gain insight into all the factors which come into consideration. We shall do this to-day, and tomorrow we shall pass on to the more practical aspect of the subject. I shall ask you to-day to join me in the consideration of rather more recondite matters, to follow me into what is nowadays an almost unknown territory, although the instinctive husbandry of the past was thoroughly conversant with it. The beings in Nature—minerals, plants, animals—we will disregard man for the moment—are often regarded as though, they existed in completely separate realms. It is the custom to-day to look at a plant as though it existed by and for itself, and similarly one species of plant is also regarded as being isolated from other plant species. So these things are neatly sorted and fitted into genera and species, as though they were being put into boxes. But things are not like this in Nature. In Nature—nay, in the world—being as a whole, all things are in mutual interaction. One thing is always being affected by another. In these materialistic days, only the more palpable effects of this interaction are noted, such as when one thing is eaten or digested by another, or when the dung of animals is used for the soil. In addition to these, however, finer interactions amongst more delicate forces and substances are continually taking place: through warmth, through the chemical-etheric element which is continually at work in the atmosphere, and through the life-ether. Unless we take account of these more delicate interactions, we shall make no progress, at any rate in certain departments of Agriculture. In particular we must look to those more intimate interactions which take place in Nature when we have to deal with the life together of plant and animal on the farm. We must look with understanding not only upon those animals which undoubtedly stand close to us, such as cattle, horses, sheep, etc., but also, for example, upon the manifold insect world, which during a certain period of the year hovers around the plants. Indeed, we must learn to look with understanding at bird-life too. Humanity to-day is very far from realising how much farming and forestry are affected by the expulsion from certain districts of certain kinds of birds as a result of modern conditions. Here again light can be thrown on the subject by conceptions given by Spiritual Science. Let us therefore extend some of these ideas which have been working upon us and come by their help to a yet wider vision. A fruit tree—apple, pear or plum—is something completely different in kind from a herbaceous or cereal plant as any kind of tree outwardly is indeed. But, putting aside any preconceived notions, we must find out wherein the peculiarity of the tree lies. Otherwise we shall never understand the function fulfilled by fruits in the economy of Nature. I am speaking, of course, of the fruit that grows on trees. If we look at a tree with understanding we shall find that the only parts of it which can really be reckoned as plant are the tender twigs, the green leaves and their stalks, the blossoms, the fruits. These grow out of the tree just as herbaceous plants grow out of the soil, the tree being in fact “earth” in relation to the parts that grow out of it. It is as though the soil were heaped up—but a somewhat more quickened soil than the ordinary soil in which our herbaceous and cereal plants grow. If, therefore, we want to understand the nature of a tree, we must observe that it consists of the thick trunk, to which are attached the branches and boughs. On this ground the specifically plant-like parts grow, viz. leaves and blossoms, which are as much rooted in the trunk and branches as cereal and herbaceous plants are rooted in the earth. The question therefore arises: is this plant this plant-like part—which may be regarded as more or less parasitical, really rooted in the tree? We cannot discover an actual root on the trees. We conclude, therefore, that this plant, which develops its leaves and blossoms and twigs up aloft, must have lost its roots in growing on the tree. But no plant is complete without its root. It must have a root. Where, then, does the actual root of this plant reside?  Now, the root is only invisible for our limited outer vision. In this case one does not see it, but has to understand where it is. What do we mean by this? The following concrete comparison may help. Suppose I planted a large number of herbaceous plants so closely together that their roots were intertwined and grew into each other, forming a completely matted mass or pap of roots. You can well imagine that this pap does not remain chaotic, but that it organises itself into a unity so that the sap-bearing vessels unite with each other. In this organised root-pap, it would not be possible to distinguish where one root finished. and the other began, and a common root-organ would arise (See Diag. No. 12). A thing like that does not, of course, exist in the soil, but such a root-formation is actually present in the The plants that grow on the tree have lost their root, have become relatively separated from it and are only, as it were, etherically connected with it. What I have drawn hypothetic ally is really the layer of cambium (a layer of living cells lying between the last-formed wood and the outer bark) in the tree and we cannot regard the roots of these plants otherwise than as having been replaced by the cambium. From this tissue, which is always forming new cells, these plants unfold themselves just as from the root below an herbaceous plant unfolds above the soil. We can now begin to understand what the tree really is. The tree with its cambium—which is the only cell-producing layer in the tree, is actually heaped-up earth, which has grown upwards into the air element and therefore requires a more interiorised form of life than is present in the ordinary soil which contains the root. Thus, we must regard the tree as a very curious entity, whose function it is to separate the “plants” growing on it (twigs, blossoms, fruit; from their roots; an entity which places between them and their roots a distance which is bridged only by spirit—or more strictly by the Etheric. It is in this way we need to look, with a macro-cosmic understanding, into the facts of growth. But the matter goes much farther. What results arise from the existence of a tree? That which is around the tree in the air and outer warmth is of a different plant-nature from that which grows up from the soil in the air and warmth and forms the herbaceous plant. It is a plant-world of a different order, possessing a far more intimate relation with the surrounding astral element. Lower down that element is eliminated from the air and warmth in order to make them mineral-like, so that they can be used by man and beast. [See Lecture II. They become “dead” air and warmth.] It is true, as I have said, that the plant we see rowing upon the ground is surrounded, as with a cloud. v the astral element. But around the tree, the