The Rudolf Steiner Archive

Someone may think that the events described in connection with initiation are conjured up, as it were, by initiation itself. This would be particularly incorrect for our time. What can be described as the process of initiation, especially in our time, takes place in the soul, or in the relation of the soul to the world, for the majority of people in the world today. And they know nothing of it; it occurs unconsciously. The important fact, then, in connection with initiation is this: that some individual notices in himself an increasing consciousness of something that takes place in most other people unconsciously. That is, the difference between the initiate and the non-initiate lies in the perception of processes that most people of the present time experience as a matter of course but unconsciously. Therefore, when speaking of these things we are really speaking of something that concerns everyone more or less, especially in our time.

Now I have said that from the very description of these events—that is, of what may be perceived when they are carefully followed by initiation science—from the description itself can be learnt what transformations man has gone through in the course of his development, even in historic times. We have pointed out a few features of these transformations, especially in relation to the evolution of Christianity. In our external daily life only the outer reflection of these changes is noticed, a reflection that is really hardly comprehended even by one who wants to understand and is developing the impulse in himself toward understanding.

Let us consider this outer reflection, for example, in the development of the Christ concept during nearly two thousand years since the Mystery of Golgotha. If you are trying sincerely to understand, you will surely find much that is incomprehensible and you will have many questions calling for answers, unless you are willing to be superficial or to accept blindly some kind of dogma. But if you persevere, you will learn—it can even be learnt from external history—that when the Christ Impulse entered the world, a certain luminous remnant of the Gnosis still existed; and in the early centuries an effort was made to understand the Christ Impulse and its passage through the Mystery of Golgotha by the help of concepts acquired from gnosticism. These concepts contained much relating to things entirely alien to present-day concepts that come from the external world. They had much to say of the evolution of the world, of the place of Christ in this evolution, of what led to His descent to humanity and His union with the human being. Much was said also about the return of Christ to the spiritual world, which then was the beginning of the spiritual earth-world.¹⁵ In short, what the Gnosis had to say about the Mystery of Golgotha was contained in illuminating—broadly illuminating—comprehensive conceptions, the heritage of the primeval wisdom of mankind. The Church saw to it in the early centuries that the concepts of the ancient Gnosis should disappear, leaving only meager remnants that tell very little. And I have indicated to you that people are endeavoring today, wherever possible, to declare a certain world conception heretical, because it is becoming inconvenient, by saying that its intention is to warm up the ancient gnosticism—by which they think they are saying something very dreadful!

Then in place of this conception of the Mystery of Golgotha there appeared another one, which recognized the fact that human concepts were becoming more and more primitive, that people were no longer able to bring to life within themselves anything of the comprehensive and illuminating teachings of the Gnosis. I told you that what remained of the Gnosis forms the beginning of the Gospel of Saint John: really nothing more than a suggestion that the Christ has some connection with the supersensibly-perceptible Logos, the Cosmic Word; that the Christ as such is the Creator of all that surrounds man, of all that man experiences. But for the rest, nothing remained but the Gospel narratives; these, to be sure, are found to contain much gnostic wisdom when they are penetrated by spiritual science, but they were not interpreted according to the Gnosis. In fact, in the early centuries they were entirely withheld from believers, reserved for the priesthood only. But from them a sort of world conception was built up that included the Mystery of Golgotha, but that was based upon the increasingly abstract ideas of the so-called cultured world—ideas with little tendency toward the spiritual. People wanted, I might say, more and more simple concepts, whose comprehension required little effort. That is the reason also for the peculiar development that has come about in Gospel interpretation. While in the earliest centuries people were fully aware that the Gospels were to be interpreted out of spiritual depths, the effort was made more and more to regard them as mere narratives of the earthly life of that Being concerning Whose cosmic connection nothing more was to be admitted—at least through human knowledge—than the beginning of the Gospel of Saint John and a few abstractions such as the Trinity abstraction and similar ones. These were culled from abstract forms, from the ancient gnostic concepts, divested of their gnostic impulse, and given to the faithful as dogma. Interpretation of the Gospels became more and more primitive. They were to become increasingly a mere narrative concerning that Being called Christ Jesus Who lived here on earth, but about Whose nature from higher, supersensible points of view people troubled themselves very little.

Then it became more and more urgent to make the Gospels also available to the public; and out of this, Protestantism arose. At first this too held fast to the Gospels. And as long as a connection with the Gospel of John still existed, a connection of knowledge, there was still a sort of bond uniting individual souls with cosmic heights—heights into which one must look if one wishes to speak of the real Christ.

But now not only the understanding for Saint John's Gospel disappeared more and more, but even any inclination toward it. The consequence was that a true relation to the Christ Impulse, to that Being Who lived in the body of Jesus, was altogether lost for later Protestantism, in fact, for all thinking Christendom. The Christ concept gradually faded away, since, to begin with, its interpretation was limited to a human narrative of the earthly destiny of Christ Jesus. The possibility completely vanished of having any concept of the Christ at all, because the subject was brought more and more into a materialistic channel. The human Jesus remained. Thus the Gospels were increasingly taken as mere descriptions of the human life of Jesus; and then the belief in immortality, in the divine nature, and so on, was attached to this description in very abstract form. (I spoke about the concept of belief yesterday.) It is not surprising that it gradually came about that people knew very little when the concept “Christ Jesus” was brought up. Christ was placed on one side, so to speak, and Jesus on the other, as synonyms signifying the same thing.¹⁶ And what was the inevitable consequence? It was this, that finally this description of the mere earthly life of Jesus, from which all consciousness of his connection with the Christ had vanished, also lost the essence of Jesus himself; in fact, it lost all connection with the beginnings of Christianity. For when people gradually reduced everything to the merely material Gospels, to nothing but these material Gospels, they reached the so-called Gospel criticism. And that could lead to no other result than to show that the Mystery of Golgotha and all that is related to it cannot be proved historically, because the Gospels are not historical documents. Finally the connection was lost with Jesus himself. Nothing could be proved, in the way proof is regarded by modern science. And since science was the authority, people—even theologians—gradually lost the Jesus-concept, because there are no external, historical, authenticated records.

Harnack, who is a Christian theologian, even a leading one at the present time, has said: All that can be written historically about Jesus (the Gospels are not historical records) could be written on half a page… But even what can be written on half a page—the passage from Josephus, and so forth—does not hold up before modern historical research; so there is nothing left with which to prove the starting-point of Christianity. Those who have followed the development of Christianity with modern thinking could have taken no other path than that which finally led humanity away from Christ Jesus, even from Jesus.

This emphasizes the necessity for seeking another path, a path of supersensible knowledge such as can be sought only through the modern spiritual life. For modern Gospel criticism and modern historical research can easily be brought forward to oppose all other ways of approaching the Christ Jesus today. They are in accord with the scientific conscience of our time, and cannot support the establishing of any historical event as the starting-point of the evolution of Christianity. Indeed, we have experienced in our time the strangely grotesque fact that Christian pastors (though Protestants, to be sure) such as Pastor Kalthoff in Bremen, have considered it their task to deny the Mystery of Golgotha altogether as historical fact, and to trace back the origin of Christianity to certain ideas that arose from the common social attitude of humanity at the beginning of the Christian era. Although Kalthoff was a Christian pastor, his preaching did not rest upon an historical Christ as the basis of his world conception or his interpretation of life. He believed that an idea had simply developed in people's heads from premises that heads contained at the beginning of the Christian era. Christian pastors without belief in a real Christ Jesus are the inevitable result. This could not have been otherwise, for it is connected with all the evolutionary impulses of which I have been speaking during these days, especially yesterday.

It is absolutely necessary to keep in mind that the way to Christ Jesus in our time must be by a supersensible path, that this can only be pursued by a science which itself seeks supersensible methods, but which employs the scientific conscience of modern natural science.

With regard to the modern method of finding a super-sensible path even to the Christ, it is well to bear in mind that up to our day transformations have occurred and have developed in the science and knowledge of initiation. For this reason I would like to allude once more to something to which I referred here a short time ago, but from a different point of view.

We know very well in connection with these things that there needs to be understanding for the great change that occurred in more recent evolution, toward the beginning of the fifteenth century and particularly in the fifteenth century, although it was in preparation earlier than that. This is actually passed over in silence by external history. For us it marks the beginning of the fifth post-Atlantean period, which replaced the fourth, the Greco-Latin period.

Now the problem has arisen for external science (although only among a few of the more intelligent scholars), to provide an explanation for what is usually spoken of merely as the appearance of the Renaissance—and thereby characterized in a most superficial way—of the Renaissance which played its role with elemental power throughout the cultured world from the twelfth century into the fifteenth. A strange impulse, a strange longing—mentioned even by materialistic scholars—arose in the human beings themselves, that cannot be explained by external causes, but simply showed that some elemental force was heaving and surging in mankind to bring them to a certain state of soul.

It is interesting and important to note the following: In the twelfth, thirteenth, and fourteenth centuries we are still concerned with the expiring Greco-Latin period. Then the change came. At this point, then, something special had to become manifest; and what external science has discovered is exactly what did become manifest. Science took account not so much of the change as of the gradual fading-out during the twelfth, thirteenth and fourteenth centuries of the soul-state that had been characteristic of the fourth post-Atlantean epoch. Science considered this very carefully, recognizing various riddles it presented. While the Renaissance was coming into being—the usual description of it stops with the external factors—something of extraordinary significance was taking place in the soul of European humanity. It was noticed that something must be dying out. Certain things were still experienced in the soul which after a time would have to be experienced differently. There was a feeling that humanity had to hurry to experience these things if they wanted to keep step with evolution, for later, after the change, they would no longer be able to experience them.

It is this to which I referred at the beginning of today's lecture. What is occurring now subconsciously—when recognized, it is the process of initiation—is something constantly taking place, as I have said, in the vast majority of people. Through observation of the precept “Know thou thyself!”, a few individuals really succeed in becoming conscious of these things. There is a great difference between this event now and what took place in the human soul as an experience of the Mysteries in the fourth post-Atlantean epoch, a greater difference than there was, for example, between that of the fourth epoch and that of the third epoch. A few days ago I characterized for you approximately what happened in the third post-Atlantean period when a neophyte passed through the "gate of man," then through the second stage, then the "gate of death," then still further until he became a “Christophorus.” These events, as I described them to you, occurred subconsciously, and then through initiation could be brought up into consciousness in the great majority of people in the third post-Atlantean epoch. But for the people of the fourth post-Atlantean epoch the entire process had already become different. Actually it was not yet so very different in the first third of this new epoch, preceding the Mystery of Golgotha. (The fourth period began, as you know, in 747 B.C., and the Mystery of Golgotha occurred at about the end of the first third of it.) But then began a time—the Mystery of Golgotha was now an accomplished fact—a time in which a more significant change occurred in what took place in the subconscious, which could then be raised to consciousness through initiation. Up to the time, approximately, of the Mystery of Golgotha, in order to attain initiation and to pass through all the stages, it was necessary (with only a few exceptions) for a man to be chosen by one of the priest-sages connected with the Mysteries, who could make this choice by virtue of a certain discernment. This necessity gradually disappeared after the Mystery of Golgotha; initiation, although still oriented to the ancient Mysteries, was nevertheless adapted to the new conditions. There have always been Mysteries of this sort, which later passed over into the modern secret societies, where for the most part ancient ceremonies and processes of initiation are imitated, but only in abstract symbols, and they no longer affect people. Real initiation is less and less attained in them, because people do not penetrate to an experience of what is simply displayed symbolically before their eyes. There did occur, however, more and more extensively—and characteristically, just at the end of the fourth post-Atlantean epoch—initiations which were directed, I might say, from the spiritual world itself; that is, initiations in which the choice of the individual to be initiated was not made by a priest, but by the spiritual world itself. Naturally, it then had the appearance of being a self-initiation, because the guiding being was a spirit and not a man. (Of course, a man is a spirit too, but you know what I mean.) Thus, especially toward the end of the fourth post-Atlantian epoch, initiations very often took place under such direct spiritual guidance. I have previously pointed out that the initiation experienced in this way by Brunetto Latini,¹⁷ the teacher and master of Dante, is to be understood as a real initiation.

You see, what Brunetto Latini related as an external occurrence of the greatest importance appears to be a tale of fiction, though a tale with a legendary character. But Brunetto Latini intended it as a description of his initiation. He describes it in somewhat the following way, and you can see how his experiences affected the whole composition and imaginative form of Dante's great poem, "The Divine Comedy." Brunetto Latini was ambassador from his native city, Florence, to the King of Castile. He tells how he was making the return journey from his ambassador's post and learned as he was approaching his native city that his party, the Guelphs, had been defeated; therefore all that had bound him to Florence had in a sense been undermined, and in his external relations he suddenly felt no ground under his feet. When such an experience is described by a man of the Dante period, we must not think of present-day conditions or of contemporary points of view. In this respect our soul-constitution has changed enormously. If in our day someone in Switzerland learns that the city of Cologne, for example, with which he has been connected for a long time, suddenly has entirely new world-relations, is governed on an entirely new basis, he does not feel—at least inwardly—that the ground has been taken from under his feet. But we must not form mental pictures of that time from our present state of mind. For a man like Brunetto Latini it was like the end of the world. His position in the world was conditioned by his connection with the world-relations of his native city. That was gone, as he learned when he approached Florence. The world in which he had worked simply no longer existed. After calling attention to these facts, he relates further that he was led into a wood, that by spiritual guidance he was brought out of the wood and led to a mountaintop which was surrounded by the whole of creation, so far as it was known to him. We perceive immediately what Brunetto Latini wishes to indicate. He had gone through life in such a way that at a certain moment when a shocking event confronted his soul, his soul-spiritual entity separated from his physical body: he went out of his physical body. He had a spiritual experience. You have here the intervention of a spiritual guide who led this man into the spiritual world, according to his karma, at a moment when he was so startled, so spiritually shocked, that the shock was able to separate his soul-spiritual entity from his physical body. Then Brunetto Latini describes how the created universe was spread out around the mountain, and how a gigantic feminine figure appeared to him on the mountain, at whose command and direction the creation round about the mountain changed and assumed other forms. We notice that Brunetto Latini speaks of this feminine figure in the way that Persephone was spoken of in the old Mystery initiations. Now the conception of Persephone had undergone a change between the time of ancient Greece and the end of the Greco-Latin period. Brunetto Latini did not describe her as the ancient Greek poets had described her, but as she existed in human souls at the end of the Greco-Latin age. Nevertheless, we may compare what an ancient Egyptian heard in initiation as the description of Isis, and what a Greek heard as the description of Persephone, with what Latini relates of this feminine figure at whose command the forms of creation transform themselves. Strong similarities are to be found here. In fact, anyone who merely observes superficially will surely assert that what Brunetto Latini says about the feminine figure and what the ancients say about Persephone is exactly the same. But it is not the same. If you look more closely, you will notice that when the ancient Greeks spoke of Persephone, or the Egyptians of Isis, they were more concerned with a description of something permeating all that is at rest, all that is enduring. Brunetto Latini's concern was to describe how a certain force, a certain impulse—the Isis impulse, the Persephone impulse—as the impulse of Natura (for that is what his figure is called) pervades everything, but in a way that sets it in motion, that constantly transforms it. That is the great difference.

When Brunetto Latini saw everything changing, saw creation being transformed at the command of the Goddess Natura, the impulse was given him to practice self-knowledge in the new way—not in the easy way described by modern mystics, but in concrete details. He describes how, after beholding this ever-changing creation, he next saw the world of the human senses. He gradually learned to know the human being from without. There is a difference whether we see and describe the external world which our senses perceive in ordinary consciousness, or describe what happens in the senses, that is, what takes place within the human being. For with our ordinary consciousness we do not enter into the inner life of the senses: we only see the outer world. When we look at the senses within, we cannot describe the outer world, for we no longer see it.

In the paintings of the larger dome here in our building,¹⁸ I have tried in a way adapted to our time—I will say more about this presently—to bring to effective expression this viewing of the inner being of man from the sense-world. The paintings will give you an idea of what is meant by “Know thou thyself!” in the realm of the senses. You will see clearly, for instance, that on the west side of the dome an effort has been made to capture the inner eye, the microcosmic element revealed in the inner eye. It is not what the eye sees outwardly, nor the physical part of the eye, but what is experienced inwardly when we are within the eye with soul-vision. This, of course, is only possible when we refrain from the ordinary use of our eyes as organs of external sense-perception, and perceive what is within them in the same way that at other moments we perceive the outer world through them.

Brunetto Latini experienced this somewhat differently, not as it must be experienced today. He mentions it only briefly. Then he continues to penetrate from without into the essentially human within, and reaches the four temperaments. Here one learns to know man in a different way. One learns how man is affected by the interaction of melancholic, choleric, phlegmatic and sanguine impulses, and how people are differentiated externally when one of these four impulses predominates. Thereby one penetrates more deeply through the realm of the senses into the inner human being. The difference between observation of the sense realm and observation of the temperaments is that when we observe the sense realm the separate regions of the senses are sharply distinguished from one another; but through the temperaments we enter more deeply into the essentially human, where more of the universal nature of man is revealed.

An attempt was made in the painting in the little dome to show at least one part, I might say, of this perception, but only one part of it, with orientation in definite directions, but again adapted to the supersensible perception of our present time.

This is the way man must press forward. You see, Brunetti Latini describes his initiation step by step. Spiritual guidance underlies it. Next he arrived in a region where a man can no longer truly distinguish himself from the outer world. When he observes the realm of his senses and the realm of the temperaments, he can still make the distinction very well; but in this next region he can do so only slightly. There his being mingles with the outer world, so to speak: it is the region of the four elements. Here he experiences his own weaving within earth, water, fire, and air: how he lives with these in the universe. He no longer distinguishes very clearly between his subjective self and the outer objective world. At most he still experiences a distinction with regard to the earthly element, but with the watery, fluid element, he feels already that he is swimming in a sort of All. There was still a difference between subjective and objective, but much less definite in the experience of the temperaments than in that of the physical sense organs. Of the latter he knows that they exist in man only in the physical world, not also outside it.

Brunetto Latini then describes how he went on into the region of the planets and passed through it. Afterward he came to the ocean, reaching a place that various mystics designate as the Pillars of Hercules. Now that the precept “Know thou thyself!” had brought him to the Pillars of Hercules, he went out beyond them. He was now prepared to receive enlightenment about the supersensible world. For the mystic, especially the mystic in that time of which I am now speaking, the Pillars of Hercules are the experience through which a man goes out of himself more completely than through the four elements or the planets. He enters the outer spiritual world, whose concrete beings reveal themselves only at the third stage of initiation. In the first stage, which Brunetto Latini is describing here, he enters the spiritual world as a widely extending ocean, a universal spirituality.