astral element is far denser. So much so, that we may say: Our trees are definitely collectors of astral substance. Here one might say it is quite easy to reach a higher development and become “esoteric”—I do not mean clairvoyant but clair-sentient as to the sense of smell. One has only to acquire the capacity for distinguishing between the scent of plants growing in the ground, the peculiar smell of orchards, especially in the spring when they are in flower, and the aroma of forests. Then one is able to tell the difference between a plant atmosphere poor in astral elements, such as that of herbaceous plants growing in the soil and an atmosphere such as we sniff with such pleasure when the scent of trees is wafted in our direction. And if you train your sense of smell to distinguish between the scent of soil-grown (herbaceous) plants and the scent of trees, you will have developed “clear-smelling” for the thinner and for the denser forms of the astral element. The countryman, as you see, can very easily acquire this “clear-smelling” though this faculty, common in the old days of instinctive clairvoyance, has been much neglected in recent times. If, now, we realise the consequences to which this may lead the question will arise: What is happening in that part of the tree which may be regarded as the opposite pole from the “parasitical” plants on the tree which collect this astral element. What is happening through the cambium? Now. the tree makes the atmosphere far and wide around it richer in astral element. What happens while the “parasite” growth goes on above in the tree? The tree here has a certain inner vitality, a powerful etheric life in it. The cambium tones down this vitality, making it more mineral in nature. “While about the upper part of the tree an enrichment of the astral substance is going on, the cambium causes an impoverishment of the etheric life in the tree. The tree within is deprived of etheric life as compared with the herbaceous plant. In consequence, this produces a change in the root. The root of the tree becomes more mineral, far more mineral than the roots of the herbaceous plants. But by becoming more mineral, the tree-root withdraws some of the etheric life from the soil; it makes the soil around the tree slightly more dead than it would be around a herbaceous plant. This must be fully borne in mind, for these natural processes always have a great significance in the economy of Nature. We must therefore seek to understand the significance of the astral wealth in the atmosphere around the tree and of the etheric poverty in the region of the roots. If we look around us, we can find the further connection. It is the fully developed insect which lives on and weaves in this enriched astral element which wafts through the trees; whereas the impoverished etheric element beneath, spreading in the soil and throughout the whole tree (for, as I pointed out yesterday in connection with human Karma, a spiritual element always works throughout the whole being) is that which harbours the' larvae or grubs. Thus, if there were no trees on the earth there would be no insects. The insects that flutter around the upper parts of the trees and through the forests depend for their life upon the presence of the trees; and exactly the same thing is true of the grubs. Here we have yet another indication of the inner connection between all roots and animal life beneath the soil. This is especially evident in the case of the trees. But this same principle which is so striking in the case of the trees is present in a modified form throughout the whole of the vegetable world, for in every plant there lives something that tends to become a tree. In every plant the root and what is around it tends to throw off the etheric life whereas the upper growth strives to attract the astral element more closely to itself. For this reason, there arises in every plant that kinship with the insect world which I have specially characterised in the case of the tree. This relation, however, to the insect world in fact extends so as to comprise the whole of the animal world. In former times insect grubs, which can only live upon the earth because of the presence of tree roots, transformed themselves into other kinds of animals, similar to larvae and remaining at the larva stage throughout their lives. These animals then emancipated themselves to a certain extent from the tree-root nature and adopted a life which extends also to the root region of herbaceous plants. And now we find the curious fact that certain of these sub-terrestrial animals, though far removed from being larvae, yet have the ability to regulate the amount of etheric life in the soil if this amount becomes excessive. When the soil becomes, as it were, too much alive and the sprouting etheric life too strong, these animals of the soil see to it that this excess is reduced. They are thus wonderful vents which regulate the vitality in the soil. These lovely creatures, for they are of the greatest value to the earth are no other than the common earthworms. One ought to study the life of earth-worms in relation to the soil, for these wonderful animals allow just that amount of etheric life to remain in the soil as is needed for the growth of plants. Thus, in the soil we have these creatures, earth-worms and their like, distantly resembling larvae. One ought in fact to see to it that certain soils which require it, are supplied with a healthful stock of worms. We should soon see how beneficent such a control over this animal-world in. the soil can be, not only for vegetation but also thereby for the rest of the animal kingdom, as we shall show later. Now there are certain animals which bear a distant resemblance to the insect world, to that part of it which is fully developed and winged, I mean the birds. It is well known that in the course of the development of the earth something very wonderful took place between the birds and the insects. It is as though, to put it figuratively, the insects had one day said: “We do not feel strong enough to ‘work-up’ the astrality sparkling around the trees, we shall therefore use the ‘desire-to-be-a-tree’ of other plants. We shall flutter around these, and leave largely to you birds the astral life that surrounds the trees.” Thus, there arose in Nature a proper “division of labour” between the birds and the butterflies; and this co-operation in the winged world brought about in a wonderful manner the right distribution of astral life wherever it was required on the surface of the earth. If these winged creatures are removed, the astral life will fail to accomplish its proper function, and this will be noticeable in the stunted condition of the vegetation. The two things are connected; the world of winged animals and all that grows out of the soil into the air. The one is unthinkable without the other. In farming, therefore, we must see to it that birds and insects fly about as they were meant to do; and the farmer should know something about the breeding and rearing of birds and insects. For in Nature—I must repeat this again and again—everything, everything is connected. These considerations are of the utmost importance for a right understanding of the questions before us and we must therefore hold them very clearly in our minds. The winged world of insects brings about the proper distribution of astrality in the air. The astrality in the air has a mutual relationship with the forest which directs it in the proper way, much as in the human body the blood is directed by certain forces. And this activity of the forest, which is effective over a very wide area, will have to be undertaken by something quite different in a district where there is no forest. Indeed, in districts where woods alternate with arable land and meadows that which grows in the soil comes under quite different laws from those which rule in completely unwooded districts. There are certain parts of the earth which were obviously wooded areas long before man took a hand. In certain matters, Nature is cleverer than we are. and it may safely be assumed that if a forest grows naturally in a certain district it will have its uses for the neighbouring fields and for the herbaceous and cereal vegetation round about. In such districts one ought therefore to have the intelligence not to uproot the woods but to cultivate them. Ana as the earth is gradually changing through climatic and cosmic influences of all kinds, one should have the courage, when the vegetation becomes poor, not merely to indulge in all sorts of experiments in the fields and for the fields, but to increase the area of woods in the neighbourhood. And when plants run to leaf, lacking the power to produce seed, one should take bites out of the neighbouring woods. The regulation of woods in districts which Nature intended to De wooded is an integral part of agriculture, and must be examined with all its consequences from a spiritual point of view. Again, the world of grubs and worms may be said to stand in a mutual relationship to the lime, i.e. to the mineral part of the earth; while the world of birds and insects, of all that flies and flutters about, has a similar relationship to the astral element. The relation between the worm and grub world and lime brings about the drawing off of the etheric element, as I explained a few days ago, from a different point of view. This is the function of lime, but it performs this function in cooperation with the world of worms and grubs. If these ideas are carried out in more detail, they will lead to other things which—and that is why I have expounded them with such confidence—were applied, in the days of instinctive clairvoyance, in the right way. But this instinct has been lost, rooted out by the intelligence, as have been all such instincts. Materialism is to blame for men's having become so clever and intellectual. In the days when they were not intellectual, they were not so clever, but they were far wiser and learned through their feelings how to go about things; and we must learn to act with wisdom once again through Anthroposophy, but this time the wisdom will be conscious. For Anthroposophy is by no means something clever and intellectual—it strives for wisdom. And we must try to draw near to wisdom in all things and not be content merely to learn by rote an abstract jingle of words, such as “Man consists of a physical body, etc.” The main point is that we should introduce this knowledge into everything; then one finds the way to discriminate—especially if one really becomes clairvoyant in the sense that I have explained to you—and to see things in Nature as they really are. We shall discover, for example, that birds can become harmful if they are not in the neighbourhood of a wood of conifers which can turn what they do into something useful. Our vision is then further sharpened and we begin to discern the presence of yet another relationship. It is a very delicate relationship, similar to those I have been dealing with, but which can appear in a more tangible form. All growing things that are neither trees nor small plants, i.e. all shrubs such as the hazel bush have, an intimate relationship with mammals. If, therefore, we wish to improve the mammals on our farm, we shall do well to plant such bush-like growths. The mere presence of the bushes has a beneficent influence, for in Nature all things stand in constant reciprocal relationship. But let us go a step further. Animals are not so foolish as human beings. They very soon notice the presence of this relationship. They find that they like these shrubs; this liking is inborn in them, and they enjoy eating them. They begin to eat what they need of the shrubs, and this has a wonderfully regulating effect upon the rest of their diet. But this insight into the intimate relations in Nature will also throw light upon the nature of harmful influences. Just as conifer woods stand in intimate relationship to birds and shrubs to mammals? so do all kinds of fungi stand in a relation similarly intimate to the lower animals, to bacteria and the like, viz. to parasites. Harmful parasites are closely connected with fungi. They develop where fungus-life is dispersed. In this way, there arise plant diseases and other greater ills in plants. If, however, we can contrive to nave not only woods, but also well-watered meadows suitably situated in the neighbourhood of cultivated lands, these will be useful in forming a good breeding ground for fungi. One should see to it that the moist meadows are well-planted with such growths. We then make the following remarkable discovery, that if a meadow, not necessarily very large, but rich in fungi (e.g. mushrooms) is situated near cultivated land then the fungi, because of their kinship with bacteria and other parasites, will keep these creatures away from the farming-land. For mushrooms “hang together” with these little creatures more than do other plants. Thus, in addition to the other methods I have advocated for combating plant pests there is also the possibility of keeping these tiny creatures, these vermin away from cultivated land by converting land in its vicinity into meadows. It is so important for success in agriculture that the right amount of acreage should be assigned respectively to woods, orchards, shrubberies and meadows with a natural growth of fungi, that one often gets better results-even if one reduces the extent of tilled land accordingly. Generally speaking, to cultivate the whole of the acreage at one's disposal, leaving no room for the other factors of which I have spoken, and to count in consequence upon larger crops is certainly no real economy. The extension of the tilled area is counterbalanced by a lowering in the quality of the produce because the increase in the cultivated area is made at the cost of the other factors. One cannot be engaged in a thing like farming where Nature is the “manager,” without realising the inter-connections and inter—actions