Latini then goes on to tell how a strong temptation came to him—inevitable, of course, at this point. He describes it very concretely: how he was faced with the necessity of forming new conceptions of good and evil, because what had enlightened him about them while he was in the sense world was useless here. He then tells how he reached these new conceptions and thereby became a different man, how he became a participant in the spiritual world from experiencing all these things. We see quite clearly from his description how at that time, the end of the Greco-Latin period, the human being was led by a spiritual being out of the physical world into the supersensible world.

Let us keep this description in mind. Even in the external development of humanity it had the immensely significant effect of inspiring Dante, Latini's pupil, for the Divina Commedia. If we remember that what Latini described was a typical initiation, that he actually described what was taking place in the subconscious of humanity at that particular time, and that it could also be attained through a real initiation, then we will understand what existed as soul-constitution when the fourth post-Atlantean epoch was dying out.

Now it will be important to ask what changes have occurred since, within a rather brief space of time. For what I have described is not very far in the past, only a few centuries. In this short period, what changes have taken place in the experience that humanity goes through subconsciously, which rises up into consciousness through initiation? Certainly, my dear friends, the higher the stages of initiation that a man attains, the more do the important elements of the earlier stages disappear from his vision. But one must carefully consider what is significant in the first stages. For these first stages represent precisely what is taking place in the depths of the majority of human souls, even though they neither know it nor have any desire to know it through spiritual science, not to mention initiation. It is very important to give attention to the following example: I said that Brunetto Latini describes how he was brought before the Goddess Natura. Then he passed through certain stages: through the senses, the temperaments, the elements, the planets, the ocean. There, at the Pillars of Hercules, he was already at the boundary of the essentially human. Then, in the ocean, he passed over into what was spread out before him. And now there was not even the condition that had prevailed with the elements, when he could not distinguish himself. Now he had lost himself, in a certain sense, and simply floated in the ocean of existence.

The Pillars of Hercules later play a prominent role in symbolism as the pillars of Joachim and Boaz.¹⁹ In this connection it should be noted that in the secret societies of the present time these pillars can no longer be erected in the right way. They should no longer be erected, because the correct way is only revealed in a truly inwardly-experienced initiation. Besides, they cannot be set up in space, as they are revealed in reality when the human being leaves his body.

In what has now been given, you have the pattern—if I may use a prosaic expression—the pattern of events experienced at the turn of the twelfth and thirteenth centuries, experienced also by those who went through initiation in the same way as Brunetto Latini, the teacher of Dante. This may be compared with what takes place today in the depths of men's souls. And indeed, it is not so very different. If, however, an individual in our time should wish at the first stage of initiation to approach the created universe directly, as revealed to him by the still-existing, gigantic feminine figure, the Goddess Natura, and should wish to be under her guidance, then his supersensible path only begins in the created universe.

If an individual in our time should wish to enter into the senses directly, he would be very much in the dark in this realm. He would not have proper illumination, and would be unable to distinguish anything adequately. The point is that today it is necessary to go through another experience before approaching the sense-region, for only this makes it then possible to penetrate into the sense-region in the right way. I mentioned this experience yesterday. It consists simply in the ability to see the spiritually ideal as external reality in the metamorphosis of forms in this world. Thus, before entering into the sense-region one should endeavor to study the metamorphosis of forms in the outer world. Goethe gave only the first elements, but he did provide the method. As I have said, further study of the metamorphosis which Goethe discovered with regard to plants, and with regard to the skeleton in the animal kingdom, reveals the fact that our head points to our previous earth-life and our limb-organization to our coming earth-life. Thus, a necessary preparation for initiation at the present time is the ability not to think of the world as a finished static formation, but to see in whatever form lies before us an indication toward another form.

At the very beginning of my book, Knowledge of the Higher Worlds, you will find the essential facts for developing this kind of perception in the way best suited to our time. If you follow the instructions given there correctly, you will have the experience when you meet another human being that something like a picture of his previous incarnation will flash out of his head to you. You cannot help sensing in his head something of the form of his previous incarnation. If you follow him as he walks and notice how he puts his feet down and swings his arms, or if you are facing him and observe the gestures of his arms and hands, you will get a feeling of the way his body will be built in the next incarnation. Therefore I often said in public lectures years ago: the idea of repeated earth lives is really not so bad that materialism needs to oppose it so vigorously. If only a few things were understood about the human form, the idea of repeated earth lives would not make materialism bristle with opposition. For these things are obvious. If you are a phrenologist, for example—not by profession, but with experienced insight—then by means of the skull you are really inquiring into the form of the previous incarnation; it is quite obviously the previous incarnation. We must of course extend the metamorphosis aspect, the metamorphosis view of life into this region. We must acquire—I have often spoken of this from the social point of view—such a strong interest in the individual human being that something of a sense of his former incarnation flashes out of his skull to us. This is because the skull is in a certain sense the transformed human being of the earlier incarnation, especially with regard to the forms of the face and head. Thus we acquire a view of the world that does not stop at one form. Just as Goethe did not stop at the blossom or at the green leaf, but related one to the other, so we may gain a perception that does not stop at the single form, but proceeds from form to form, with attention upon the metamorphosis.

I sought to arouse a feeling for this by applying it to our work on the pillars in the Goetheanum: in the transition from one capital to the next and on to the succeeding ones, and in the successive development of the architraves. It was all carved according to this principle of metamorphosis. Whoever looks at the sequence of the pillars in this building of ours, will have a picture of the flexible soul-attitude one must maintain toward the outer world. If someone will complete this first step which is necessary for present humanity, and which will still be necessary for a long time for future humanity, if he will find his way to a real, inner understanding of the emergence of the second column from the first—in pedestal, capital, and architrave, of the third from the second, and so on, then in this understanding he will have a starting-point from which to press forward (in accordance with present possibilities) into the inner nature of the sense-region. Thus, something connected with the present principle of initiation is preserved below in the pillars; and above in the domes, something else is connected with it. From this point, things proceed somewhat differently.

At the time of Brunetto Latini, then, a man was spared what we shall call here the metamorphosis of life, after which one enters the region of the senses. If we presented the matter in outline, we might say: in Brunetto Latini's time a man could still enter directly into the eye (let us take the eye as representative), and feel this to be the first region. Today, we have first to concern ourselves with what envelops man. The metamorphoses of life are expressed in the sheath that covers the region of the senses externally. It lies in front of the senses and we must consciously pass through it.

Also today, the human being passes through the regions of the senses, the temperaments, the elements, and the planets. Then, however, before he goes through the Pillars of Hercules into the open ocean of spirituality, he confronts a barrier. Here, (see tabulation below) something stands in the way, something is introduced that in Brunetto Latini's time did not need to be experienced.

Metamorphosis of life
Senses
Temperaments
Elements
Planets
+ Instrument for orientation (Compass)
Ocean

This is not easy to describe because, of course, these things belong to intimate and subtle realms of human experience. Yet perhaps it may be done by referring again to Brunetto Latini. Latini experienced, as the first sign of his guidance by a spiritual being, the information that his native city was ruined. That was, to be sure, an event that affected Latini's inner being; nevertheless, it was external as to the facts involved. It invaded him from the outer world. It shocked him so greatly that his soul-and-spirit being left his physical body. Later he described the event as something that entered his life, something that happened in his life. We may say that he described it, though not consciously, as an event of destiny that came to him.

Such an event, or a similar one, must be experienced today in full consciousness by anyone undergoing initiation. (You will find reference to this at the proper place in my book, Knowledge of the Higher Worlds.) But it must be an inner experience for him: not one in connection with the external world, as in the case of Brunetto Latini, but an experience he goes through inwardly, something that has a deeply transforming effect upon him. There are, of course, such events in the lives of the majority of people, but they get scant attention. Someone who truly observes his life will be able to see that there are events in it of the utmost significance, and especially one such event. Just try to look back upon such a happening in your life, not for its outer significance but for the inner change it produced. There is one thing to which attention should really be given: that is, that such events in people's lives are not taken seriously enough. They could be felt much more profoundly; they could have a far deeper and more noticeable effect in life than they do have today. A human being can reach a deeper understanding of many things in his life, simply through a kind of general thoughtfulness. If he maintains the usual human attitude, he will not get beyond a certain superficiality in his experiencing of events of the very greatest importance. For their full import cannot really be recognized by the ordinary consciousness. The human being must first go through the other stages; after he has experienced the metamorphosis of life, the regions of the senses, the temperaments, the elements, and the planets, then—having become a radically changed human being—he penetrates to his real depths. For now he has recognized that he belongs not only to the earth but to the heavenly worlds, to the planetary regions. Only now will he rightly recognize the significance of certain experiences he has had, which were of the very first importance. Only now will he understand what such an experience signifies for himself and for the world. When he has gone through all this, he will inevitably discover the most important event of his life.

When he arrives at this place, before going out into the wide ocean of spirituality, unless he is a marked egotist and knows nothing else in the world but himself, he cannot fail to consider seriously this earlier happening. Before he goes out into the ocean of spirituality, this event appears before his soul in full force—it simply thrusts itself upon him. And at this point in his inner experience it has extraordinarily great significance. It means that only now can he go out into the immeasurable ocean of spirituality. It means that through this experience he can attain a certain center of gravity. I mean to say: After he has recognized himself as a citizen of the planetary world, if—in present spiritual conditions—he should simply launch out into the ocean of spirituality, he would find himself in a sea of surging waves, would nowhere feel sure of himself, would be tossed about in all kinds of spiritual experiences, would have no inner center of gravity. He must find this inner center of gravity by really experiencing with inner intensity the most important event of all, and in it inwardly experiencing himself. This will not as a rule take place in a realm of mere egotism, but will be of general human significance. It can be said today, if we express the facts quite exactly: the most momentous event in a man's life, the one that while it is being experienced affects the profoundest depths of his being, must come before him at the Pillars of Hercules before he passes through them. At this point in his life he feels a very special deepening of his being. Something comes over him of which we may say that it brings the objective world into his inner being. Something comes to him that can be described as follows: Even though, in spite of this experience, he may naturally fall back occasionally into an acceptance of life in the light of his ordinary consciousness, even though he may not be able to maintain at every step in his life this newly created soul-mood, yet, once it has been experienced, there will be moments again and again connected with it. For it would not be at all good for the human being to lose this soul-mood entirely after having once experienced it. What is meant by this mood may be characterized in somewhat the following way.

In this matter, dear friends, we should be honest and admit that for our ordinary consciousness it does hold good that, however selfless a man may be, still the most important things for him, at least relatively, are those that occur inside his skin. What occurs inside one's skin is more important for our ordinary consciousness, as a rule, than what occurs outside of it. But the soul-mood that is to be created at one's entrance to the ocean of spirituality, so that it may be retained at least for the important moments of life, is the realization that there may be external things which do not concern the person subjectively at all, but in which he participates just as intensely as in the things that do concern him subjectively. Today an individual has abundant opportunity to prepare himself well, if he will, for the soul-mood indicated. For if he enters into a true understanding of nature—not a subjective study or anything of the kind—if he tries to start from this true understanding, then much of the mood is already created. But it must be produced at this stage in the way I have described. Then if the individual can have this mood, if he can experience deeply the most important event of his life just as it happened, then at least for many moments in his life he can have this mood of objectivity that I have described, in which something external can be as important to him as something within himself, in which it is true that something outside can be as important as something within. (Many persons make this assertion but they are deceiving themselves.) In attaining this, however, the individual has at the same time acquired a center of gravity, a direction—perhaps I could better say, a compass, that will enable him really to push out on the ocean of spiritual life. That is to say, at this point ( + in the tabulation) there must occur what may be called becoming equipped with the instrument for direction. Thus a man enters the Pillars of Hercules equipped with the instrument for orientation, the compass. Only then—that is, after he has had more experience—can present-day man start out toward spirituality.

You can see from the instances I have described—the initiation of Brunetto Latini, and the changes in initiation up to our time, changes which will prevail for a long period—you can see that if we want to present the nature of man in the light of initiation science, it is even possible to present it as it is undergoing the process of transformation during short periods. But all that is so described is really happening within man. This is the important fact characterizing the change that the human soul-mood has been undergoing in the course of these centuries. But people fail to notice this and only a reflection of it is to be seen in external life. In the age of Brunetto Latini, whose pupil was Dante, people were the same kind of Christians as Dante: the whole heavenly world passed through their souls when they felt themselves to be true Christians. In our age there is no such forward jump; we hardly move. We must therefore have the experience of a region before that of the senses, before we go out again—so that we may enter the region we had formerly known from outside, but now enter it in a different way: before detaching ourselves further from the body, enter the region changed in our being, and taking our direction from a new instrument. The outer reflection of this process has been so altered in our time that the most thoughtful people, the very ones who are equipped with the scientific consciousness of our time—which, however, lacks this compass, really does not have it—these people have lost the Christ Jesus. He can no longer be "proved" by the means that are today called scientific. And religion itself, the Christian religion, has sunk into materialism. One of the most telling examples of the tendency toward materialism in Roman Catholicism has been the establishment of the dogma of infallibility, a purely materialistic measure. I spoke of this some time ago.

Now you might say: In spite of all that, if one looks into the inner being of man, the jump forward can be seen! Man is indeed in his essential being somewhat outside the region of the senses; but on the other hand he has a sort of cavity in which the most important event of his life unconsciously exerts an influence upon his whole organism, so that his experience can then be such as I have described. For although a man may be totally unaware of it, it does have an influence upon him, and it can come to expression in the most varied ways. Perhaps one person, seven years after experiencing this event, will become an intolerable fellow, or commit all sorts of infamous deeds; another may fall in love—he need not do so immediately; or the falling in love may itself be the most important event; a third may suddenly have gall stones; and so on. When the event remains in the unconscious, the fact can come to expression in everyday life in the most diverse ways. What enters into the consciousness in the way I have described appears thus in the inner being of man; in outer life it appears in such a way that besides much else (I mention only one result) he loses the Christ Jesus.

You may say: Then what appears in the inner man to a certain extent as something flowing inward from his body, has outwardly anything but a gratifying result! This, however, is only apparent. Everything in the world has two sides. From about the middle and during the last third of the nineteenth century there was theoretical materialism: the big fellow Vogt of Geneva, Moleschott, Ludwig Büchner—these were all theoretical materialists. Clifford was the first to express the opinion that the brain exudes thoughts just as the liver exudes bile. That is, Clifford saw in the formation of thoughts a purely material process: as bile comes from the liver, so thoughts come from the brain. That materialistic age saw only matter, but at least they thought about matter. They thought about matter, and we can look at this in two ways. In our time we can read the books of Clifford, of Ludwig Buchner, or if you like, August Comte, Vogt of Geneva, and so on. If we develop likes or dislikes from such reading, we may be fearfully angry that people see in the creation of thoughts only an excretion of the brain, and we may take it very much to heart. Very well, if we are not materialists, we may feel that way. But we may also look at it differently. We may say to ourselves: Nonsense! what Clifford and Comte and Vogt of Geneva, what they've all said about the world is tommyrot; I am not interested in it. But I will look into what goes on in the thinking process itself of Vogt and Clifford and Comte. What they tell of their thoughts—for instance, that thoughts are merely exuded from the brain as bile is from the liver—that is plain tommyrot! I shall not concern myself with what Vogt says, but with the way he thinks. If we can do that, something remarkable comes to light. We see that the kind of thinking those persons have developed is the germ of a very far-reaching spirituality. The thoughts are so terribly thin in substance because they are only reflected images, as I explained day before yesterday. They are thinner than thin because they are only images. They are so tenuous that the man must exert a tremendous spirituality to think at all, and to prevent his thoughts from sinking down and being laid hold of by the merely material element of existence. As a matter of fact, thinking is very frequently laid hold of by this material element nowadays; it does sink down. I am even convinced that the majority of today's materially-minded people, if they had not been drilled in school, and had not crammed at the universities to pass exams, and had not swallowed materialism because their professors required it as the correct world conception—I am convinced that the majority of these people would then have been spared the thinking that must be employed for the materialistic world-view. They would much rather not think! Most of them would rather go to the duelling-grounds or to fraternity jamborees than use their minds. And they simply repeat what they have heard. If you would once make the attempt to study all of the genuine, recognized “wisdom” relating just to matter written by the Monists—as the materialists now call themselves rather elegantly, who as members of monistic societies go about the world making long speeches—if you would study what they have actually thought, you would find it is precious little! For the most part they merely repeat what others have said. Actually only a few authorities have established materialism; the rest only repeat—for the simple reason that a vigorous effort of the spirit is necessary to sustain modern scientific thinking. The effort is a spiritual one, and is truly not exuded from the brain as bile is from the liver. It is a spiritual effort, and a good preparation for rising to spiritual things. To have thought honestly in a materialistic way, but to have done this thinking oneself, is good preparation for entrance into the spiritual world.

I expressed this once in a lecture in Berlin, by saying that someone who only reads Haeckel's books—unless he notices much that can easily be read between the lines—quickly recognizes in him, of course, a materialist of the first water. But if he talks with Haeckel, he notices that all his thinking, so far as it is materialistic, only assumes this form really on account of the prejudices of the times; that even as Haeckel is now, his thinking already tends toward the spiritual. I said in that lecture: We understand Haeckel correctly, therefore, when we know that theoretically, as it were, he has that materialistic soul, but that he has another soul, one that tends toward the spiritual. Here among ourselves I can say that in the next incarnation that soul will quite certainly be reborn with a strong spirituality. The stenographer who was officially employed by us for that lecture, a typical professional stenographer, wrote that I had said Haeckel had a spiritistic soul in spite of materialism!

You see, what I want to point out is that we may certainly combat what appears as a materialistic mode of thought; indeed, it cannot be combated strongly enough, for in the very combat lies a further development toward the spiritual. But this mode of thought does contain the essence of spirituality. And with souls who today, merely under the influence of external theology, have come to a Christ concept that is totally external, or one that is utterly untrue, there are faculties developing in a spiritual direction, faculties that will impel these souls to seek a Christ concept in the future. This is not to be taken as an invitation to ease! We are not to say: Oh, well, then it will come in time, the spiritual view will come all right, for the big Vogt fellow and Clifford and the others have made good preparation. Those who know the darkness that materialism signifies must work together to combat it. For the strength used in this fight is necessary to build up the disposition to spirituality in the theoretical materialists.

You see how complicated things are, what different sides they have. Only when we try through initiation science to penetrate into the depths of the world, do we acquire a profound knowledge of the human being. Only then do we penetrate to what is working in the depths of human nature.

• 15. “which then was the beginning of the spiritual earth-world”: original German, “die dann die geistige Erdenwelt ist.”
• 16. Rudolf Steiner, 29 Nov. 1921, Jesus oder Christus (Dornach, Rudolf Steiner Verlag, 1980). Not translated.
• 17. Brunetto Latini: 1220–1294 A.D. See Rudolf Steiner, 13 July 1924, Karmic Relationships Vol. III, GA 236 (London, Rudolf Steiner Press, 1977)
• 18. Rudolf Steiner, Ways to a New Style of Architecture, GA 161 (New York, Anthroposophic Press, 1927).
• 19. Joachim and Boaz: from “Jachin” and “Boaz,” words inscribed on the two columns at the front of Solomon's Temple. See the Old Testament, I Kings, Chapter 7; I Chronicles, Chap. 3; and Rudolf Steiner, Bilder Okkulter Siegel and Saülen, GA 284/285 (Dornach, Rudolf Steiner Verlag, 1977).

For a gradual acquisition of that science which we designate as spiritual science, it is necessary that we should have the good will of filling out the thoughts and thought-connections which are indicated almost in the form of a plan with real ideas relating to those things which can at first only be given in a more general outline. We say that the human being consists of physical body, etheric body, astral body, Ego, etc. This is quite correct, to begin with, for it is necessary that we should orient ourselves with the aid of encompassing schematic ideas. But if we wish to continue in the acquisition of spiritual science, we must penetrate more accurately into everything which has thus been given in a schematic form. We already possess quite a considerable number of lecture-cycles, which are read particularly within the more restricted circle connected with our Society; but these cycles of lectures still contain relatively little of what should be known to humanity in a near future, at least to a certain number of people! This would be most desirable. To begin with, we say: We designate as man’s physical body his external appearance, which can be perceived through the physical senses and which can be observed with the aid of that science that is linked up with the intellect, with experiments and observations. We know that the etheric body lies at the foundation of the physical body. Let us, first of all, cast our spiritual eye upon these two members of human nature.

Spiritual science as such, needs to say least of all (of course, this is at first only apparently the case) about the physical body, for the physical body is the only thing which the ordinary science, dealing with the physical world, is willing to contemplate with the aid of its methods. But although the physical body may at first seem to be what natural science considers, it to be, its true significance and its position within the universe can only be recognised if the higher members of the human organisation are also borne in mind.

You will undoubtedly recollect that man’s physical body, in the form in which it envelops him here upon the. earth, could only arise during the Earth-epoch, but it received its first foundation during the ancient Saturn-epoch. During the Sun, Moon and Earth epochs, it then underwent a constant transformation. It was gradually transformed under the influence of the processes which were taking place: it was transformed through the fact that the etheric body was incorporated with it. When the physical body passed on from the Saturn epoch to a new epoch, it had to change, for it became permeated with the etheric body. And it also had to change when it became permeated with the astral body upon the Moon. Not only has the astral body been added to the physical body, but the physical body has been transformed through the fact that the etheric body penetrated into it, as it were, during the Sun-epoch and the astral body during the. Moon-epoch, whereas the Ego is gradually developing in every direction here, upon the Earth; of course, it develops first of all within the astral body, then within the etheric body, but then also within the physical body.

If we now pass on from the human being to the cosmos, we only need to remember what is contained in our lecture-cycles. We must remember, in this case, that just as the first foundation of the physical body has been made possible through the outpouring, as we may call it, of the Spirits of the Will or the Thrones, so the transformation during the Sun-epoch became possible through the Spirits of Wisdom, and the transformation during, the Moon-epoch through the Spirits of Movement. The transformation during the Earth-epoch, that is to say, the change entailed through the fact that an Ego now dwells within the physical body, has been made possible through the Spirits of Form, This is a most significant fact, which we must bear in mind. When we encounter man’s physical body upon the Earth, we must think of it as being endowed with an Ego, and since it is endowed with an Ego, we must bear in mind that it has received a certain form, the form which is most appropriate to it. During the Moon epoch, it has merely received the inner movement which was most adapted to it. The form which was most suited to it, is a gift of the Spirits of Form, and is in keeping with the fact that an Ego had to be Implanted in it.

We may thus say: Our earthly body, which has a physical form, has been formed in such a way as to become a bearer of the Ego. Together with the Ego, the Spirits of Form gave the human physical body the form which it now has and which is in keeping with the fact that it is the bearer of an Ego. The beings that belong to the other kingdoms of Nature, have received their forms later. If you read the more intimate descriptions of the Moon-epoch,¹ you will find that they describe all the other beings in such a manner that it is not possible to say that also these beings had their forms at that time. They are described with a certain mobility. Bear in mind, for instance, the description contained in my Occult Science.

Also the other kingdoms of Nature have received their stable forms through the Spirits of Form, during the Earth-epoch. Let us now contemplate the animal kingdom. Also the animal kingdom has its definite forms. It has acquired these forms only during the Earth. epoch. But think of the great difference between the forms of the animal kingdom and of the kingdom of man! If we cast our gaze over the surface of the earth, we may indeed find certain differences among men, but these differences belong to another field of study. We also come across certain differences in the external human form. All the interesting peoples which the West Europeans now lead into the field against Central Europe of course present a different aspect from the European populations! Differences can of course be perceived when we cast our gaze over the surface of the earth and study the form of various individual human beings. The colour of the skin must, for instance, be considered in connection with the bodily form. But if you compare the differentiations which exist in regard to the human being with the great differentiations which exist in regard to the various animal species, you will have to admit: The various species of animals differ far more from one another than the human beings. In comparison to the various animal species we can speak of an individual human species; in the human kingdom, however, we cannot find such a great difference as may be found, for instance, between a lion and a nightingale. If there would be such a great difference in the kingdom of man as that between a lion and a nightingale, we would not hear even such peculiar observations that it is not possible to notice the differences which exist among human beings. The fact to be borne in mind is that the animals show infinitely greater differences than the human being, within his own general human species.

Although the things which I have just now explained to you are undoubtedly right, they are only right within certain limits, if we consider them from the aspect of spiritual science. The following fact should be looked upon as a truth: In your thoughts and, in your observation, add the etheric body to man’s physical body and imagine that a certain experiment is to be made; in reality, of course, this experiment cannot be made. Imagine the following experiment and that you see it being enacted; imagine that the whole physical body of man can be separated from him, detached from him scientifically, piece by piece and that before we begin to detach the physical body from the human being we are in the position to invoke the Spirits of the higher hierarchies—to send an invocation to the Spirits of the Angeloi, Archangeloi, Archai. We would have to utter this invocation in such a way that its request would be granted, namely, that the Spirits of the Angeloi, Archangeloi, and Archai might withdraw from the human being and cease; to influence his etheric body. We would, therefore—we cannot say, excoriate—but we would have to take away from the human being everything pertaining to his physical body and then we would have to ask the Angeloi, Archangeloi and Archai to withdraw their influences, so that man’s etheric body may be left entirely to its own resources, and may no longer be influenced by anything else. For the etheric body is subjected to certain influences; it is inserted in the physical body and the physical body has its own solid form, to which the etheric body must adapt itself. If you take a very soft piece of rubber and put it into a glass, it will adapt itself to the form of the glass and will no longer maintain its own form. But if you take it out of the glass, it will bound back into its own form. In a similar way, the etheric body must adapt itself to the physical body, without a form of its own. Consequently, if we draw away the physical body, we eliminate the forces to which the etheric body had to adapt itself; however, it would not immediately take on its own form, owing to the fact that the Angeloi, Archangeloi and Archai still work upon it, but we have asked them to withdraw, so that the etheric body can now obey its own forces to the fullest extent. In that case, the etheric body would take on its own elasticity. And this would be visible; we would see the etheric body jumping out. And what would occur?—You would have before you the whole animal kingdom! The etheric body would split up into portions, and these would show in their fundamental types the forms of the whole animal kingdom. In other words: etherically, the human being carries about within him the whole animal kingdom, which is simply held together by the form of his physical body and by the activity of the Beings of the above-named hierarchies. It is unquestionably true that the human being bears within him, as a disposition, the whole animal kingdom. From this standpoint, the animal kingdom differs from man only through the fact that every animal-species has assumed a form of its own, which it has developed independently into a physical shape. Consequently, the animal kingdom is the expanded etheric body of man,

A strange fact should be borne in mind. At the turn of the 18th and of the 19th century, something special arose within the world-conception of Europe, and we may observe this, for instance, more in detail in the case of Oken. From the standpoint of his time, the scientist Oken could not as yet speak of etheric bodies; indeed, he was far from doing so. But in his books we may find the following peculiar statement: “The animal kingdom is the human being, expanded.” This means that in his fantasy he had caught, a glimpse of the truth. It rose up on his spiritual horizon at a time when the great ideas of the Central European world-conception had developed. Indeed, this truth even rose up on Schelling’s horizon, and this same statement can also be found in Schelling’s books. Those who were unable to penetrate into such a lofty idea, which could not, of course, be developed fully, those who were unable to penetrate into such a great idea, went through a terrible time. We should think of Oken in such a way, that the things which he could not as yet grasp clearly, nevertheless lived within his soul as a marvellous conception, so that he could feel the single parts of the human being really consist of animal forms. He even had the courage to express this, but this courage very much annoyed the learned Philistines. Just think that Oken conceived the following idea: What is the tongue?—Well, he said that the tongue is a cuttlefish. Of course, the things which I have just explained to you lay at the foundation of this statement ... but just imagine what the learned Philistines thought about it! If we wish to grasp the development of man’s spiritual life we must become broad-minded and we must realise that things which may apparently sound like nonsense may bear within them a great truth. Oken subdivided the human being as follows: The tongue is a cuttlefish, other organs are something else. After all, it was merely the exact repetition of a truth which existed in a very ancient conception of man and which brought into evidence the fundamental types, subdividing the human being in accordance with the four fundamental animal types: Lion, eagle, angel and calf.

Thus we may say: Things are not as easy as they appear to be, for in reality, the human being bears within his etheric body the whole animal kingdom. As a philosopher might express himself, he bears it within him as a disposition.

Now you should bear in mind the following fact: If the things which I have just now described to you would not take place, if in addition to the fact that the physical body holds together the whole animal kingdom, the Angeloi, Archangeloi and Archai would not exercise their influence, then the process explained above would necessarily take place, when the human being lays aside the physical body and passes through the portal of death; namely, the etheric body would, in that case, jump out elastically into the world when the astral body and the Ego have abandoned it, and a whole etheric animal kingdom would rise out of the etheric body. But in reality, this does not take place; this animal kingdom does not rise out of the human being, for the etheric body detaches itself in an entirely different form; it detaches itself and becomes incorporated with the universal ether and interweaves with it.²

What lies before us in that case? The fact that the Beings of the hierarchies of the Angeloi, Archangeloi and Archai work upon our etheric body and do not allow it to reach the point of splitting up into the animal kingdom. What does really take place?—You see, I would like to describe these things by drawing in a comparison. Here upon the earth we human beings work. We build machines, for instance, machines made of wood or of iron. Wood and iron are our fundamental materials. We use them to construct machines. The way in which these materials are put together is our own work, but wood and even iron are raw materials which we take from the earth. We take them from a kingdom which lies below our human kingdom.

If you now imagine that the Angeloi, Archangeloi and Archai live above us, you will also realise that these Beings do not exist in the universe simply in order to have a perpetual holiday. They have their work, tasks which they must fulfil. What do they really do? They, too, must use a material for their work, just as we use wood and iron which we take from the earth, and they, too, will work upon this material. Our etheric bodies are the material used by the Angeloi, Archangeloi and Archai. For the Angeloi, Archangeloi and Archai, our etheric bodies have the same value that the wood and iron which we take from the earth have for us, when we use them to build machines. The Angeloi, Archangeloi and Archai work upon our etheric bodies, and when we walk about upon the earth and harbour, as it were, the thought (if we have such thought at all!) that we carry about within us our etheric body, believing that we carry it about as something that belongs to us in the same way in which the lungs that we carry about within us belong to us—then the whole essence of the Angeloi, Archangeloi and Archai is active around us and works out forms for the spiritual world, forms that are needed there, just as machines are needed here upon the earth. They work out what is needed in the spiritual world. What aids these spiritual beings in their work?

You see, throughout our life we think; we think, from the moment that we attain the capacity of thinking up to the moment of death. Our thinking consists therein that it weaves and lives in our etheric body. Yet, while we live within our physical body, we believe that only the things we mould in the shape of thoughts belong to us. But what we thus possess in the shape of thoughts, what we thus form and mould within our thoughts is, as it were, only the inner aspect of our whole thought-life. From outside, the Angeloi, Archangeloi and Archai work upon our thoughts, particularly in regard to our etheric body. As human beings, it is not at all unnecessary that we should think. Our thoughts are necessary not only for the physical earth, but also for the cosmos. For what we transform within our etheric body through our thinking, is employed during our earthly life as a material which is used in accordance with higher standpoints. While we pass through the world as thinking human beings, the Angeloi, Archangeloi and Archai work upon our thoughts, so that after our death something may arise that can be incorporated with the whole ether of the universe. When our astral body and our Ego lay aside our etheric body, they sew into the cosmos the wool of our etheric body, that has arisen essentially through our manner of thinking.

As human beings, we do not only live for ourselves; we also live for the whole universe. We know that Jupiter, Venus and Vulcan will follow our Earth. But all this must be prepared; it must be interwoven with the universe as forces. This entails work. It forms part of this work, for instance, that the Angeloi, Archangeloi and Archai carry it on in accordance with our thoughts. (Stupid thoughts are not the same kind of material as clever thoughts). Coarsely speaking, the Angeloi, Archangeloi and Archai work upon these etheric machines in accordance with the material that we supply to them, and these “machines” then exist, in order that the evolution of the universe may continue. When our etheric body is handed over to the cosmos after our death, this kind of work is therefore handed over at the same time to the Beings of the three, above-mentioned hierarchies.

Let us now contemplate from a similar standpoint man’s astral body. We always contemplate things from different standpoints, so that we always obtain other connections with the surrounding kingdoms, and those who cannot read (an encompassing view of things is needed in order to be able to read) may discover many contradictions in our descriptions, but this is only due to the fact that they ignore the standpoints from which these things are viewed.

You see, our astral body is connected with the earthly surroundings in a similar way as our etheric body. From the standpoint just indicated, our etheric body is the whole ANIMAL KINGDOM. Our astral body is, instead, the whole VEGETABLE KINGDOM. In exactly the same way in which I spoke to you of the etheric body in connection with the animal kingdom, I would now have to speak to you of the astral body in connection with the vegetable kingdom. All the vegetable forms of our earth are contained in the astral body. And again, we find that if nothing else were to occur, if the Beings of the higher Hierarchies would not work upon our astral body, if during the time between death and a new birth, when we live backwards through our life, nothing would occur except the fact that the astral body is discarded, then the astral body would appear as the whole vegetable kingdom outside in the world. Indeed, this would even take on the form of a sphere, it would follow its own elasticity. The astral body would really take on the form of a sphere; but it cannot do this because during our life between birth and death the Spirits of Form have been working upon our astral body, also the Spirits of Movement, the Spirits of Wisdom, and even the Spirits of the Will. When after years or decades we have lived backwards through our earthly life and have thus gradually freed the astral body from its connection with earthly existence, then the astral body will contain the results of a work, results that the Spirits of Form, the Spirits of Movement, the Spirits of Wisdom and the Spirits of the Will require in order to incorporate something with the cosmos, namely, to incorporate with it, what they MUST incorporate with it. Of course, what thus becomes incorporated with the cosmos is to our own profit; for this must be contained in the cosmos. However, this becomes inwoven with the cosmos in a manner that differs from the process described above.

When we discard our etheric body, this becomes inwoven, I might say, with the universal ether of the cosmos. But what appears now, as a woof woven out of our astral body as a result of the work of the Spirits of Form, the Spirits of Movement, the Spirits of Wisdom and of the Thrones, cooperates with our Ego that is passing through its time between death and a new birth and contains forces which must be active, in order that we may once more enter a new incarnation. Many things are needed in order that we may enter a new incarnation! Many things, indeed! To-day, the ordinary science of the physical world really knows quite a lot about the structure of the skull and of the human brain; such a lot, that many people find it is too much to learn all these things! It is undoubtedly a lot. But suppose that all the knowledge which is acquired through external science were to be considered from a particular standpoint ... from the standpoint that the _skull containing that wonderful structure of the brain has actually arisen, that it could really be formed in its minutest details, whereas if all this had to be formed with the aid of our ordinary external science, very little indeed could be achieved!

Here we face a significant mystery, a mystery that obtuse men (the sort of men whom we can really designate as obtuse) think to cope with so easily by saying: “Well, the human being simply arises! In the course of the generations, it so happened that human bodies develop spontaneously within the bodies of mothers. This is quite spontaneous.” Indeed, the arguments adopted by such people can be grasped ... but let me show you, with the aid of a comparison, how clever they really are!

For instance, you may take for granted that here in Munich there are certain Beings able to perceive many things, but unable to perceive man, and thus unable to see his activities. It is quite possible, to imagine this! But those Beings who cannot see man, nor his activities, may, for instance, be able to see—a clock. They would, therefore, know that there are clocks and also how they are made. They would not, however, see the man who makes the clock; they would only see how a clock arises from its single parts. They would perhaps see the different kinds of pincers taking hold of the clock’s parts, but they would see them gripping, as it were, out of the air. What a conception would these Beings have of a clock? They would not say: “In Munich there are clock-makers”, but they would say: “Clock-makers do not exist; the clocks arise spontaneously, of their own accord, for we can see how they form themselves.” This is the manner of thinking adopted by people who take for granted that things that gradually develop in a physical way must arise quite spontaneously! However, everything that arises is the result of actions fulfilled by spiritual Beings belonging to the higher Hierarchies. Indeed, the human being does not arise spontaneously, merely through the interchanging influence of father and mother and through what develops within the mother’s body, but the whole cosmos participates in his development.

Particularly the external world, as far as its highest regions, cooperates in the formation of the human head. It participates less in what is attached to the head, and participates in a particular way in the development of the human head. In a not too distant future, even ordinary science will learn to think differently in embryology concerning all the organs and also concerning the human head. It will discover that the other organs depend very strongly upon hereditary qualities, whereas the formation of the head depends upon them only very slightly. The form of the head is simply pushed together after the formation of the other organs. The whole cosmos participates in the forming of the head and the influences of the cosmos penetrate into the mother’s body. Those who do not see these forces ... well, also a farmer does not see the forces that are active in a magnet, but this does not prove the non-existence of these forces. What exists in the human head, has been worked out, as it were, in connection with all that the human being has received from the Spirits of Form, the Spirits of Movement and the Thrones, with what he bears along within his Ego, carrying it over into the time between death and a new birth, as a mighty spherical form. What is thus elaborated is gigantic; it is a sphere and within this sphere everything is worked out.³.