which exist between all her processes. Now let us look at something which will make clear to us the relation of plant to animal and, conversely, of animal to plant. What is an animal in reality, and what is the plant-world? (In the case of plants it is better to speak of the whole of the plant-world). We must look for the relationship between the two because only by this means can we come to understand the feeding of animals. For feeding is only properly done if it is done in accord with the true relationship between plant and animal. What are animals? We examine them, we even dissect them, study their muscles and nerves and admire the forms of their skeleton. But this does not tell us what an animal is in the whole economy of Nature. We shall only get at this if we grasp what it is with which the animal is most intimately connected in its environment. Now with its system of nerves and senses and with part of its breathing system, the animal “works-up” all that which comes through the air and warmth. The animal does this to the extent that it is a separate being. (See Diag. No. 14). We may make a schematic drawing to indicate this. With regard to everything lying in its periphery, the animal lives with its nerves and sense system and part of its breathing system immediately in air and warmth. The animal has an immediate connection with air and warmth, its bony system being actually formed from the warmth which in particular mediates the influences of the sun and the moon. Its muscular system is formed from the air, which again works as a mediator of the forces of sun and moon. But as regards its relation to earth and water, the animal is not able directly to assimilate. It must first absorb them into its digestive tract and then work on them with what it has itself become through air and warmth; it works upon earth and water with its metabolic system and with a part of its breathing system, which passes over into the metabolic system. The animal must therefore have already come into existence by virtue of air and warmth if it is to be able to “work up” earth and water. This, therefore, is the animal's way of living in the sphere of earth and water. The process of transformation which I have described takes place, of course, by means of forces (dynamically) rather than by means of substances (materially). Let us now try to answer the question: What is a plant? The plant stands in an immediate relation to earth and water just as the animal does to air and warmth. The plant, therefore? through a kind of breathing and through something very distantly resembling a sense system absorbs earth and water in the same direct manner as the animal absorbs air and warmth. Thus, the plant and earth and water live directly together. And now? of course, you will say: If the plant lives in immediate contact with earth and water as the animal does with air and warmth, then no doubt the plant “works up” air and warmth inside itself just as the animal “works up” earth and water? But this is not the case. We cannot reach spiritual truths merely by analogy. The fact is that whereas the animal absorbs earth and water into itself, the plant actually gives off the air and warmth which it experiences dimly through its connection with the soil. Thus, air and warmth do not go into the plant, or at any rate do not enter deeply into it; instead of being devoured by the plant, air and warmth are given off by it. And this process of elimination is the important thing. Organically the plant stands in inverse relation to the animal. That which in the animal is important as a process of nutrition becomes in the plant an elimination of air and warmth, and as in that sense we can say that the animal lives by absorbing food, in the same sense does the plant live by giving off air and warmth. And in virtue of that quality it may be said that the plant is virginal. Its character is not to absorb greedily but actually to give out that which the animal takes from the world in order to live. Thus, the plant lives by giving. In this giving and taking, we can recognise something which played a very important part in the old instinctive knowledge of these matters. “In Nature's economy, the plant gives and the animal takes.” What is contained in this saying garnered from Anthroposophy was once common property in times of instinctive clairvoyance into Nature. Even m later days, much of this knowledge has remained among' those gifted with a peculiar sensitiveness in these matters, and in the works of Goethe you will sometimes come across the phrase: “In Nature everything lives through giving and taking.” Goethe did not fully understand the phrase, but he adopted it from ancient customs and traditions and he felt that it pointed to something in Nature which was true. Those who came after him understood nothing of this, and so did not understand what he meant when he spoke of taking and giving. Goethe also speaks of taking and giving in connection with breathing, in so far as breathing inter-acts with metabolism. He uses the words “taking and giving” in a fashion, semi-clear. To sum up, I have shown you that in a certain sense the woods, orchards and shrubberies on the earth act as regulators in producing the right kind of plant-growth, and that under the soil grubs and other worm-like creatures act similarly in conjunction with lime. This is how we should envisage the relationship between the cultivation of fields, of fruit and of cattle, and then proceed to put our knowledge into practice. We shall endeavour to do this in the last hour that remains at our disposal, so that our Experimental Circle may work out these things more fully in the future. |
| 349. The Life of Man on Earth and the Essence of Christianity: Dante's Conception of the World and the Dawn of the Scientific Age
14 Mar 1923, Dornach Tr. Automated Rudolf Steiner |
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| Then he experiences the state where I have drawn green; but earlier, where I have drawn yellow. So it depends on that. Dante does not say that this is precisely where hell is, but rather that when someone has to work their way through the earth with their etheric body, it is so difficult that wherever they go, whether up or down, they experience hell. |
| 349. The Life of Man on Earth and the Essence of Christianity: Dante's Conception of the World and the Dawn of the Scientific Age
14 Mar 1923, Dornach Tr. Automated Rudolf Steiner |