Imagine a gigantic sphere, upon whose surface is engraved, as upon a globe, everything that must be worked into it in accordance with what the human being handed over, to begin with, to the universal cosmos through his etheric body, through the extract of his etheric body; this forms, as it were, something that is copied on to the surface of the sphere. We then work into it what should be engraved upon it in accordance with what we have brought along with us through the work done upon our astral body. And then comes the time—it begins with that moment designated by me as the world’s midnight hour—when the sphere gradually grows smaller and finally this sphere, upon which, the higher Spirits work, becomes quite small, it grows smaller and smaller, until it unites with the human germ conceived within the mother’s body. This, above all, gives rise to the form of the head. The gradual development of the form of the head is the result of centuries of work on the part of the higher Hierarchies.

Just imagine how man’s feelings in regard to his relationship with the world could be deepened if he would be aware of his position within the whole cosmic connections! The human being who carries his head upon his shoulders should learn to think in all humility, without any pride and arrogance, that human wisdom and all that may be found in it, contains very little indeed of what is required for the forming of the head bestowed upon the human being! Man bears within him everything that is contained in the cosmos. If we consider things from this standpoint, spiritual science acquires an immense value through, the fact that it becomes the point of departure for certain feelings, that may, indeed, endanger souls filled with pride and arrogance.

In my second Mystery Play I have alluded to this fact, in the scene where Capesius, conversing with Benedictus, feels the approach of truths telling him that the deeds of gods are needed in order to give rise to man. Truths of this kind may increase the vanity of many, who may at first be disposed to vanity. They may attribute enormous importance to themselves. Yet it would be far more reasonable to foster the feeling showing us how little of all that wisdom which gave rise to the human being really exists within our own consciousness! Of course, we may snare the opinion of those who say: “Of what use is it to know all these things? We can quite well do without this knowledge. Indeed, we can live quite comfortably without knowing, all these, things” ... Yet a great error is contained in the belief that we can quite well do without this knowledge! For, in reality, we cannot live without it. Indeed, at the present time we easily yield to the erroneous belief that we can lead quite a decent life without having a knowledge of the spiritual world; that is to say, that we can breakfast, etc., and do many things in between ... Undoubtedly, it is very easy to believe this at the present time; nevertheless, such a belief is not based upon truth. We should gradually be brought to the point of feeling that such beliefs are not based upon truth. For this reason, I mention a subject such as that of Planck. I mention Planck, that strange man, who lived for many years an extremely lonely life at Ulm and was not even offered a chair at the university of Tübingen, because nobody really understood his true value and significance; the significance of a man concerning whom obtuse persons would certainly say: “Towards the end of his life, he grew so nervous that he said all manner of things that sounded like megalomania.” Well, obtuse men may argue like that. But even someone who had not to endure the sufferings that Planck had to endure, would have grown nervous through the way in which his fellow men treated him, and he would also have uttered the words which may be found in Planck’s introduction to his “Philosophy of Nature and of Mankind”, the words of an ancient Roman: “Ungrateful country of mine! You shall not even have my bones!” I am quoting these words purposely; they were uttered in 1889, the year of Planck’s death, and they really convey exactly what we tried to explain just now.

The reality could be perceived by a man with idealistic conceptions, because the forces that develop within us when we are able to think in this manner, are, at the same time, the most practical thing in the world. The most practical thing is not at all as imagined by those who believe that they really are in touch with the most practical things in life; this can only be explained through the brutality with which they face life’s practical aspects. When I advance such examples, I only advance them in order to show you that all those human forces which are also needed in practical life, can give rise to clear thoughts filled with insight, only if the soul is fertilized by spiritual scientific truths.

Is it possible to-day that people actually believe that human life on earth is possible, without the slightest idea of spiritual scientific truths? Why do people believe such things?—Because they are so terribly short-sighted! If they were not so short-sighted, it would be possible to prove, even in an entirely external way, how mistaken are those who say: “Well, people simply believe that they need not concern themselves with a spiritual world. They are born without doing anything towards this, and they grow ...” Of course, some kind of education must be offered to man. Modern pedagogy is so extremely clever, that it sets up clever principles, reaching the gigantic heights of Forster’s pedagogy! And then we gradually become mature men, who concern themselves with the problem of what we should do, in order to give others something to eat and to drink.

Yet it was not always so within the human race. It is not so long ago that the present conditions arose, inducing men to believe that they can live upon the earth without possessing any spiritual knowledge. External proofs may be advanced, in support of this.

Let me advance one of these proofs. Probably, if we had time to spare (but here in Munich, people do not have much time), we might even come across a similar proof here in Munich. At the Museum of Art, in Hamburg we recently discovered a proof that may be advanced externally. It results from the following fact:

Let us bear in mind that great symbol at the beginning of the Old Testament: Adam and Eve’s Temptation, what is known to us as the Luciferic temptation. Let us think of this. When a modern painter paints this (his standpoint is quite an indifferent matter; it is all the same whether he is a realistic or an idealistic painter, an expressionist, impressionist, or futurist), he thinks that the reality can be conveyed best of all if he paints Adam and Eve in a more or less ugly way; between them, he will paint the Tree of Paradise and upon it the Serpent, with a real serpent’s head, as large as the Tree. Can this be termed realistic, in the true meaning of the word? I do not think so. Leaving aside the present assumption, it is impossible to believe that the archetypal mother Eve could have been so stupid as to be tempted by a real serpent. Imagine, a real serpent creeping through the green grass should have caught mother Eve! Even the present serpent can only be looked upon as a symbol of something else. Let us recall the thoughts that should really be connected with the Luciferic temptation. The serpent is Lucifer. It can only symbolize Lucifer. The fact that this being remained behind upon the Moon-stage of development, is connected with the Luciferic principle. It is therefore impossible to see Lucifer through physical eyes, for these have only developed upon the earth. Lucifer can only be perceived through the inner eye, and so he cannot resemble an earthly serpent that can be seen through our ordinary earthly eyes. Lucifer should be imagined as spiritual science is able to represent him. Imagine now that man carries upon him his head, as the most perfectly formed member of his body. Attached to it (it suffices if you study a skeleton) is the remaining organism; the spine is attached to the head. Everything that has, later on, developed physically, was formed in advance. If we go back into evolution, if we were to perceive Lucifer through our inner power of vision, we would see him in the form which he had upon the Moon, when he was preparing the earthly human head, a human head that was not so dense and solid as the present one, for it was inwardly mobile, manifold in its forms, and attached to it was a human spine, a spinal cord, that may be imagined in the form of a serpent’s body. Lucifer would, therefore, have to be painted with a countenance as expressive as possible, and attached to it, a serpent’s body, but one that resembles the archetypal human spine. This would be a kind of picture of Lucifer.

At the Museum in Hamburg there is a picture by Master Bertram representing a Story, of the Creation, and there the Paradise-symbol is represented in such a way that Lucifer is portrayed as described, exactly in accordance with spiritual science. In the 13th and 14th century, Master Bertram therefore painted Lucifer correctly, in a spiritual-scientific sense. This can be seen; it is a historical fact. We have frequently spoken of the ancient atavistic clairvoyance. What Master Bertram painted, shows that up to the 13th and 14th century it was possible to paint Lucifer correctly, in accordance with an ancient spiritual science. It can therefore be proved, it can be proved externally, that the human beings have become, so abandoned by the spirit as they are now, only a few centuries ago. This can be proved, and you will be able to discover such proofs.

In other words: What the obtuse people of to-day consider as the everlasting human nature ... the fact that they look out into the world through their eyes and then combine the things they see through their intellect, has become a human soul-quality only a few centuries ago. Before that time, man was aware of his connection with the spiritual world. This has faded. But we can learn to know that even in the 13th and 14th century people were still able to paint in such a way that this was in keeping with the ancient spiritual science. It is important to bear in mind such a fact. It shows us that the ancient spiritual science had to vanish for the sake of the development of human freedom, for in the 5th post-atlantean epoch arose something that has often been described: namely, the, consciousness-soul had to develop and consequently the old spiritual science had to recede. But it must be brought back again.

In regard to what constitutes the spirit of invention, the creative spirit, humanity still lives to-day upon the old inheritance in every sphere, upon the old inheritance that entered human evolution with the ancient spiritual science. When someone has a new idea to-day and invents something quite new, he does this because the ancient spiritual science still continues to be active. But in less than a hundred, in less than fifty years time, every kind of invention, every creative kind of thought shall have disappeared; it shall have disappeared even in the mechanical sphere, unless spiritual science influences humanity in a fruitful way. Spiritual science must begin to penetrate livingly into the development of the human race, for otherwise, the human race must grow barren.

In the sphere of art, this, fact is more or less evident to-day. In art it is strongly evident that the human beings are, as it were, abandoned by the spirit, seeing that they can only weave into their works of art what they find as a model, outside, in Nature; thus the inner fertilization on the part of the spirit is completely lacking.

These facts stand on one side. They show us how necessary it is for the human being to become aware of the fact that he is connected, as a whole human being, with Beings belonging to the higher kingdoms. We may think of people—some still exist to-day—who do not know that air exists. For them, space is empty. At least this fact does not reach their consciousness. After all, the physical body cannot be thought of without the environing air—for what would we be with our physical body without any air! We imagine that the physical body is closed up, because it is enveloped in its skin,—but here is the air outside the body: we breathe it in, and now it is inside us; we breathe it out, and then it is outside. Does not the air belong to the physical body in the same way as the muscles? Do you not have within you what is outside, and outside what is within? In the same way in which we are connected with the air in regard to our physical body, so we are connected, in regard to our soul-element, with the Beings that weave through the world as Spirits of Form, Spirits of Movement and Thrones; through our astral body we are united with the Beings who weave through the world as spiritual Hierarchies; they are incessantly active in us, just as the air is active within our physical body. If we know this, we have the right kind of consciousness of man’s being.

This is one aspect of the matter. But then there is still another aspect. Now I wish to awaken in you a conception of these things, by contemplating them from several aspects, as it is necessary to-day.

Read, for instance, (I might also indicate another example) Dostojevski’s “Karamasov Brothers”. Four characters appear, among others, in this book: the four sons of the old Karamasov, Ivan, Dmitri, Aljosha, Smerdiakov. It is very strange to see what an influence this novel of Dostojevski had, particularly in Europe. I would have to say many things if I wished to explain the whole way in which such things rise out of human life and pass through a soul such as that of Dostojevski where they develop into a work such as his “Brothers Karamasov”. Let me only say this: In spite of the greatest admiration which we may have for the penetrating psychological art (this is the name given to it by many modern people, because they know so little what psychology really is!), in spite of the penetrating insight of Dostojevski’s psychological art, also in spite of his fine and penetrating observation of life, those who have really reached the point of taking up spiritual-scientific conceptions not only in such a way as to say, man consists of physical body, etheric body, astral body and Ego, but so that they are filled with what may be experienced in connection with these members of human nature—those who strive to build up feelings in the way in which we endeavour to do it, will have an uncomfortable feeling when they read the frequently chaotic descriptions of the Karamasov brothers. For this book contains many things that may indeed be designated as fine observations of life, if we simply bear in mind an external, superficial observation of life ... for instance the fact that the eldest brother is the son of another mother and has an entirely different character than that of his two younger brothers; the fourth son is again the offspring of another mother (the old Karamasov is namely a thorough scoundrel!), whereas the third son has a most peculiar mother. One does not know if he is really the son of the old Karamasov ... But I do not intend to tell you the story of the book. Indeed, if we also bear in mind the aspect, who were the mothers, we may feel throughout: there is something behind all that! In fact, this is so, for a Central-European writer would not describe things in that way; he would describe things far more consciously and thus he would not bring into his description so many sub-conscious factors; as is the case with Dostojevski, he constructs more, and since he only brings into his book what he more or less knows, his book will not contain such a wealth of things as that of Dostojevski, who takes the things he writes from LIFE.

Life contains more than that which rises up in the consciousness of the human soul. Towards all these things we feel that in the case of Dostojevski we have before us an extremely chaotic mind, rendered chaotic through his epilepsy; but, in spite of this, many things passed through his entirely diseased soul, things which could pass through it, because human nature is, in our time, inclined, as it were, to reveal certain Things. We may then come to the following result: If we have acquired the right kind of feeling, the right kind of idea in regard to what is meant by physical body, etheric body, astral body and Ego, we shall find in the four Karamasov brothers four human beings who can only be understood in the right way if we say to ourselves: In one of them, we have before us a human being in whom the physical body is specially active; in the other one, a human being in whom the etheric body is particularly active; in the third one, a human being in whom the astral body is more active; and in the fourth one, a human being in whom the Ego is more active. It is indeed so: If you take the Karamasov brothers and study them from an inner aspect, you will be able to say that, in accordance with. the present cycle of human evolution, and in a case where everything is active in such a way that the poet is influenced and stimulated to describe things more from out his sub-consciousness, the various members of human nature are active so that in one brother one particular member has the upper hand, and in another one, another member; the four brothers therefore appear like the drawn-out image of humanity. In Dmitri we find that the Ego is preponderant; in Aljosha, the astral body; in Ivan, the etheric body; and in Smerdiakov, the physical body. Though at first this may seem strange, it is nevertheless so, from the standpoint of reality.

You see, here we have the strange case of a poet who produces chiefly from out his sub-conscious depths and even has a chaotic soul life owing to his epilepsy, but who is nevertheless pushed towards the reality and whose astral body, that is to say, his sub-consciousness, becomes connected with what weaves and lives in the world.

We may well believe that the experience of standing beneath the gallows and. being unexpectedly pardoned at the last minute (Dostojevski’s comrades have already been hung, while Dostojevski himself is facing the moment of being hung), is not an indifferent experience; indeed, such an experience awakens in a human soul altogether different feelings than those of a soul that has never passed through a similar experience. This is a fact that should be borne in mind. But all this shows us that at the present time, in particular, a soul of Dostojevski’s kind could be influenced by the real facts in such a manner that his soul felt induced to describe throughout his book, in a chaotic way, these four brothers, who possess the qualities just described, whom we can only understand if we know this and if we are able to feel it. In that case, we shall understand why the brother in whom the etheric body predominates and the one in whom the astral body predominates, must be the sons of a mother afflicted with hysterical fits. If we know this, the details in particular become wonderfully transparent. This reveals the tendency of our time within the sphere of a nation inclined to offer (I have already explained this to you), as it were, those blood qualities which must become united with the Central European qualities. We can grasp what is taking place, also in the case of men in whom these events are still inwoven unconsciously; but we can grasp this only if we understand spiritual science.

Even though it may seem stupid, let me nevertheless say that the world is deep, and that it is not such a simple matter to gain some knowledge in regard to it, nor to judge it; it is not so simple a matter as imagined by those who lead the usual kind of life. The human beings pass through life in a dream or in a state of intoxication. Yet great things are preparing and it is not so easy to attract people’s, attention to these things.

Through your Karma you belong to those who are gradually penetrating into these things; you have been listening to them for many years and have thus gradually become familiar with them, acquiring an idea of all that lies concealed beneath the surface of life. But in regard to outsiders:—we may sometimes allude to such things in their presence and the very people may be sitting there, who belong to the clever set and believe, above all, that the person who speaks in a spiritual-Scientific manner and mentions this or that thing to them, does not really know anything beyond what he is saying. They have not the slightest idea that this knowledge must be drawn out of an all-encompassing knowledge, one that can really be proved in every detail and that becomes interesting just when it can be substantiated through details.

That many things in human evolution must change, can be seen therein that I have put before you two facts: I have shown you, on the one hand, what is connected with the human being, but on the other hand, I have also shown you the way in which we should contemplate the events that are now taking place. If someone who knows nothing of microscopy looks through a microscope, he will see nothing whatever. In a similar way, nothing whatever can be discerned when we contemplate human experience. Nothing whatever can be discerned in the experiences of the East during the 19th century; nothing can be seen in a Dostojevski, who wrote the book, “The Brothers Karamasov”, a book that indicates a sub-earthly element. In the East, in the Russian East, people have become aware of this, for a certain attitude towards life has been designated, as “Karamasovshchina”. It is difficult to explain this word; it is a far more qualitative concept than, for instance, the word “Strizitum” (a word in Austrian dialect, indicating a loose, half rascally, half good-fellow attitude towards life). “Karamasovshchina” is a far more concrete thing. We may come across this in life itself and even in art, and in order to perceive what is taking place, it is easy to realise that when we contemplate things, it is necessary to have in our soul’s background a knowledge that can only come from spiritual science.

Even the external processes rising up before us at the present time in particular, reveal this necessity; if we only look upon life thoughtfully, they reveal the necessity to which I allude and which I illuminated from two aspects. For instance, a very distressing phenomenon of the present is the following one:—General opinions existed long before the war. Certain people were considered to be prominent in this or in that sphere. There was no reason to object to this because they really achieved extraordinary things in the meaning of modern civilisation. Then war broke out. These prominent people expressed their views, they wrote letters. It is almost incredible what nonsense these prominent men wrote! For instance, Krapotkin, who enjoyed a great reputation in England. But read the letters written by him at the beginning of the war! He was looked upon as a broad-minded free-thinker, yet how stupid were the letters he wrote!

These are weighty facts. Indeed, I might say: Particularly now that humanity is facing such a sudden and powerful situation, we can see how little their thoughts are capable of grasping something that does not, for once, break in upon mankind in accordance with an ordinary, easy programme. From their own standpoint, the ordinary Philistines are better off than others, for they judge things in accordance with their views. But how do these views generally arise? At the present time, people despise authority and have their own views! Yet their opinions are merely based upon the fact that they have forgotten where they have read them! These are the “individual opinions”, that are simply characterised through the fact that they have been read or heard somewhere. All these things show that particularly the so deeply incisive events of the present contain something that must become a distinctive mark of humanity: namely, the fact that many, many things in spiritual life must change completely; human beings must make up their mind not to pass through life in the same way as the materialists, who merely dream of the world ... Of course, they think that the others are dreaming, nevertheless it is THEY who really dream, for they have never really woken up properly. Spiritual life must indeed change, and this fact must penetrate into the consciousness of those who wish to become united in their heart with the true life-essence of the spiritual-scientific world-conception.

Earnest words had to be said at this meeting, simply because to-day things present such an aspect that every opportunity must be used which may, perhaps, not always be available. It is difficult to travel about, at present.

It is therefore necessary to discuss these earnest things. They are also connected with questions discussed on previous occasions, questions that may be considered in connection with those of to-day. I explained that our etheric body is not something that may be designated as the bearer of our thoughts; it does not simply evaporate: no, the etheric body does not evaporate ... it becomes inwoven with the world-ether. When, however, as is the case at present, hundreds and thousands of deaths prevent human beings from carrying their etheric bodies through several decades, as would be the case normally, when these etheric bodies are handed over to the spiritual world, then something arises which I have frequently described: They remain here, with that part of the etheric body which may still have been used, and this will be found ABOVE. But its INFLUENCE in the future will depend upon the constitution of the souls BELOW. Strength for a spiritual progress will in future be found by those souls below who say to themselves: Many men have passed through the sacrifice of death and if we grow conscious of the forces contained in what they leave behind, then a spiritual growth will be possible. Souls must be there who are open to the comprehension of the spiritual world. In that case, the forces existing through the death-sacrifices can become fruitful for the earth. Otherwise, they must fall a prey to Ahriman. It need not NECESSARILY arise that these forces become fruitful for the earth ... for this will depend either upon the greatest possible number of souls that are inclined to unite in their feelings with what has arisen spiritually through the death-sacrifices; it will depend upon the possibility of utilising this later on, or else it will depend upon whether this will fall a prey to Ahriman. Meditate this thought, for then it will acquire significance and you will be able to feel the words with which I once more wish to conclude my lecture:

Aus dem Mut der Kämpfer,
Aus dem Blut der Schlachten,
Aus dem Leid Verlassener,
Aus des Volkes Opfertaten:
Wird erwachsen Geistesfrucht,
Lenken Seelen geistbewusst
Ihren Sinn ins Geisterreich.

(TRANSLATION)

From the courage of the fighters,
From the blood of the battles,
From the suffering of the abandoned,
From the nation's deeds of sacrifice,
Shall spring forth a Spirit-fruit,
If souls, in spirit-consciousness,
Lead their heart and mind into the Spirit-realm.

• 1. See The Akasha Chronicals
• 2. Compare: Inner Being of Man and Life Between Death and a New Birth
• 3. “MACROCOSM AND MICROCOSM”

In my presence today, I intend to speak to you about things that can help the seeking human mind to understand the events of the present a little more deeply. These things should not be discussed in an external way, but rather, some should be pointed out that can help man, so to speak, in a spiritual expansion of understanding of our present time. This intention, which I have had for a long time for this visit to Stuttgart, we also want to carry out. We still have the lecture next Sunday.

In view of the many things that, I would say, like waves of our time — I say this with full deliberation — play into our movement from the outside, it seems necessary to me, however, to begin today with a kind of introduction to present some principles that may be suitable to dispel some misunderstandings which can arise all too easily in our time, which hates the depth of thought and feeling, about anthroposophy, which on the other hand can be suitable for gaining a correct relationship within ourselves to what anthroposophy can be for us.

Let us try to pose the question as follows: What are we seeking when we choose the path into the anthroposophical movement? — In this way, we seek to gain the opportunity to find a relationship to the spiritual world that corresponds to the needs for this spiritual world that arise in us from the forces and living conditions of the present. No one comes to us who cannot gain access to the spiritual world by more direct routes than those we have at our disposal. No one comes to us who cannot gain access to the spiritual world by the routes that have been fully recognized for centuries and that are only as direct as people have forgotten to reflect on the justification for what has become part of the general necessities of life. On the other hand, there is much discussion about the justification for something that must, as it were, first appear in the world. We cannot often enough bear in mind what, out of the spirit of our time, anthroposophy should be and wants to be, and bring it into connection with what is in us that can push towards anthroposophy, that wants to bring us to anthroposophy.

You see, my dear friends, Anthroposophy would not be there if it were only for the one or other person who finds it appealing to agitate for such ideas, as they live in Anthroposophy, now, we use the unofficial expression. Anthroposophy arises entirely from the realization that there are searching souls in our time who can only find what they are seeking through the path of Anthroposophy. Anthroposophy is not pursued because someone wants it, but because souls long for it. The fact that some may deny this does not count against it, for much that is subconscious and unconscious lives in the soul and, when interpreted correctly, represents nothing other than the longing for Anthroposophy. Above all, if we single out one thing from this anthroposophy, it is the longing to recognize the greatest impulse of earthly development, the Christ impulse, in a way that is appropriate to the needs of the present, to find the path to the Christ impulse in the way that the heart must long for if it really wants to understand itself within the living conditions of the present. Now such general, abstract sentences, as I have just uttered, are certainly plausible to someone who has been grounded in anthroposophy for years. But what it is about is this: to really permeate one's soul with the spirit of these words in such a way that they do not remain merely abstract, merely theoretical in us, but that they become the content of our whole life, above all the content of our way of thinking.

I have already given an example here that is particularly characteristic: I once gave a lecture in a town in southern Germany on the subject of 'Bible and Wisdom', in which I tried to explain how a positive Christian, especially if he understands himself correctly, can find his way to anthroposophy. I described how anthroposophy, through its presuppositions, can penetrate more deeply into the great and inexhaustible secrets of the original book of humanity, the Bible. After the lecture, two Catholic priests who had attended the lecture approached me. And from what they said, it was clear that they could not really object to anything in particular from their Christian doctrine, as they understood it, as they knew it as theologians - perhaps not so much as priests bound by any obligations as theologians. So they went off on a side track and said: Yes, you see, there is nothing special to be said from our point of view against what you have just said today, except this: When we speak, we speak in such a way that everyone can understand what we are saying. They also speak of Christianity, but only for those who have reached a certain level of education or have specially prepared themselves for this kind of thing. “I replied: Yes, you see, Reverend, what you or I think about the question of what should be said to all people is not the point, because that leads the whole topic down the path of personal opinion. It is not particularly remarkable that everyone believes that what they do is universally valid for all people. Why should one be surprised at that; otherwise they would not do it! But what you or I think is right is not the point. Our way of doing research on the spirit begins with rising above personal opinion and facing reality, true reality. In our case, this reality is very close. It lies simply in the answer to the question: Do all the people for whom you believe you speak – you do believe you speak for all people, don't you? – still come to church with you? The question answers a fact – the question of whether you think you speak for all people. That it should apply to all people is only your opinion; the other corresponds only to a fact. Tell me whether all people go to church! — They could not answer me except that a number of people do not go to church. That

185 refutes you, I said, because then you are not speaking for those who do not go to church. And among them are numerous people to whom I have to speak, and who also have the right to find the way to Christ in the present.

This means not judging according to what one personally considers to be true or false, but subordinating one's judgment to the demands and tasks of reality. It is, however, much more comfortable to theorize about what is right or wrong than to study reality in detail, constantly listening attentively to what reality demands of us. Anthroposophy does not want to be something other than an answer to questions that it does not ask itself, but that the hearts and souls ask in the present, when they understand each other properly. And I am aware that the questions that are asked in my writings, which are already very numerous, are not asked by me. The answers are given by me in many cases, but the questions are not asked by me. The questions are posed by what the culture of the time brings forth, by what, for example, natural science in the culture of the time brings forth, by what anyone who is interested in the demands of the time must ask, and who, above all, is serious about the most important needs of the souls of the present.

If we call these conditions to mind, then it becomes clear that a basic intention, a basic view, a basic tendency and a basic attitude prevail throughout the anthroposophical literature. If one goes through all these writings, not with the benevolent attitude that we may have gained within our circle, but with the critical eye that one can gain from the present-day culture, then one will find one thing as the core of all this anthroposophical literature. That is, that everything aims to bring the human soul that which this human soul must long for above all in the present: independence, the power of judgment from one's own inner being. I have often had to resist the urge to write popularly from this or that side. I have always resisted this urge for the simple reason that the point of anthroposophical literature is not to give people articles of faith that they can accept at will in a lightly veiled form, but rather to call on them to use their own powers of judgment and search their own souls. Anyone who wants to can see that this is the case throughout all of this anthroposophical literature.

Nowhere is the aim to evoke blind faith. Of course, there are things told that cannot be verified without further ado, but they are told as facts of the spiritual world that anyone can accept as messages and to which they can apply their critical standard, to ever greater and greater extent, if they wish. And we have seen that in recent times friends who have sympathetically examined the matter have managed to approach even the most subtle things to a high degree with the probe of an unprejudiced criticism. What is contained in the anthroposophical literature referred to here need never shrink from this unprejudiced criticism. This unprejudiced criticism will pass it; it will pass it all the better, the more unprejudiced this criticism is: Never will anyone hear anything different from me when it comes to this question than this: Test, test, test, but do not stop at testing, but seek to test by trying to get deeper and deeper into things with the means of present thinking. Because this is the aim, the writings of this literature can make people independent.

Now, however, one experiences many things when one surveys the way in which anthroposophy is received. I met people again and again who listened to one or the other lecture, read one or the other small writing, and then no longer showed themselves. That is their right, of course, and no one should be reproached for it. And when they were asked by an acquaintance why they no longer appeared - in all friendship, of course, not as if they were being reproached - they replied: “Yes, if we go into the matter in more detail, we fear being convinced.” This is certainly a significant word, but it also points to significant facts. What is being attempted is precisely this: to break away from the hereditary evil of our time, from the positing of personal opinions, from the positing of personal thecri, and to direct souls to that which the spirituality of the world itself says, if we find the possibility to surrender ourselves to this spirituality of the world with all our soul and to speak of the methods, to speak of the means by which the soul can attain to listening to the spirituality of the world itself.

A world view that emerges in this way from the deepest needs of the time, but which so thoroughly contradicts what people of the present believe, will only slowly and gradually find its way into the souls of men. Human souls cling to what is familiar; human souls prefer to hear their own water-clear thinking from the pulpit and to be able to say of what they hear: “I have thought that for a long time.” The anthroposophical teachings that are emerging in the present are certainly not truths that have been “thought for a long time”. But in the eyes of many people this is precisely the main mistake, that they cannot say to themselves: “I have thought that for a long time” — and that they do not want to say to themselves: “If I dig deep enough within myself, I will not express a personal opinion, but something that is connected with the developmental factors of humanity.” — We will come back to such developmental factors of humanity many times during my stay in Stuttgart this time. So it is understandable that many obstacles and hindrances arise when people try to approach anthroposophy, to approach spiritual science.

My book “How to Know Higher Worlds” is widely read over time, not only within those who belong to the various circles of the Anthroposophical Society, but it is also widely read outside the Society at the present time. When reading this book in particular, an experience can be made again and again that is extraordinarily characteristic. Someone reads the book “How to Know Higher Worlds” and writes me a letter about it. And of course, I am always pleased when someone writes me an intelligent letter about any book or about anything else, but especially about the book “How to Know Higher Worlds”. But the usual thing is that the letter that is written is the clearest proof, the clearest proof that the person concerned has not understood the book at all and has translated the most important things of the book into the most materialistic attitude of the present. Because what people usually go for when they come across this book is the following. But let us send something in advance: a whole host of doubts can arise in the mind of someone reading the book “How to Know Higher Worlds”, and there are already many people who can testify that I am always ready to discuss these doubts with people, and so I certainly do not want what I am saying now to appear as if it should deter anyone from writing the letter I just mentioned. No one should be deterred from writing this letter, but the letter is very often written with people getting stuck on one particular thing, where the thing immediately turns into materialism for them. Much is said in the book 'How to Know Higher Worlds', which, when properly observed, leads people to find their own way into the spiritual world, from within themselves, from their soul. This book is designed to make people as independent as possible, not to impose anything on them in any subjective way, but only to remove the obstacles so that they can find the truth themselves. The best way to begin to take in this book would be to appropriate its content in inner deed. But then people get stuck on the sentence: The one who has attained the necessary maturity will find his spiritual teacher if only he searches for him correctly. — So, there we have it! I write a letter to the one who wrote the book, and he becomes my spiritual teacher; that's the simplest thing! There we have the materialistic explanation. The fact that this passage could be the most sacred incentive for a person seeking independence to continue searching in order to find the path, which might consist of something completely different than writing a letter to someone: You, give me instructions - that is very uncomfortable for many readers of the book. They do not search enough in the book. And so this book, How to Know Higher Worlds, is one of the most widely read books in the German-speaking world today, and has been translated into many foreign languages, despite the fact that it is one of the most misunderstood books. And yet it is child's play to understand if you just let it sink in without prejudice. And don't translate it into materialistic comfort.

To some extent, people today are looking for what they are accustomed to seeking in other areas. How deeply ingrained it has become in people today not to help themselves, that is, not to learn what can help them in one situation or another, but to be helped and not to worry about the principles by which they are helped. Why should we trouble ourselves today about the best way to live in terms of our health? We let ourselves be prescribed for by someone who is there for that purpose, and then we do not need to check the principles according to which he prescribes; we hand over our fate to the one who is set up as an authority. Why should we not be particularly inclined to surrender our destiny to someone else when we are on the spiritual path, the most important human path? But what if the very work that inspires us to do so is dedicated above all to making the human soul independent!

It may be said that scientific research in particular has reached a certain level today, and that this level of scientific research would be accessible to those who are called upon today to represent the natural sciences if most of them did not simply become absorbed in their subject and did not go beyond the boundaries of their subject. If only, I might say, a dozen of the official representatives — and only these are listened to today — would make an honest effort to examine with the most profound honesty what is contained in my 'Occult Science: An Outline of the Fundamental Principles of the Science of Man and Nature', ' and in my 'Theosophy', they would find everything confirmed from the side that can be characterized by saying: Look at life, whether life does not confirm what can be experienced through spiritual science, what is sought here from the spiritual world! — Anyone who really masters natural science today comes to the verification of what anthroposophically oriented spiritual science gives. This is absolutely a truth. But we are faced with the peculiar fact that precisely those who could undertake such an examination are absolutely not concerned about it, have not been concerned about it until now — I am ignoring those who, in our circles, have received the stimulus for it — that no one has set themselves the task of really testing the spiritual-scientific results of anthroposophy against the, fully understood, natural-scientific research of the present! The spiritual-scientific research really has no need to fear this test; it will pass it. It should only be employed, it will be passed. But admittedly, in a time when one is not even inclined to go into the most primitive truths, this test will perhaps take a long time.

The urge not only to be logical, but to be realistic, that is, to form one's judgment not only according to abstract logic, but by immersing oneself in reality, this urge is possessed by few in our present time. Many strive to be logical, but only after going behind logic a certain way is it possible to see the scope of logic itself; otherwise one does not even realize what confusion one can create with such very consistent judgments. You see, it is logical to be always consistent with one's own judgment or consistent with someone else's judgment, but it can lead to rather strange collisions. Charles V, the Austrian, and the French king Francis I came to the same conclusion. They were, so to speak, in complete agreement with regard to a certain idea that they wanted to realize. Francis said: “My dear brother wants exactly the same as I do. We both want exactly the same thing. — They both wanted to conquer Milan! Yes, you see, you notice it — namely when you say the postscript. But that such judgments are swarming around and dominate precisely contemporary thinking, to the detriment of this present, few in the present have the inclination to even think of it.

It is remarkable how – forgive the philistine image – enlightened minds today sometimes approach judgment by going at it from the wrong end, as if someone were to put a horse's bridle on by the tail instead of by the head. But such a bridling is immediately accepted if the person concerned is officially authorized. Anyone with a sense for the living in thinking, feeling and willing could have suffered real torments for many years from the way much thinking is done in the present. I still remember hearing my first lecture in Vienna on elliptic function theory – forgive the word, but it depends on the mind of the person what I want to express, and not on whether one or the other understands what I am using now. So I heard lectures by Professor Leo Königsberger, who was already famous at the time. He was so famous that after being appointed a professor he could write to the government right away to request to be appointed a court councillor, not just a professor. So when I attended his first lecture, he came to the question: What about numbers? People assume positive and negative numbers. Positive numbers correspond to the money I have, negative numbers to the money I don't have, the money I owe. But there are other numbers. Now mathematicians use a line with an O in the middle to denote positive and negative numbers: plus 1, plus 2; minus 1, minus 2. And then the famous Gauss added a new line of numbers so that you can fill the plane with different types of numbers. I don't want to talk about the justification of this number level, but Leo Königsberger began his lecture on elliptic functions by saying, “It could now be that someone would say today that one could just as well take numbers perpendicular to this plane.” When I, as a very young badger of sixteen or seventeen, learned about the story of the plane of numbers, I immediately raised an objection: I said that then one could also think of space as being filled with numbers. The teacher kindly reassured me by saying, “Well, just wait until the next few centuries!” — which, of course, made a great impression on me, the young badger. Now I heard Leo Königsberger in Vienna address the same question. He said, “Let's assume there are these three types of numbers, not just the numbers that lie in the plane of the two lines, but the numbers that lie in the third dimension. We hypothetically assume that such numbers exist, and I would multiply such a number by another number. Now I will show you that when you multiply them, the product can sometimes be zero. But since that can never be the case, there can be no such number. Well, you see, having to listen to this is torture. I don't want to talk about whether the whole story is right or not, but if you accept one thing and don't accept the other, and claim that because the product is zero, there can be no such number, then having to listen to this is torture, because of course the correct thing is that if you have two numbers that equal zero, you have to assume that zero can be created by multiplication, not the opposite; that is the most obvious thing. But whether these judgments live in mathematics, whether these judgments live in political notes, for example in Mr. Wilson's notes, they always lead back to the same forms of thought. But if these forms of judgment live in those judgments that want to be effective for the fate of humanity, then an error in judgment means something quite different from an error in a merely limited scientific speculation, as it is in many respects the teaching of Leo Königsberger.

It must be emphasized, as it is characteristic of our time, that people do not want to adapt their judgment to reality. They do not want to live in reality because they do not want to in the simplest things. They want to assume that the simplest things are what they want, not what reality dictates. It is of the greatest importance that we should learn to think differently in many respects, in order to escape from much of the mischief of the present time. We must learn not merely to think differently, but to think differently. If people with their old habits of thinking could really grasp anthroposophically oriented spiritual science, then they would be able to familiarize themselves more quickly with spiritual scientific truths. But these should not be grasped with the old habits of thinking, but rather with the new thinking, and people find that extremely difficult.

Now, these are some of the reasons why it is so difficult at present to get through with anthroposophically oriented spiritual science, simply because it has to confront the very, very nearest prejudices. But precisely because this is the case, spiritual science is not really fought against, because, it must be admitted, the fight against spiritual science is on very shaky ground. Go and look for those scientific discussions that seriously and thoroughly try to deal with spiritual science as it stands; go and look for treatises or the like of this caliber! Anyone who has ever looked into it will see how little there is in this direction. But perhaps it is not convenient to proceed in this way. You see, a few years ago a student told me that he was preparing to do his doctorate in philosophy at a very well-known university: he wanted to write a dissertation that had been recommended to him by a famous professor. This dissertation was to be about the great Russian thinker Solowjow. At that time, not much more had been printed by Solowjow than a few things that had been published by Nina Hoffmann; much more came out later. I asked the student: Why does the professor advise you to write your dissertation about this Solowjow? “Yes,” said the student, ‘the professor knows nothing about this philosopher and would like to learn something.’ ‘So that's the best way: you let the student write a doctoral thesis on Solovyov, if the student knows Russian; then you learn something about him.’ So the doctoral thesis on Solovyov was written. But a great many doctoral theses are written out of the same sentiment. In many cases, this is a maxim for how topics for doctoral theses are given. But in this way a certain scientific attitude is cultivated, one might say bred. The professor in question could only have really got to know Solowjow if he had intended not only to be a professor of philosophy but also to get to know contemporary philosophy through one of its most outstanding representatives. He would have had to try to study Solowjow himself as best he could, even though only a small part of Solowjow's work has been translated and he does not know Russian himself. It is an uncomfortable path, but it can be said that for many people who want to come to their own conclusions about spiritual science, the path to getting to know spiritual science is much more uncomfortable today. Because there is still a difference between a professor having a dissertation written about Soloviev or about spiritual science. With Soloviev it is still more or less possible to form an opinion by the time the dissertation is finished, because the student is well trained to give this opinion in the sense in which philosophy is taught. But what should a modern professor do with a dissertation about spiritual science, for example? He would be completely at a loss. And even more uncomfortable, of course, is the way of not getting to know the subject indirectly through a dissertation, but rather by studying the subject itself exhaustively in some way.