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I have received a question regarding the colors, and I have been asked to say something about it. First, I will address the question that was asked first here. That is the question about the world view that Dante had. So the gentleman has read Dante. And when you read Dante, this poet from the Middle Ages, you see that he had a very different world view than we do. Now I ask you to consider the following. People, as I have often told you, think that what people know today is actually the only thing that is true. And when earlier people thought differently, people imagine: well, that was just the way it was. And they waited until they could learn something sensible about the world. You see, what people learn in school today, what becomes second nature to them in terms of the world view, has actually only been around since Copernicus first conceived of this world view. According to this 16th-century world view, it was imagined that the sun is at the center of our entire planetary system. Mercury (see drawing on page 70), then Venus, then the Earth revolved around the Sun. The Moon revolves around the Earth. Mars comes next, revolving around the Sun. Then there are many other planets, tiny in relation to the universe, which are called planetoids – oids, meaning similar to planets. Then comes Jupiter, then Saturn. And then Uranus and Neptune; I don't need to draw them, because they're not visible from here. That's how we imagine it today, we learn it at school, that the sun stands still in the middle. Actually, these lines, in which the planets revolve, are somewhat elongated. That's not what matters to us today. So we imagine that first Mercury, then Venus, then the Earth revolves around the Sun. Now you know that the Earth orbits the Sun in a year, or 365 days, six hours, and so on. Saturn orbits once in about thirty years, so much slower than the Earth. Jupiter, for example, orbits in twelve years, so also slower than the Earth. Mercury orbits quite quickly. So the closer the planets are to the Sun, the faster they orbit. Well, that's not the right idea today, it's what they teach in school. But we only need to go back to the 14th century, around 1300, and such an extraordinarily great mind as Dante, who wrote the Divine Comedy, had a completely different idea. This goes back a few centuries to before Copernicus. And the greatest man of all, the greatest man in terms of intellect, Dante, had a completely different idea. Now, today, let's not decide whether one is right or the other is right. Let us just imagine how Dante, the greatest mind of his time, conceived the matter in a time - now it is 1900, then it was 1300 - that is only six hundred years ago. Let us not think that one is wrong and the other is right, but let us just put ourselves in Dante's shoes and see how he imagined it. He imagined (see drawing): The Earth is at the center of the world system. And this Earth is not just there so that the Moon, for example, reflects the light that it receives from the Sun back to the Earth, but this Earth is not only surrounded, but completely enveloped by the sphere of the Moon. The Earth is completely inside the sphere of the Moon. Dante imagined the Moon to be much larger than the Earth. He imagined: That is a very fine body, which is much larger than the earth. It is therefore fine, but much larger. And what you see is only a small piece, namely the solid piece of the moon. And this solid piece, it only goes around the earth. Can you imagine that? With Dante, it is so that the earth is inside the moon, and what you see of the moon, that is only a small, fixed piece of the moon. That goes around. But actually we are all inside the forces of the moon. I have drawn that in red. And now Dante imagined: Yes, if the Earth were not inside these forces of the Moon, then, by some miracle, people would come to Earth, but they would not be able to reproduce. It is the reproductive forces that are contained in the red-drawn area. They also flow through people and make them capable of reproduction. So Dante imagined: The Earth is a solid, small body; the moon is a fine - much finer than the air -, a fine large body in which the Earth is inside like a core. You can imagine it as if the Earth were a plum kernel in the soft flesh of a plum. And out there is the solid piece; that moves around. But that there (see drawing, moon) is also always there, and that causes that man is capable of reproduction, and the animals are also capable of reproduction.  Now he imagined further: The Earth is not only in the moon's forces, but the Earth is also in other forces, which I will show here in yellow, and they permeate everything. So the moon's forces are in there, stuck in there, so that the Earth and the moon are in turn in there in this yellow. And there is another solid piece. This solid piece is Mercury, and it goes around there. And if man were not constantly permeated by these Mercury forces, he could not digest. So Dante imagined: the Moon forces cause reproduction; the Mercury forces, in which we are also always immersed, only finer than the Moon forces, cause us to digest and cause animals to digest. Otherwise, our body would be nothing more than a chemical laboratory, he imagined. The fact that our body functions differently than a chemical laboratory, where you only mix the substances and then separate them again, is caused by the Mercury forces. Mercury is larger than the Earth and larger than the Moon. And now all this is in turn contained in an even larger sphere, as Dante called it. So we are also immersed in the forces that come from this planet, from Venus. So we are immersed in all these forces, which permeate us. We are also permeated by the forces of Venus. And the fact that we are permeated by the forces of Venus means that we can not only digest, but also absorb the digested into the blood. Venus forces live in our blood. Everything that is connected with our blood comes from the forces of Venus. This is how Dante imagined it. And these Venus forces also cause, for example, what a person has in his blood as feelings of love; hence “Venus”. The next sphere is the one we are in, and there the sun revolves as a fixed body. So we are in the sun everywhere. For Dante in 1300, the sun is not just the body that rises and sets, but the sun is everywhere. When I stand here, I am inside the sun. Because what rises and sets, what moves around, is only a piece of the sun. That's how he imagined it. And it is mainly the powers of the sun that are active in the human heart. So you see: the moon, human and also animal reproduction; Mercury: human digestion; Venus: human blood formation; the sun: the human heart. Now Dante imagined that all of this is in turn contained in the huge sphere of Mars. There is Mars. And this Mars, in which we are also embedded, is just as connected to the human heart as the sun is, and is also connected to everything that concerns our breathing and especially our speech, to everything that is the respiratory organs. That is in Mars. So Mars: respiratory organs. And then it continues. The next sphere is the Jupiter sphere. We are again immersed in the forces of Jupiter. Now, Jupiter is very important; it is connected with everything that is our brain, actually our sense organs, our brain with the sense organs. Jupiter is therefore connected with the sense organs. And now comes the outermost planet, Saturn. In this, everything is included again. And Saturn is connected with our thinking organ.