But all these things are no obstacle for the honest seeker of truth in the present day; he may be longing for spiritual science. Many of you know this, my dear friends. But for most people in today's world, it is an obstacle to recognize this spiritual science, to do anything other than to drill this spiritual science to the ground. They do not approach it, and since it does not come from them, it must be drilled to the ground. You cannot do that in a matter-of-fact way; today, the facts already show that. For those who have tried to approach spiritual science have not, as a rule, become opponents; they have certainly not become blind followers, but they have not become opponents either. There are those too. But a large part of our contemporaries simply have a personal interest in extinguishing this spiritual science, in making it impossible in the present. If they try to do this through honest literary debate, using whatever arguments they have against it, whatever arguments someone else has, then of course there is nothing to be said against it. But that is just what they do not want, it is too inconvenient. It is much more convenient to play the whole thing over into the personal sphere, not to talk about what is said in spiritual science, but to talk about all kinds of other things. And that, you see, is precisely what is being attempted in our immediate present today and will be attempted more and more in the near future, and to which I would like to draw your attention. Because this will lead to a situation in which numerous dissatisfied people, who become dissatisfied for personal reasons within our society, can easily be turned into tools for those who want to eliminate anthroposophy from the world, but do not strive for it in an honest way – they would not achieve their goal by honest means either – they do not strive for scientific discussion, but avoid the honest path, and instead seek to attach some kind of scandal to the spiritual science movement and to personalize everything.

Since my time for talking about factual matters has expired, so that no one can say that I am taking up your time for matters related to the Society and its interests instead of dealing with the factual questions, I may add the following now: There are more and more people who are suitable to be used by those who are characterized in this way, and if one is honest about anthroposophically oriented spiritual science, one has an obligation to point out these things more precisely.

There is a person – many years ago his name first appeared before our eyes – who comes from a small town. One day Dr. Steiner received a letter, as they so often occur: “I feel unhappy in my situation, I would like to improve my situation”. And one of the letters that had this tone asked for advice on how the person concerned should act: whether he would do better to marry into a house or a business, or whether he should seek his way in the world in some other way. Yes, you have to tell the truth, unembellished, if you want to get to the bottom of things, and if you do not want to be blind to what will happen in the near future. Now it was made clear to the man that we cannot deal with the question of whether he should marry into a family or not, but since he did not let up, we willingly provided him with some information that was suitable to meet his need for spiritual instruction, which he claimed to have. By devoting himself to such spiritual things as he imagined them to be, he very soon came to the conclusion that it would be beneath a great mind like his to take care of a business in a small town. He longed for larger circles. He had apparently saved some money and came to Berlin. He found that

"It is quite nice to pursue the humanities alone, but he also felt a special artistic talent in himself, and he now demanded that society promote this. It's nice to help people, isn't it. The samples that the person in question gave of his art spoke against any talent, but some people learn so much even without talent that it sometimes meets strict requirements. And so it came about that the person in question was recommended to various members who could create this or that for him, that he should be supported. But it always turned out that the matter failed precisely because the person in question wanted to practice an art but not learn anything, because he thought he could do more than all the teachers who wanted to take care of him. And the consequence was that, because he ran away from every teacher, in the end nothing could be done at all. One had indulgence after indulgence, but nothing special could be done, nothing pleased the person concerned. For, of course, in his eyes this was again such a blatant case of how the world misunderstands the nascent genius! That no one else could honestly share this view, yes, my dear friends, it was truly not our fault. That is the main thing, all other things are secondary. And so it was with this person as it is with many. They first seek advancement within our society, and when this advancement is not granted to them according to their mind, they become opponents. And then they come forward with all kinds of things. Of course, they never talk about what is behind things. They come up with all kinds of things that are best refuted by first explaining the reasons. Of course, in this case it was pure offended vanity and incompetence. And everything else that was added as a fuss was the most foolish invention, the most foolish fantasy. But today, of course, you find the journals that take up these things. Because the person I mean is called Erich Bamler. And if you really get to the bottom of things in such undertakings, then you don't need to take on such an essay, which mostly doesn't mean anything, because all the individual things don't express what they say, but

41n0 they arise from quite different things. And it is actually foolish to seriously want to refute the non-essential. Because that is not what is important, but what lies behind it.

Let us take another case: a man who is not exactly lacking in vanity found himself years ago, after first objecting to anthroposophy in general, in this anthroposophy. I was the very last person to have sought out this personality. He presented himself. It turned out that there were many things that did not exactly mean that this personality was striving for completely impersonal goals in our society. That cannot be demanded, of course, so it cannot be criticized if sometimes personal goals are also accommodated to some extent. Sometimes such personal aims are accommodated because in this way many people can be led to what is right after all. And so it happened that at first the person concerned was quite satisfied with us. He wrote a pamphlet, in fact. I even condescended to write an epilogue to it, and the pamphlet was also taken up by our publishing house. He was on good terms with us; we were people who could be talked to. Then the person in question had another work printed, and after this work had had various fates, which are now of no concern to us, he offered it to the Philosophical-Anthroposophical Publishing House again. However, it was impossible to include this work in the Philosophical-Anthroposophical Publishing House. On the first pages of this writing, it says that I had only hinted at certain things about the Christ problem, and that the gentleman in question would like to elaborate on them. I am not saying this out of hurt vanity, although in this case I am being accused of it; but the sentence in which it is attributed to me is a blatant untruth, because the matter mentioned did not take place. Without taking into account the fact that I might have had reason not to go further, things are then elaborated in a way that may remind one of another story that took place, of which this story is at least a miniature version. I will have to come back to this other story as well, and I will do so briefly in a moment. In this writing by the gentleman in question, all kinds of things that I had only said in lectures were simply stated. Dr. Steiner was quite right to take umbrage at this and rejected the manuscript for publication. And because his manuscript was rejected, the man became an opponent. Now, of course, if you are writing an article for a journal, you cannot say: The Anthroposophical Society is fundamentally bad because the Philosophical-Anthroposophical Publishing House rejected my manuscript. That won't do! But that would have been the truth! So, despite the fact that the person concerned has been informed about the matter countless times, the fairy tale about contradictions is invented. The person concerned knows very well what the situation is regarding these contradictions, but he writes newspaper articles about them! What these newspaper articles say is of no significance, because the person concerned did not become an opponent because of this matter. He could have known about this long before he joined. He became an opponent for the stated reason. Some doubt whether one can so easily make the hypothesis: What is afterwards is also causally conditioned by what went before; but it remains conspicuous, nevertheless, that the antagonism of Mr. Max Seiling followed immediately upon the rejection of his writing by our publishing house. Of course it is easy to deny such a thing, to object to it in all sorts of ways, but it is not a matter of what one or the other objects to, but of what the facts are.

It is indeed reminiscent of a somewhat more ingenious case; this is only a miniature version of it. The more ingenious case is that of a gentleman who had been to America but is a good European. He was summoned here to Germany by a long-standing member and listened to all kinds of lectures. He tried hard to get the lectures that had been given years ago by demanding them from this person or that. After he had faithfully packed up everything he had copied, he went back to America. He said there that he had been here, that he had familiarized himself with my teaching, but that he could not be satisfied with my teaching, but had to go much deeper, so one would find in his work many things that are not yet to be found in my books. For when he had exhausted everything that could be found with me, he was called to a master who dwells somewhere in the Transylvanian Alps; he then told him many things that he is now incorporating into his book. But now everything that he incorporated into his book was what he had overheard here in the lectures and copied down! And then the book was called: “Rosicrucian Worldview”. It was published in America and caused a great stir: the book, that was a combination of what he had heard from me here, and what the master was supposed to have told him in the Transylvanian Alps. People did not need to check what I had said, nor could they, because it had been said in part in our internal lectures. But not only did this appear as a book written in English and American, but a German bookshop was also found that translated the book and published it as “Weltanschauung der Rosenkreuzer” (The Rosicrucians' World View). The editor was Dr. Vollrath.

These are just a few examples of how it is done, my dear friends! These things may well be pointed out. Attention must be paid to them, because they show the means by which, on the one hand, we make use of what is growing on our soil and, on the other, how we fight it. It may well be said that perhaps never before have worse means been used to fight against anything than are now being used to fight against us, especially against anthroposophically oriented spiritual science! You will therefore understand that we have been forced, as it were, to resort to the only means of averting the disaster, although it may not bring about any improvement if everyone joins forces to cause the greatest possible difficulties for the personalities associated with the matter. But one thing must be considered: too much has been said about this matter, but always actually for deaf ears. Therefore, there is no other choice than to submit to a certain iron necessity in order to serve the matter, to which we must all be devoted, in an appropriate way. This iron necessity simply arises. Suppose spiritual science were to appear as literature, were there as literature. It would then be quite impossible – in theory it is possible, but in view of the concrete facts it would be quite impossible – for all these things to attach themselves to spiritual science, as they have done and will continue to do in the most terrible and unworthy manner. What we have to distinguish from the spiritual science movement, which wants to be a pure knowledge movement, a world view movement of the present day, is the Anthroposophical Society. The idea of the Anthroposophical Society is a good one, but in practice, as I see it, it is developing in many ways, not as I see it, but as the facts teach us, in many ways, so that every day we are confronted with things that show, and this is no exaggeration, how within this Anthroposophical Society, cliques develop with a certain ease, especially personal interests for and against, in the most extensive way. It is difficult to separate personal interests from purely factual ones in the context of a society. But think that precisely through the social activities, the floodgates are opened to those people who do not want to confront spiritual science through honest discussion, but who want to bring down spiritual science by the detour of personal defamation, through personal slander. Because one can say this: they want to bring down spiritual science.

Years ago, I decided to accommodate the wishes of various members for personal meetings, to the youngest and oldest members in the broadest way. Only in recent years, when things were already so close, did I sometimes have to deviate sporadically from the old practice; but only sporadically, in exceptional cases. Despite the fact that it has been emphasized time and again that what is available in the literature and what is said here in the lectures contains plenty of material that the individual needs for his or her own development, so that personal consultations could only relate to an expression from person to person to person, it will happen time and again that the most outrageous lies — excuse the expression — are told within the Society in connection with the personal contact of members with me, and outsiders then seek ways to all kinds of defamation and slander. By this I mean that all too often within the Society people are quite inclined to use a nice-sounding little word for their own deep satisfaction when they have one. How good it does some people, for example, when they can say: I have become an esoteric disciple. — And how good it does some people when they can say: Yes, you know, that is something very mysterious, I am not allowed to tell you that; I am not allowed to tell you anything about it. — Putting oneself in the limelight, giving oneself a certain prestige, that is what is behind many an expression that is used and which is then often misused by outsiders in a quite malicious way. All these things, which are now being used with malicious intent, could never have happened if what was being put in a false light were not in line with legitimate desires and perhaps an equally legitimate accommodation of these desires, but which, in view of what the outside world is making of it, cannot be maintained, however difficult it may be for me, my dear friends. Of course, everyone can maintain friendly relations in society, but the iron necessity compels me to stop giving private audiences. I am particularly sorry for this because some will say: Why should the innocent suffer with the guilty? But if you are in a society, that is of course the karma of the society, and the matter cannot be done differently. All those private conversations that were sought out, in view of those malicious slanders, must simply stop. |

Don't think that I am any less sorry for that than you are, but I know that, just as everything I have said about such things was spoken in vain, my speaking today would also be spoken in vain if measures were not taken that simply force people to realize the seriousness of the matter.

It is easy to fabricate slanderous stories about what is said in private conversations with individual members, if these slanderous stories reach the point where, for example, it is said here or there that this or that member has been hypnotized. Now, my dear friends, in the face of these things I shall have to take a different line altogether, from which you will see — and I am really speaking out of a simple sense of duty towards our movement — that I am now and in this matter, in the very bitterest seriousness, for the sake of the sanctity of spiritual science. If a movement like this is based simply on the principle of not encroaching on anyone's sphere of freedom, and if this is strictly observed, if everything that encroaches on a person's sphere of freedom is strictly rejected, and if one then proceeds with these very things, then it is necessary that one day everything that is to grow on our soil will grow in the full light of day. When things grow in full public view, then the ground will be cut from under the slanderers. But there will be no other method in the future. Therefore, I will strive, as far as it depends on me, to ensure that in the future anthroposophically oriented spiritual science will increasingly take place in the full light of the public. It does not have to shy away from the public. And today I declare explicitly: With regard to the private conversations that have taken place with members for years, I release everyone from the promise not to speak about the content of the conversation. Everyone can share, as much as they themselves find appropriate, what has ever occurred in a private conversation with a member. Nothing will be found that should be kept from the light of day. Then one will no longer be able to pussyfoot around with things that are on the following ground. I will give you an example of how these things can be used against the most blatant ignorance and the will to be most blatantly ignorant.

Not only Erich Bamler, but also others who are fighting just as “honestly” as he is, have put forward and basically believe that among all sorts of esoteric principles this one would also have been given to them: “Look at everything around you in the light of necessity, as if it were necessary, as a given necessary fate.” It is comforting for a time, as long as one believes oneself to be supported within society, when one has been given such a rule to say: “I am an esoteric disciple, for I meditate continually: ‘See everything around you in the light of necessity’.” But why has this rule been given to those people, why has this rule been advised to them? For the simple reason that they needed it according to the state of their soul! It was a piece of advice that did not encroach on their freedom at all, but a piece of advice whose scope and esotericism you may judge if I point out the following to you: Schopenhauer says in his essay on the freedom of the will, towards the end of his essay, concerning our attitude towards the course of the world and fate: “Everything that happens, from the greatest to the smallest, happens necessarily”; and he speaks of the calming effect of the realization of the inevitable and necessary. So people have been advised to do nothing other than what Schopenhauer himself considers a proven way of overcoming certain forms of depression.

Now, when speculating on the most blatant ignorance and on the will to the most blatant ignorance, people can, of course, be told all kinds of beautiful fairy tales: that one has turned green and blue, especially in the legs, by following such principles. And for those who want to make something esoteric out of thin air, these things can, of course, be used as slander. But precisely when we know that the things that are being done in anthroposophically oriented spiritual science are actually required by necessary needs, then we will be able to understand that such a measure as the one mentioned above must one day be taken, simply for the reason that it must be seen that the things at issue are meant seriously. Do not complain to me, who feels it just as hard as you do; complain to those whom I have clearly pointed out to you, and who make it impossible for such a measure to be avoided. Today it is very difficult for me, for reasons of principle, to have to refuse private conversations, which numerous members desire. Of course I also know that this will in turn be used against me, but I cannot act according to personal reasons, but according to what is necessary for our movement. That means that I must submit to the principle of taking what is said seriously, for whatever reason it may be taken as a pretext for calumny or slander by those who do not honestly want to refute spiritual science but who want to do away with it in some other way.

Examine much of what has occurred; you will find that the causes always come from society. It is very rare for society to be attacked; the point of attack is usually me or my immediate surroundings. Examine the things. But by attacking me, it is the case that they want to attack spiritual science in me. Because one way or another, it is of no importance to them whether a foolish esoteric piece of advice is given here or there; there are enough of those in the world. But what people do care about is that spiritual science in the anthroposophical orientation is a cultural factor of our time, that it wants to have a say. People do care about that. They do not care about esoteric Winkel esoterics, but they do care about someone who, according to his destiny, cannot remain an esoteric Winkel esoteric. You would not want to meet an esoteric Winkel esoteric if he sat in front of fifty people in Berlin and gave them advice. The attacks only began when the number of books exceeded a certain number. It would be a sin against the spirit of anthroposophically oriented spiritual science to let it perish when it might be possible to prevent it by having to do without certain things, perhaps only for a while, because the morality of people today turns out the way it has now turned out.

We have often seen how things are misrepresented; but how it is done in the case of anthroposophically oriented spiritual science, how things are invented that are not there at all and something quite different from what has taken place is told, that is one of the greatest rarities, even in the history of mankind.

All this is not said to, as they say in Austria, grumble or gripe, or to some extent to rant, but it is said because the symptoms are now appearing daily that the intention is to put an end to our spiritual movement in the way indicated, and because the tendency must arise to see the snowball at the top, and not just the avalanche when it has reached the bottom. Just a few hours before I came here, among other things, a letter was read to me in which it was once again related that two people had come together; I will not mention any names, so such a case can simply be cited as an example. The one is accused of hypnotizing the other, of even sitting behind the other and meditating into the other's neck so that all kinds of harmful things arise in the soul of the person concerned. And then the matter is pursued further. It is only one case, the last one, no, not the last one, there was another one after that, but it is the one that I read about three hours ago. Today it is a harmless matter, but in a few years it may no longer be so: that one person is supposed to have sat behind another in order to meditate all kinds of harmful things into the neck of the other person and thereby exert influence. There is no doubt that the person concerned is as harmless as possible in this matter. But today, my dear friends, this plays between two members; in a few years it will be made into a “Steiner case”, which in turn provides a very nice case for such “studies”. Perhaps it will happen more quickly and will not take a few years.

So, please understand that I am truly faced with an extremely difficult dilemma if I have to resort to saying, on the one hand, that an attempt must be made to make spiritual science fully public. Nobody will be left wanting as a result, nobody will somehow not find what they need to find because everything is in the public domain. But all the gossip: that is something mysteriously mystical, you must not say that and so on – that should no longer be able to give rise to all kinds of slander. No matter how friendly our dealings may be, they must not be any other than those between friends for the time being, because private conversations must stop as a matter of principle for the time being. Perhaps this will force our dear members, however inconvenient it may be, to pay a little more attention to things and take care of the matters that have been neglected so far.