So you see, that Dante, who was only six hundred years behind us, imagined the whole world differently. He imagined, for example, Saturn as the largest planet, albeit made of fine material, but as the largest planet, in which we are embedded. And these Saturn forces, our thinking organs bring about that we can think. Outside of all this, but in such a way that we are also inside it, is the fixed starry sky. So there are the fixed stars, namely the zodiacal fixed stars (see drawing). And even greater is that which moves everything, the first mover. But it is not only up there, but it is also the first mover here everywhere. And behind it is eternal rest, which is also everywhere. That's how Dante imagined it. Now, today's man can say: It's just that people saw all this imperfectly; but today we have finally come to know how things are. – Of course, that can be said on the one hand. But Dante was not exactly stupid either, and what the others see today, he also saw. So he was not exactly stupid. And the others from whom he took it, they all believed it back then, they were not all foolish people either, but they imagined it differently. And now the question is: how is it that in world history, people used to think differently about the whole world, and then suddenly in the 16th century everything is turned upside down and a completely different idea of the world is presented? That is, of course, a very important question, gentlemen. And you can't get around saying that these earlier ideas were just childish, but that these people saw something completely different from what people see today. You have to be clear about that: they saw something completely different. Today's people are terribly good at thinking. Yes, today's people are so good at thinking that the ancients could not match them. Thinking had only just emerged. The ancients always had a terrible respect for Saturn, which is connected with the organ of thinking. They thought that Saturn corrupts the human being. Too much thinking is not good. Saturn has always been considered a dark planet. And the forces that came from Saturn, they thought, if they were too strong in a person, he would become very melancholy. He would think all the time and become melancholy. So these people did not particularly like the forces of Saturn, and they imagined them much more in images. They did less calculating. Today we calculate everything. This whole world view here from Copernicus is calculated. But these ancient people did not calculate. But these ancient people knew something else that today's people do not know. They knew that everywhere in the world, wherever we look, there are many forces. But the forces that are within man are not in that which is seen with the eye, but are within the invisible. And so Dante said to himself: There is a visible world, and there is an invisible world. The visible world, well, that is the one we see. When we look out at night, we see the stars, the moon, Venus and so on. That is the visible world. But the invisible world is also there. And the invisible world is these - they were called spheres back then. The invisible world consists of these spheres. And a distinction was made between the world that is seen with the eyes, which was called the physical world. That was the physical world. And then there was the world that is not seen with the eyes. That is the world that Dante meant, and it was called the ethereal world. So the ethereal world, the world that consists of such a fine substance that you can see through it all the time. Yes, gentlemen, I don't know if it has happened to you, but I have met people who have claimed that there is no air because you can't see it. They said: Yes, when I go from there to there, there is nothing there; I'm not walking through something. — You know that there is air where I am walking through. But, as I said, I have met people who were not as schooled as today's people are schooled, and they didn't believe that there was air; they said: There is nothing there. - Dante, who knew that there is not only air, but also the moon, Venus and so on. It is exactly the same. They say: I walk through the air. Dante said: I walk through the moon, I walk through Venus, I walk through Mars. — That's the whole difference. And all that you do not see in the usual way, and what you can not perceive by the usual physical and chemical instruments, that was called the ethereal world. So Dante described a completely different world, an ethereal world. And what is the reason for the fact that six centuries ago Dante saw the world differently? The reason is that he described something different, that he described the invisible, the ethereal world. And Copernicus said nothing other than: Oh, let's not worry about the ethereal world and let's describe the physical world. That is where progress lies. One should not imagine that Dante was a “fool”, but he simply described the etheric world and not the physical. The physical world was not particularly important to him. He described the etheric world. Now, you see, this situation basically only changed significantly at the end of the 18th century. Until the end of the 18th century, people still knew something about this etheric world. In the 19th century, they no longer knew anything about it. We come to this again through anthroposophy. In the 19th century, people knew nothing about this etheric world. Regarding the other question: If we go back to the 18th century, people did the following, for example. They said: Here we have a candle; there is the wick; there the candle is burning. Now you know that when a candle is burning, it is bluish in the middle and yellowish at the edge. You can work this out in detail using what we have said about colors. Namely, in the middle it is dark, and here it is light (on the outside at the edge). And the consequence of this is that one sees the darkness through the light. And you know, as I told you the other day, when one sees the darkness through the light, it appears blue. That is why the inside of the burning candle appears blue, because you see the darkness through the light there. I just wanted to draw your attention to this so that you see: the color thoughts, the color views that I told you last time can be applied to everything. But now you know that when the candle burns, it becomes less and less. The flame is at the top, and what melts here (on the candle) merges into the flame. Finally, the candle is no longer there. What is in the candle has spread into the air. Now imagine someone, let's say in 1750, so not even two hundred years ago; who said: Yes, when the candle burns and everything disappears into thin air, then something of the candle goes out into the free space. Ultimately, there is nothing left. So the whole candle must go out into free space. He went on to say that it consists of very fine matter, fire matter. This fine fire matter connects with the flame and goes out in all directions. So that the man in 1750 still said: There in this wax, there is a substance that is only piled up, sealed. When the flame makes it fine, it goes out into the free space. This substance was called phlogiston in those days. So something goes out of the candle. The fuel, the phlogiston goes away from the candle. Now, at the end of the 18th century, another one came along. He said: No, I don't really believe the story that there is a phlogiston that goes out into the world. I don't believe that! - What did he do? He did the following. He also burned the whole thing, but he burned it in such a way that he collected everything that had formed there. He burned it in a closed room so that he could collect everything that could form there. And then he weighed it. And then he found that it does not become lighter. So he weighed the whole candle first, and then he weighed the piece that was left when the candle had burned so far (it is drawn); and what was formed during the burning, he caught it, weighed it and found that it was then a little heavier than before. So, when something burns, he said, what is formed is not lighter, but becomes heavier. And this person who did that was Lavoisier. So what was it that gave him a completely different view? Yes, it was because he used the scales first, he weighed everything. And then he said: if this is heavier, then something must not have gone away, phlogiston must not have gone away, but something must have been added. That is oxygen, he said. So, first, it was imagined that the phlogiston flew away, and then it was imagined that when something burns, oxygen actually enters, and combustion is not the dispersion of phlogiston, but precisely the attraction of oxygen. This has come about because Lavoisier weighed first. In the past, people did not weigh. You see, gentlemen, here you can grasp with your hands what actually happened. At the end of the 18th century, people no longer believed in anything that could not be weighed. Of course, phlogiston cannot be weighed. Phlogiston is already leaving. Oxygen is also approaching. But oxygen, when it combines, can also be weighed. But the phlogiston cannot be captured. Why not? Yes, everything that Copernicus observed in Mars and Jupiter is that which is heavy when weighed. What Copernicus calls Mars is that which, if placed on a large scale, would weigh something. Likewise, what he calls Jupiter. He merely observed the heavy bodies.  Dante did not just observe heavy bodies, but precisely that which has the opposite of heaviness, that which always wants to escape into space. And phlogiston is simply one of the things that Dante observed, and oxygen is one of the things that Copernicus observed. Phlogiston is the invisible that dissipates, the ether. Oxygen is a substance that can be weighed. So you see how materialism came about. This is something that can become extremely important to you. Materialism came about because people began to believe only in what they could weigh. But what Dante still saw cannot be weighed. If you walk around here on earth, you can also be weighed. You are heavy, and if you call only what is heavy a human being, then you have only the earthly human being. But just imagine that this earthly human being becomes a corpse. Everything heavy, everything that can be weighed, becomes a corpse. Then the corpse lies there. You can still live in what is not heavy, in what surrounds the earth, and what materialism denies, what Dante still speaks of, what we must speak of again, that it is there. So that we can say: When man lays aside his outer, heavy body, which can be weighed, he remains in the etheric body for the time being. But now I want to tell you what is actually contained in this etheric body. You see, when there is a chair here, I can see this chair. I have an image of this chair within me. But if I turn around, I don't see it. But I still have an image of it inside me, really still an image. This image is the memory image. Now think of the memory images. Think that a long time ago you experienced something. For example, let's say you were somewhere and saw people dancing merrily in a marketplace and so on. I could also mention something else. You have kept the image. That is no longer there, gentlemen, what you have as an image, especially no longer there among the things that can be weighed, that are heavy, it is no longer there anywhere. It can only be imagined in you. You can go around today and, if you have a vivid imagination, you can easily imagine what it was all like, right down to the colors of those who jumped around. You have the whole picture in front of you. But you won't think for a moment that what you saw back then can be weighed. You can put this on a scale. The individual people have their own weight. But what you carry within you today as memory pictures cannot be put on the scales. It does not exist in that form. It has remained, although the thing itself is no longer there in the physical sense. How is it, then, that what is in you is a memory picture? It is in you in an ethereal form. It is no longer in you in the physical sense, but in an ethereal one. Now imagine you are swimming and, by some misfortune, you are close to drowning; but you are saved. Such people, who were close to drowning and have been saved, have mostly told of a very interesting memory picture. This memory picture can also be had when you are not drowning, but when you are training in spiritual science, anthroposophy. Those who were close to drowning have an overview of their entire earthly life, right back to childhood. Everything rises up. Suddenly a memory picture is there. Why? Yes, gentlemen, because the physical body, which is now in the water, is