As I said, please forgive me for bringing up these matters here today; I only did so after the actual lecture was already over, but I had to bring them up because they are related to the vital issues of the Anthroposophical Society and the anthroposophical movement. This, and not any lack of friendliness, is why I very much regret not being able to hold the private conversations with our dear members, which I have always been happy to do, in the near future. Then it will not be possible, really not possible in the concrete, to create what the malicious enemies are so keen to seek. — Because, my dear friends, you could of course make an objection, and everyone does it of their own accord in an understandable way, namely by saying: But he could talk to me. This has been said by each of those who are now launching their attacks in the most abusive manner; and some of those who are now the tools of their protectors were brought into society by very, very respected members of society. In some respects, it must change, but it can only change through the members.

We live in grievous, destiny-burdened days. Only few souls wait with full confidence what these destiny-burdened days will bring to us earth people. Above all, the significance of that what expresses itself by the events of these days, does not speak with full strength in the souls. Some human souls attempt to experience the impulses more and more that spiritual science demands to be implanted into the cultural development. They should know being connected with their deepest feeling with that which, on one side, takes place around us so tremendously and, on the other side, so painfully.

Something takes place that is matchless not only according to the way but also according to the degree within the conscious history of human development, that is deeply intervening and drastic in the whole life of the earth's development. One needs to imagine only what it means—and this is the case today with every human being of the European and also of many parts of the other earth population—to be in the centre of the course of such significant events. We have to feel that this is just a time which is not only suitable but also demands that the soul frees itself from merely living within the own self, and should attempt to experience the common fate of humankind. The human being can learn a lot in our present if he knows how to combine in the right way with the stream of the events. He frees himself from a lot of pettiness and egoism if he is able to do this. Such great events take place that almost anybody caring for himself ignores the destinies of the other human beings.

In particular the population of Central Europe—which immense questions has it to put to itself about matters that it can learn basically only now! The human being of Central Europe can perceive how he is misunderstood, actually, how he is hated. And these misunderstandings, this hatred did not only erupt since the outbreak of the war, they have become perceptible since the outbreak of the war. Hence, the outbreak of the war and the course of the war can be even as it were that what draws attention of the Central European souls to that how they must feel isolated in a certain way more or less compared with the feeling of those people who stand on all sides around this Central European population really not with understanding emotions. If anybody could arouse deeper interests in the big events of life in the souls dedicating themselves to spiritual science—this would be so desirable, especially now—events that lead the soul from the ken of its ego to the large horizon of humankind! Then one were able to deepen the look, the whole attitude of the souls who recognise the encompassing forces, because they have taken up spiritual science in themselves, and release them from the interest in the narrow forces that deal only with the individual human being! If one hears the world talking today, in particular the world which is around us Central Europeans, if one reads which peculiar things there are written about the impulses which should have led to this war, then one has the feeling that humankind has lost the obligation to judge from larger viewpoints in our materialistic time, has lost so much that you may have the impression, as if people had generally learnt nothing, but for them history only began on the 25th July, 1914.¹

It is as if people know nothing about that what has taken place in the interplay of forces of the earth population and what has led from this interplay of forces to the grievous involvements which caught fire from the flame of war, finally, and flared up. One talks hardly of the fact that one calls the encirclement by the previous English king who united the European powers round Central Europe, so that from this union of human forces around us, finally, nothing else could originate than that what has happened. One does not want to go further back as some years, at most decades and make conceptions how this has come what is now so destiny-burdened and painful around us.

But the matters lie still much deeper. If one speaks of encirclement, one must say: what has taken place in the encirclement of the Central European powers in the last time, that is the last stage, the last step of an encirclement of Central Europe, which began long, long ago, in the year 860 A. D. At that time, when those human beings drove from the north of Europe who stood as Normans before Paris, a part of the strength, which should work in Europe, drove in the west of Europe into the Romance current which had flooded the west of Europe from the south. We have a current of human forces which pours forth from Rome via Italy and Sicily over Spain and through present-day France. The Norman population, which drives down from the north and stands before Paris in 860, was flooded and wrapped up by that which had come as a Romance current of olden times. That what is powerful in this current is due to the fact that the Norman population was wrapped up in it. What has originated, however, as something strange to the Central European culture in the West, is due to the Romance current. This Romance current did not stop in present-day France, but it proved to be powerful enough because of its dogmatically rationalistic kind, its tendency to the materialistic way of thinking to flood not only France but also the Anglo-Saxon countries. This happened when the Normans conquered Britain and brought with them that what they had taken up from the Romance current. Also the Romance element is in the British element which thereby faces the Central European being, actually, without understanding. The Norman element penetrated by the Romance element continued its train via the Greek coasts down to Constantinople. So that we see a current of Norman-Romance culture driving down from the European north to the west, encircling Central Europe like in a snake-form, stretching its tentacles as it were to Constantinople.

We see the other train going down from the north to the east and penetrating the Slavic element. The first Norman trains were called “Ros” by the Finnish population which was widely propagated at that time in present-day Russia. “Ros” is the origin of this name. We see these northern people getting in the Slavic element, getting to Kiev and Constantinople at the same time. The circle is closed! On one side, the Norman forces drive down from the north to the west, becoming Romance, on the other side, to the east, becoming Slavic, and they meet from the east and from the west in Constantinople. In Central Europe that is enclosed like in a cultural basin what remained of the original Teutonic element, fertilised by the old Celtic element, which is working then in the most different nuances in the population, as German, as Dutch, as Scandinavian populations. Thus we recognise how old this encirclement is.

Now in this Central Europe an intimate culture prepares itself, a culture which was never able to run like the culture had to run in the West or the culture in the East, but which had to run quite differently. If we compare the cultural development in Central Europe with that of the West, so we must say, in the West a culture developed—and this can be seen from the smallest and from the biggest feature of this culture—whose basic character is to be pursued from the British islands over France, Spain, to Sicily, to Italy and to Constantinople. There certain dogmatism developed as a characteristic of the culture, rationalism, a longing for dressing everything one gets in knowledge in plain rationalistic formulae. There developed a desire to see things as reason and sensuousness must see them. There developed the desire to simplify everything. Let us take a case which is obvious to us as supporters of spiritual science namely the arrangement of our human soul in three members: sentient soul, intellectual soul or mind-soul, and consciousness-soul. The human soul can be understood in reality only if one knows that it consists of these three members. Just as little as the light can be understood without recognising the colour nuances in their origin from the light, and without knowing that it is made up of the different colour nuances which we see in the rainbow, on one side the red yellow rays, on the other side the blue, green, violet ones, and if one cannot study the light as a physicist. Just as little somebody can study the human soul what is infinitely more important. For everybody should be a human being and everybody should know the soul. He, who does not feel in his soul that this soul lives in three members: sentient soul, intellectual soul or mind-soul, consciousness-soul, throws everything in the soul in a mess. We see the modern university psychologists getting everything of the soul in a mess, as well as somebody gets the colour nuances of the light simply in a mess. And they imagine themselves particularly learnt in their immense arrogance, in their scientific arrogance throwing everything together in the soul-life, while one can only really recognise the soul if one is able to know this threefolding of the soul actually.

The sentient soul also is at first that what realises, as it were, the desires, the more feeling impulses, more that in the current earth existence what we can call the more sensuous aspect of the human being. Nevertheless, this sentient soul contains the eternal driving forces of the human nature in its deeper parts at the same time. These forces go through birth and death. The intellectual soul or mind-soul contains half the temporal and half the eternal. The consciousness-soul, as it is now, directs the human being preferably to the temporal. Hence, it is clear that the nation, who develops its folk-soul by means of the consciousness-soul, the British people, after a very nice remark of Goethe, has nothing of that what is meditative reflection, but it is directed to the practical, to the external competition. Perhaps, it is not bad at all to remember such matters, because those who have taken part in the German cultural life were not blind for them, but they expressed themselves always very clearly about that. Thus Goethe said to Eckermann²—it is long ago, but you can see that great Germans have seen the matters always in the true light—when once the conversation turned to the philosophers Hegel, Fichte, Kant and some others: yes, yes, while the Germans struggle to solve the deepest philosophical problems, the English are directed mainly to the practical aspects and only to them. They lack any sense of reflection. And even if they—so said Goethe—make declamations about morality mainly consisting of the liberation of slaves, one has to ask: which is “the real object?”—At another occasion, Goethe wrote³ that a remark of Walter Scott expresses more than many books. For even Walter Scott admitted once that it was more important than the liberation of nations, even if the English had taken part in the battles against Napoleon, “to see a British object before themselves.” A German philologist succeeded—and what does the diligence of German philologists not manage—in finding the passage in nine thick volumes of Napoleon's biography by Walter Scott to which Goethe has alluded at that time. Indeed, there you find, admitted by Walter Scott, that the Britons took part in the battles against Napoleon, however, they desired to attain a British advantage. He himself expresses it “to secure the British object.”—It is a remark of the Englishman himself, one only had to search for it. These matters are interesting to extend your ken somewhat today.

You have to know, I said, that the human soul consists of these three members, properly speaking that the human self works by these three soul nuances like the light by the different colour nuances, mainly in the mineral, plant, and animal kingdoms. Then one will find out that the human being, while he has these three soul nuances, can and must assign each of these soul nuances to a great ideal in the course of human progress. Each of these ideals corresponds to a soul nuance not to the whole soul. Only if people can be induced by spiritual science to assign the corresponding ideals to the single soul members, will the real ideal of human welfare and of the harmonious living together of human beings on earth come into being.

Because the human being has to aim at another ideal for his sentient soul, for that which he realises as it were in the physical plane, at another soul ideal for that what he realises in the intellectual soul or mind-soul, and again another ideal in his consciousness-soul. He improves a soul member through one of these ideals; the other soul members are improved through the others. If one develops the soul member in particular through brotherliness of the human beings on earth, one has to develop the other one through freedom, the third through equality. Each of these three ideals refers to a soul member. In the west of Europe everything got muddled, and it was simplified by the rationalists, by that rationalism, which wants to have everything in plain formulae, in plain dogmas, which wants to have everything clearly to mind. The whole human soul was taken by this dogmatism simply as one, and one spoke of liberty, fraternity, equality. We see that there is a fundamental attitude of rationalising civilisation in the West. We could verify that in details. For example, just highly educated French can mock that I used five-footed iambi in my mystery dramas⁴ but no rhymes. The French mind cannot understand that the internal driving force of the language does not need the rhyme at this level. The French mind strives for systematisation, for that what forms an external framework, and it says: one cannot make verses without rhyme.

However, this also applies to the exterior life, to everything. In the West, one wants to arrange, to systematise, and to nicely tin everything. Think only what a dreadful matter it was, when in the beginning of our spiritual-scientific striving many of our friends were still influenced by the English theosophical direction. In every branch you could find all possible systems written down on maps, boards et cetera, on top, nicely arranged: atma, buddhi, manas, then all possible matters in detail which one systematises and tins that way. Imagine how one has bent under the yoke of this dogmatism and how difficult it was to set the methods of internal development to their place, which we must have in Central Europe, that one thing ensues from the other, that concepts advance in the internal experience. One does not need systematising, these mnemonic aids which wrap up everything in certain formulae. Which hard work was it to show that one matter merges into another, that you have to arrange matters sequentially and lively. I could expand this account to all branches of life; however, we would have to stay together for days.

We find that in the West as one part of the current which encircled Central Europe. If we go to the East, then we must say: there we deal with a longing which just presents the opposite, with the longing to let disappear everything still in a fog of lacks of clarity in a primitive, elementary mysticism, in something that does not stand to express itself directly in clear ideas and clear words. We really have two snakes—the symbol is absolutely appropriate,—one of them extends from the north to southeast, the other from the north to southwest, and both meet in Constantinople. In the centre that is enclosed what we can call the intimate Central European spiritual current, where the head can never be separated from the heart, thinking from feeling, if it appears in its original quality.

One does not completely notice that in our spiritual science even today, because one has to strive, even if not for a conceptual system, but for concepts of development. One does not yet notice that everything that is aimed at is not only a beholding with the head. However, the heart and the whole soul is combined with everything, always the heart is flowed through, while the head, for example, describes the transitions from Saturn to the Sun, from the Sun to the Moon, from the Moon to the earth et cetera. Everywhere the heart takes part in the portrayal; and one can be touched there in the deepest that one ascends with all heart-feeling to the top heights and dives in the deepest depths and can ascend again. One does not notice this even today that that what is described only apparently in concepts one has to put one's heart and soul in it at the same time if it should correspond to the Central European cultural life. This intimate element of the Central European culture is capable of the spiritual not without ideal, not to think the ideal any more without the spiritual. Recognising the spirit and combining it intimately with the soul characterises the Central European being most intensely. Hence, this Central European being can use that what descends to the deepest depths of the sensory view and the sensory sensation to become the symbol for the loftiest. It is deeply typical that Goethe, after he had let go through his mind the life of the typical human being, the life of Faust, closed his poem with the words:

Alles Vergängliche
All that is transitory

Ist nur ein Gleichnis
Is only a symbol;

and the last words are:

Das Ewig-Weibliche
The eternal feminine draws

Zieht uns hinan
Us up to higher levels.

A cosmic mystery is expressed through a sensory picture, and just in this sensory picture the intimate character of the Central European culture expresses itself. We find this wonderfully intimate character, for example, so nicely expressed and at the same time rising spiritually to the loftiest just with Novalis. If you look for translations of this last sentence: “Das Ewig-Weibliche zieht uns hinan,” in particular the French translations, then you will see what has become of this sentence. Some French did explain it not so nicely, but they do not count if it concerns the understanding of Faust.

The Central European being aims at the intimacy of spiritual life most eminently, and this is that what is enclosed by the Midgard Snake in the East and the West. So far we have to go to combine completely in our feeling with that what happens, actually. Then we gain objectivity just from this Central European being to stand in front of the present great events with the really supranational human impulses, and not to judge out of the same impulses which are applied by the East and the West. Then we understand why the Central European population is misunderstood that way, is hated by those who surround them. Of course, we have to look at the mission of Central Europe for the whole humankind with all humility. We are not allowed to be arrogant, but we must also protect the free look for what is to be done in Central Europe.

The Central European population has always gone through the rejuvenating force of its folk-soul. It arrived at the summit in the ideals of Lessing, Schelling, Hegel, and Grimm. However, everything that already lived there lived more in a striving for idealism. Now this must gain more life, more concrete life. The profound ideas of German idealism have to get contents from spirituality, by which they are raised only from mere ideas to living beings of the spiritual world. Then we can familiarise ourselves in this spiritual world. The significance of the Central European task has now to inspire German hearts, and also the consciousness of what is to be defended in all directions, to the sides where the Midgard Snake firmly closes the circle. It is our task in particular because we are on the ground of spiritual science to look at the present events in such a higher sense. We cannot take the most internal impulse of our spiritual science seriously enough if we do not familiarise ourselves with such an impersonal view of the spiritual-scientific striving if we do not feel how this spiritual-scientific striving is connected in every individual human being with the whole Central European striving as it must be united with the whole substantiality of this Central European striving. We have to realise that something of what we have in mind exists only in the germ, however, that the Central European culture has the vocation to let unfold the germs to blossoms and fruits.

I give you an example. When the human being tries to further himself by means of meditation and concentration, by the intimate work on the development of his soul, then all soul forces take on another form than they have in the everyday life. Then the soul forces become as it were something different. If the human being works really busily on his development, by concentration of thought and other exercises as I described them in the book How Does One Attain Knowledge of the Higher Worlds?, the human being begins to understand vividly, I would like to say to grasp vividly that he does no longer think at the moment, when he approaches the real spiritual world, as he has to think in the everyday life. In the everyday life, you think that the thoughts start living in you. If you face the sensory world, you know: that is me, and I have the thoughts. You connect one thought with the other and you thereby make a judgment, you combine the thoughts and let them separate. In my writing which is entitled The Threshold of the Spiritual World, I have compared somebody developing thoughts to one putting his head into a world of living beings.

The thoughts start internally prickling and creeping, they become, if I may say so, living beings, and we are no longer those who connect one thought to the other. One thought goes to the other, and frees itself from the other, the life of thoughts starts coming to life. Only when the thoughts start as it were becoming shells and containers which contract in a small room and extend then again largely, bag-like, then the beings of the higher hierarchies are able to slip into our thoughts, then only! So our own way of life, the whole thinking changes when we settle in the spiritual world. Then you start perceiving that on the other planets other beings live not human beings like on the earth. These other beings of the other planets, they penetrate as it were our living thinking, and we do no longer think about the beings of the other worlds and world spheres, but they live in us, they live combined with our selves. Thinking has become a different soul-force; it has developed from the point on which it stood to another soul-force, to that force which surpasses us and becomes identical with that world, the spiritual world.

Here we have an example of that what humankind has to conceive if it should develop the condition in which it now lives to a higher one for the earth future. This must really become common knowledge that such thinking is possible, and that only by such a thinking the human being can get to know the spiritual world. Not every human being has to become a spiritual researcher, just as little as everybody needs to become a chemist who wants to understand the achievements of chemistry. However, even if there can be few spiritual researchers, everybody can see the truth of that using unbiased thinking and understand what the spiritual researcher says. But it must become clear that there are unnoticed soul forces in the human being during life which when the human being goes through the gate of death become the same forces as an initiate has. When the human being goes through the gate of death, thinking becomes another soul-force: it intervenes in the being. It is as if antennas were perpetually put out, and the human being experiences the higher worlds which are in these antennas.

There was a witty man setting the tone in the 19th century, who contributed to the foundation of the materialistic world view: Ludwig Feuerbach.⁵ He wrote a book Thoughts on Death and Immortality, and it is interesting to read the following in a passage of this book. Feuerbach says there for instance: the summit human being is able to reach is his thoughts. He cannot develop higher soul forces than thinking. If he could develop higher soul forces than thinking, some effects and actions of the inhabitants of the star worlds would be able to penetrate his head instead of thoughts.—This seems so absurd to Ludwig Feuerbach that he regards everybody as mentally ill who speaks of such a thing at all. Imagine how interesting this is that a person—who just becomes a materialist because he rejects higher soul forces—gets on that the soul-force is that which represents the higher development of thinking. He even describes it, but he has such a dreadful fear of this development that just because it would have to be that way, as he suspects, he declares this soul-force a matter of impossibility, a fantasy.

The spiritual development in the 19th century comes so near to that what must be aimed at, but it is so far away at the same time because it is pushed, as it were, from the inside to that what should be aimed at, but cannot penetrate the depths, because it must regard it as absurd, because it is afraid of it really, fears it quite terrifically. As soon as it only touches what should come there, it is afraid. The Central European cultural life has to come back to itself, then we will attain that this Central European cultural life just develops and overcomes this fear. That has become too strong what wants to suppress this Central European spiritual light.