going through something very special. And then you have to remember something that I told you at the time. I told you: if you have water here and a body in it, the body in the water becomes lighter. It loses as much of its weight as the water weighs, which, as a watery body, is just as large as itself. It's a nice story about how this was discovered. It was discovered in ancient Greece that every body in the water becomes lighter. Archimedes thought a lot about such things. And once Archimedes was bathing. The people were highly astonished – yes, in Greece they bathed in such a way that the others saw it too; it was in Sicily, which belonged to Greece at the time – the people were highly astonished when Archimedes suddenly jumped out of the bath and shouted: Eureka! Eureka! Eureka! That means: I've found it! – The people thought: What on earth could he have found in the bath? He was submerged up to his head in the bath, with one leg sticking out of the water, and he realized that when he took one leg out of the water, it became heavier; when he put it back in, it became lighter again. That was the first time he had realized in the bath that every body becomes lighter when it is in the water. This is the so-called Archimedes' principle. So every body is lighter when it is in the water. So also, when a person is drowning, his physical body becomes lighter, very light. Now, what he has in the etheric body can still hold on, and that is where all his memories arise. And you see, the memories arise from the bottom because he is no longer so heavy. When a person dies, when he has completely left his physical body, his physical body, he is very light. He lives entirely in the etheric sphere. And after his death, a person always has a complete memory of what he has experienced on earth, up to childhood. That is the first experience one has after death: a complete memory. This memory can be examined. Namely, it can be examined by training oneself in the way I have described in my book: “How to Know Higher Worlds.” Then one can always have this memory. Then one knows that the soul becomes independent of the body. Then it first receives this memory, because at first it does not live in the material that can be discarded, but on the contrary, it wants to go out into the world. That is the first state after death. Then one remembers. I would like to describe the second state to you next time. But now I want to describe something that prepares us. Because the question that has been asked is an awfully difficult one. If we consider that Dante had a conception of the world that modern man regards as childish, then what he further imagines is even more childish for modern man. For if there is a man standing for Dante on the earth (it is being drawn), then Dante imagines: Here on Earth, turned away – so if you go through there – you would have what he imagines as hell inside the Earth. So he thinks: out there, there is celestial ether everywhere. But if I were to drill into the Earth, there is hell on the other side. Before I come out of the Earth, there is hell. Now, to see this as childish is terribly easy for today's man. One need only say: Yes, but Dante would not have needed to stand there, but here, then he could have drilled in there, and then there would have been (on the other side) hell! - Of course, today's man can say that because today's man knows that there are people living on the other side as well. So he can easily say: Yes, Dante was just stupid; he was not able to understand that the earth has people on all sides, and that therefore hell could be just as easily here as there. Because the one who is standing there now receives heaven from that side, and for him hell would then be on the other side. You see, gentlemen, that is how it is. For the physical world, it can only be like this: if there were heaven, hell could only be here; for the physical world, it could only be like this. If a chair is standing somewhere, it can only stand there. There is no other place where it could be. But that is not how Dante imagined it. He did not imagine the physical world at all, but he did imagine forces. And he said: Yes, when a person stands there, and he moves with his own etheric body in the upward direction, then he becomes lighter and lighter. Then he overcomes more and more the force of gravity. But when he goes into the earth, he has to make more and more effort, and this effort is greatest when he has reached the other end. There everything presses on him. There the heaviness is greatest. It does not depend on there being some particular hell there, but on having gone through it to get there. (see Drawing) And if Dante imagined it that way, then he could also stand there (at the other end). When he moves out from there, he becomes lighter and lighter, as he enters more and more into the ether. But when he moves into the earth, he has to go through that (heaviness). Then he experiences the state where I have drawn green; but earlier, where I have drawn yellow. So it depends on that. Dante does not say that this is precisely where hell is, but rather that when someone has to work their way through the earth with their etheric body, it is so difficult that wherever they go, whether up or down, they experience hell. It is only in recent times that people have begun to imagine hell as a specific place. Dante had in mind the experience that one has when one, as an etheric human, has to work one's way through the earth. If someone says: Dante was stupid – then that reflects badly on him, because he is stupid enough to say that Dante imagined that hell was at the other end of the earth. No, Dante imagined: wherever I fly above the earth into heaven, I become lighter in soul; wherever I go into the earth, wherever I go to the other end: hellish. So the whole idea was different. And only when you can take into consideration the very different way in which people have imagined it, can you also understand what I will answer you next time: What remains of the earthly man when he has passed through the gate of death? If today was a little more difficult than usual, you must bear in mind that it was because of the question. I hope it has become a little clearer. We will then move on on Saturday and look at the human being when he passes through death and what then becomes of him. |