Some examples may also be mentioned. Hegel, the German philosopher, raised his voice in vain against the overestimation of Newton. If you today hear any physicist speaking—you can read up that what I say in many popular works,—then you will hear: Newton set the tone in the doctrine of gravitation, a doctrine through which the universe has only become explicable.—Hegel said: what has Newton done then, actually?—He dressed that in mathematical formulae what Kepler, the German astronomer, had expressed. Because nothing is included in Newton's works what Kepler did not already say. Kepler worked out of that view with which the whole soul works not only the head. However, Newton brought the whole in a system and thereby all kinds of mistakes came into being, for example, the doctrine of a remote effect of the sun which is not useful for the judgment of planetary motion. With Newton it is real that way, as if the sun had physical arms, and stretches these arms and attracts the planets.—However, the German philosopher warned in vain that the Central European culture would be flooded by the British culture in this field.

Another example: Goethe founded a theory of colours which originated completely from the Central European thinking and which you only understand if you recognise the connections of the physical with the spiritual a little bit. The world did not accept the Goethean theory of colours, but the Newtonian theory of colours.—Goethe founded a teaching of evolution. The world did not understand it, but it only accepted what Darwinism gave as a theory of evolution, as a theory of development in a popular-materialistic way. You may say: the Central European human being who is encircled by the Midgard Snake has to call in mind his forces. It concerns not to bend under that what rationalism and empiricism brought in.

You see the gigantic task; you see the significance of the ideal. One does not notice that at all because it still passes, I would like to say, in the current of phenomena if one asserts the Central European being. I do not know how many people noticed the following. When for reasons which were also mentioned yesterday in the public lecture⁶ our spiritual-scientific movement had to free itself from the specifically British direction of the Theosophical Society and when long ago as it were that happened beforehand in the spiritual realm what takes place now during the war—and preceded for good reasons,—I have discussed and explained the whole matter in those days on symptoms. There are brainless people who want to judge about what our spiritual-scientific movement is and have often said: well, also this Central European spiritual-scientific movement has gone out from that which it has got from the British theosophical movement.

I say the following not because of personal reasons, but because it characterises the situation, the whole nerve of the matter in a symptom, I would like to remind you of the fact that I held talks in Berlin which were printed then in my writing Mysticism at the Dawn of the Modern Spiritual Life, before I had any external interrelation with the British theosophical movement. In this writing nobody will find anything of western influence, but there everything is developed purely out of the Central European cultural life, from the spiritual, mystic movement of Master Eckhart up to Angelus Silesius. When I came to London the first time, I met one of the pundits of the theosophical society in those days, Mr. Mead.⁷ He had read the book which was immediately translated in many chapters into the English, and said that the whole theosophy would be contained in this book.—So far as people admitted that they could go along with us, so far we could unite with the whole object, of course; but nothing else was done.

What matters is that we reflect on our tasks of the Central European spiritual culture and that we never deviate from them. The one or the other sent the medals, certificates and the like back to the English. That is, nevertheless, less important. The important thing will be first to send back Newtonianism, the English coloured Darwinism, that means to release the Central European cultural life from it. Something is to be learnt from the way how—free of other influence—the Central European cultural life has made itself noticeable just as spiritual science. But you have to call to mind the essential part once and to stand firmly on this ground. It is very peculiar how mysteriously matters work.

Imagine the following case: Ernst Haeckel has taken care basically through his whole life to direct the German world view to the British thinking. The British thinking, the British empiricism flows into Ernst Haeckel's writings completely. He now rails against England the most. These are processes which take place in the subconscious of the soul of the Central European; these are also matters which are tightly connected in such a soul with karma. Consider please what it means that Haeckel places himself before the world and says, he himself has accomplished the first great action of the great researcher Huxley, while he stamped the sentence of the similarity of the human bone and the animal bone; that he, Haeckel, then has pointed to the big change in the view of the origin of the human being, and that he accepted nothing in the evolution theory but what came from the West.—Then one sees that he is urged now to rail against that what has constituted his whole intellectual life. It is the most tragic event of the present for such a soul which can be only thought. It is spiritual dynamite, because it bursts, actually, all supporting pillars on which such a soul stands.

Thus you can, actually, look into the depths of the present dreadful events. Only if you really consider the matters that way, are you able to consider them beyond a narrow horizon under which they are often considered today. You will be able to learn a lot—and this will be the nicest, at the same time the most humiliating and the loftiest teaching. For this teaching the prevailing active world spirit determined the Central European human being who is now embraced by the Midgard Snake, enclosed like in a fortress, surrounded by enemies everywhere. If the events become a symbol of the deepest world weaving and world being, then only we release ourselves from a selfish view of the present grievous, destiny-burdened events. Then we feel only that we must make ourselves worthy of that what, for instance, Fichte also spoke about in a time in which Germany experienced destiny-burdened days in his Addresses to the German Nation. There he wanted to speak, as he expresses it himself, “for Germans par excellence, of Germans par excellence,” and he spoke like one had to speak of the German par excellence to the German par excellence in those days. But like in those days Fichte spoke of the German mission, of the German range of tasks, we have today to experience the seriousness as the sunrise of the Central European consciousness within the containment by hating enemies. Indeed, a word which is found at the end of Fichte's addresses may be transformed: the spiritual world view must flow into the souls for the sake of humankind's welfare. The world spirit is looking at those who live in Central Europe that they become a mouthpiece for that what he has to say and bring to humankind in continuous revelation.

Without arrogance, without national egoism one can look at that which the sons of Germany and Central Europe have to defend with body, blood and soul generally. However, one has also to realise that. Then only from the immense sacrifices, which must be brought from the sufferings, must that result what serves the welfare of humankind. We stand at a significant threshold. One may characterise this threshold in the human development that one says: in future the abyss must be bridged between the physical and the spiritual worlds, between the physically living and the spiritually living human beings, between the earthly and that what lies beyond the earthly death. A time must come to us as it were when not only the souls are alive to us which walk about in physical bodies, but when we feel being integrated to that bigger world to which also the souls belong living between death and new birth disembodied in our world. The view of the human being has to turn beyond that which sensory-physical eyes are only able to see. Indeed, we are standing at the threshold of this new experience, of this new consciousness. What I said to you of the widening of the consciousness, of the ascending development of the consciousness, this must become a familiar view. The Central European culture prepares itself to make this a familiar view; it really prepares itself for that.

I have shown you how the best heads of the 19th century are afraid even today to get into their consciousness what the soul has in its depths; only its earthly soul forces cannot yet turn the attention to it. That thinking exists, into which the supersensible forces and supersensible beings extend, and this thinking also opens straight away after the human being has gone through the gate of death. The materialists are afraid of admitting that the human consciousness can be extended that really the barrier between the physical and the spiritual experience can fall, between that what lies on this side of death and beyond death. Because they are afraid, they reject it as something fantastic, dream-like, nay as mentally ill. However, one will recognise that the human being when he has gone through the gate of death develops only the forces which he also has now already between birth and death. Only they work in such depths that he does not behold them. They cause processes in him which are done, indeed, in him, but escape his attention in the everyday life. With the forces of thinking, feeling and willing, about which the human being knows, he cannot master the physical-earthly life. If the human being could only think, feel and will, as well as now he is able to do it, he would be never able to develop his body, for example, plastically that the brain matched its dispositions. Formative forces had to intervene there. However, they already belong to that what the soul does no longer perceive in the physical experience what belongs to a more encompassing consciousness than to the segment of consciousness which we have in the everyday life.

When the human being goes through the gate of death, he has not a lack of consciousness, but then he lives at first in a consciousness which is much richer and fuller of contents than the consciousness here in the physical life. Because from a more encompassing consciousness the body cuts out a piece and shows everything that can be shown only in a mirror. However, what is in the body and the human being bears through the gate of death that has an encompassing consciousness in itself. When the human being has gone through the gate of death, he is in this encompassing consciousness. He then does not have not enough, but on the contrary too much, too rich a consciousness. About that I have spoken in my Vienna cycle⁸ at Easter 1914. The human being has a richer consciousness after death. When the often described retrospect, caused by the etheric body, is over, he enters into a kind of sleeping state for a while. However, this is not a real sleeping state, but a state which is caused by the fact that the human being is in a richer consciousness than here on earth. As our eyes are blinded by overabundant light, the human being is blinded by the superabundance of consciousness, and he only must learn to orientate himself. The apparent sleep only consists in the fact that the human being orientates himself in this superabundance of consciousness that he then is able to lessen the superabundance of consciousness to that level he can already endure according to the results of his life. This is the essential part. We do not have not enough, but too much a consciousness, and we are awake when we have lessened our sense of direction to the level we can endure. It is reducing the superabundance of consciousness to the endurable level what takes place after death. You must get such matters clear in your mind by the details of the Vienna cycle.⁹

I want to illustrate that today only with the help of two obvious examples. I could state many such examples, because many of our friends have gone through the gate of death recently and also before. But as a result of characteristic circumstances, just by the fact that it concerns the last deaths, these considerations are more obvious. I would like to take the starting point from such examples to speak to you of that which makes our hearts bleed because it has happened in our own middle out of the circle of our spiritual-scientific movement.

Recently we have lost a dear friend (Sibyl Colazza) from the physical plane, and it was my task to speak words for the deceased at the cremation. There it turned out to me automatically by the impulses of the spiritual world, in such a case speaking clearly enough, as a necessity to characterise the qualities of this friendly soul. We stood—it was in Zurich—before the cremation of a dear member of our spiritual-scientific movement. Because her death occurred on a Wednesday evening and the cremation took place in the early Monday morning, it is comprehensible that the retrospect of the etheric body had already stopped. Actually, without having wanted it, I was induced by the spiritual world to begin and close the obituary with words which should characterise the internal being of this soul. This internal being of the friend deceased in the middle of life was real that I had to delve in this being and to create it spiritually by identification with this being. That means to let the thinking dive in the soul of the dead and that what wove in the soul of the dead let flow into the own thoughts. Then I got the possibility to say as it were in view of this soul how the soul was in life and how it is still now after death. It has turned out by itself to dress that in the following words. I had to say the subsequent words at the beginning and at the end of the cremation:

You walked among us.
Your being's gentle spirit
Spoke through the quiet power of your eyes—
Ensouled, alive, peace
Flowed in waves,
With your glance
To things and people
Bearing your inner weaving;
And your voice ensouled this being—
Your voice that eloquently,
More in the kind of words
Than in the words themselves,
Revealed what worked hidden
Within your beautiful soul;
Yet your sacrificial love
Unveiled itself completely
To sympathetic people without words—
This being, who, from noble, quiet beauty,
Heralded the sensitive awareness
Of worlds-and-souls creation.

The being of this soul appeared to me that way during the days before the cremation, when I identified myself with it, after the retrospect of the etheric body was over. The soul was not yet able to orientate itself in the superabundance of consciousness. It was sleeping as it were when the body was about to be cremated. The above-mentioned words were spoken in the beginning and at the end of the cremation. Then it happened that the flame—that what looks like the flame, but it is not—grasped the body, and while the body was grasped from that what looks like the flame what is, however, only the ascending warmth and heat, the soul became awake for a moment. Now I could notice that the soul looked back at the whole scene which had taken place among the human beings who were at the cremation. And the soul looked particularly back at that what had been spoken, then again it sank back into the superabundance of consciousness, you may say: in the unconsciousness. A moment later, one could perceive when such a looking back was there again. Then such moments last longer and longer, until finally the soul can orientate itself entirely in the superabundance of consciousness.

But one can recognise something significant from that. I could notice that the words spoken at the cremation lighted up the retrospect, because the words have come from the soul itself which had something awakening in them. From that you can learn that it is most important after death to overlook your own experience. You have to begin as it were with self-knowledge after death. Here in the life on earth you can miss self-knowledge, you can miss it so thoroughly that is true what a not average person, also a not average man of letters, but a famous professor of philosophy, Dr. Ernst Mach¹⁰—not Ferdinand Maack, I would not mention him—admits in his Contributions to the Analysis of Sensations, a very famous work: as a young man I crossed a street and saw a person suddenly in a mirror who met me. I thought: what an unpleasant, disgusting face. I was surprised when I discovered that I had seen my own face in the profile.—He had seen his own face which he knew so little that he could make this judgment. The same professor tells how it has happened to him later when he was already a famous professor of philosophy that he got in a bus after a long trip, surely exhausted, there a man also got in from the other side—there was a big mirror opposite,—and he confesses his thoughts quite sincerely, while he says that he thought: what a disagreeable and down-and-out schoolmaster gets in there?—Again he recognised himself, and he adds: so I recognised the type better than the individual.—This is a nice example of how little the human being already knows himself by his external figure in life if he is not a flirtatious lady who often looks in the mirror.—But much less the human being knows the qualities of his soul. He passes those even more. He can become a famous philosopher of the present without self-knowledge. But the human being needs this self-knowledge when he has passed through the gate of death.

The human being must look back just at the point of his development from which he has gone through death, and he must recognise himself there. As little the human being, who stands in the physical life and looks back with the usual forces of life is able to see his own birth, as little this stands before the usual soul-forces—there is no one which can look back with the usual soul-forces at the physical birth,—in the same way it is necessary that the moment of death is permanently there at which one looks back. Death stands always before the soul's eyes as the last significant event. This death, seen from the other side, seen from beyond, is something different than that from the physical side. It is the most beautiful experience which can be seen from the other side, from the side of the life between death and new birth. Death appears as the glorious picture of the everlasting victory of the spiritual over the physical. Because death appears as such a picture, it wakes up the highest forces of the human nature permanently when this human nature lives in the spirituality between death and new birth. That is why the soul looking back or striving for looking back must look at itself at first. Just in these cases which we have gone through recently it was clear in which way the impulse originated to characterise this soul. The so-called living human being works together with the so-called dead that way. More and more such a relation will come from the so-called living to the so-called dead.

We experienced another case in the last time, that of our dear friend Fritz Mitscher. Even if Fritz Mitscher is less known to the local friends, nevertheless, he worked by his talks among many other anthroposophists, by that what he performed wonderfully from friend to friend by the way he familiarised himself with the anthroposophical life. His character has just to be regarded as exemplary, because he whose soul forces were directed to go through a learnt education was keen to take up and collect everything in himself according to his disposition of scholarship, to embrace it intimately in his soul-life, to insert it then in his spiritual-scientific world view. We need this kind of work, in particular, while we want to carry the spiritual-scientific ideals into future in a beneficial way. We need human beings, who try to penetrate the education of our time with understanding to immerse it in the stream of spiritual education; who offer that as it were as a sacrifice. Also there—and I speak only of matters that resulted from karma with necessity—karma caused that I had to speak at the cremation. Out of internal necessity it turned out that I had to characterise the being of our dear friend again in the beginning and at the end of the funeral speech. I had to characterise this being:

A hope, filling us with happiness:
You entered the field
Where, through the power of soul being,
Earth's spirit blossoms
Reveal themselves to investigation.

Your longing was bound from the beginning
To pure truth-loving being;
To create out of spirit-light
Was the earnest life goal
For which you strove without rest.

You nurtured your beautiful gifts
To tread with steady steps
Bright paths of spirit-knowledge
As truth's true servant

You trained your spirit-organs
That, with courage and persistence,
On both sides of the path
Repelled error for you
And made a space for truth for you.

For you, to form your Self
For the revelation of pure light
So the soul's sun-power
Might shine mightily within you
Was your life's concern and joy.

Other cares, other joys
Barely touched your soul,
For knowledge seemed to you to be
The light that gives existence meaning,
Seemed to you life' s true value.

A hope, filling us with happiness:
You entered the field
Where, through the power of soul being,
Earth's spirit blossoms
Reveal themselves to investigation.

A loss that pains us deeply,
You disappeared from the field
Where the Spirit's earthly kernels
In the womb of soul being
Ripened your senses for the spheres.

Feel how we lovingly gaze
Into the heights that now
Call you to other works.
Give to the friends left behind
Your power from spirit-realms,

Hear our souls' entreaties
Sent to you in confidence and trust:
For our earthly work here we need
Strong forces from spirit-lands,
For which we thank dead friends.

A hope, filling us with happiness,
A loss that pains us deeply:
Allow us to hope, that you, far-near,
Un-lost, light our life
As a soul-star in spirit-realm.

In the following night the soul which was not yet able to orientate itself returned of own accord something like an answer what is connected with the verses, which were directed to its being at the cremation. Such words like those are spoken that the own soul writes them down really without being able to add a lot. The words are written down while the soul oriented itself to the other soul, out of the other soul. It was unclear to me at all that two stanzas are built in a quite particular way, until I heard the words from the friend's soul who had gone through the gate of death:

For me, to form my Self
For the revelation of pure light
So the soul's sun-power
Might shine mightily within me
Was my life's concern and joy.

Other cares, other joys
Barely touched my soul,
For knowledge seemed to me to be
The light that gives existence meaning,
Seemed to my life's true value.

I could only know now, why these stanzas are built that way; I spoke them exactly the same:

For you, to form your Self
For the revelation of pure light
So the soul's sun-power
Might shine mightily within you
Was your life's concern and joy.

However, any “you” came back as “I,” any “your” came back as “my;” thus they returned transformed, expressed by the soul about its own being.

This is an example in which way the correspondence takes place, in which way the mutual relation already exists between the world here and the world there in the time after death. It is connected with the meaning of our spiritual-scientific movement that this consciousness penetrates the human souls. Spiritual science will give humankind the consciousness that the world of those who live between death and a new birth also becomes a world in which we know ourselves connected with them. Thus the world extends from the narrow area of reality in which the human being lives provisionally. However, this is connected intimately with that what should be in Central Europe. Somebody who has well listened finds just in the words directed to Fritz Mitscher's soul what is deeply connected with this meaning of our spiritual-scientific movement, because the words are spoken from a deep internal necessity:

Hear our souls' entreaties
Sent to you in confidence and trust:
For our earthly work here we need
Strong forces from spirit-lands,
For which we thank dead friends.

Sometimes one may doubt, even if not in reality but concerning the interim period, whether the souls, which are embodied in the flesh here on earth, do really enough for the welfare of humans and earth what must necessarily be made concerning the spiritual comprehension of the world. However, somebody who is engaged completely in the spiritual-scientific movement may also not despair. For he knows that the forces of those who ascended into the spiritual worlds are effective in the current, in which we stand in this incarnation. In their previous lives those souls felt stronger here because they had taken up spiritual science in themselves. It is as if one communicates with a friend's soul who has gone through the gate of death if one says to him what one owes to the friend's force for the spiritual movement, if one is able to communicate as it were with the soul to remain united with its forces. We have it always among us, so that it always works on among us. We take up not only ideas, concepts and mental pictures in our spiritual science, that does not only concern, but we create a spiritual movement here on earth to which we really bring in the spiritual forces.

It suggests itself to us just at this moment, out of the sensations which perhaps inspire our local friends to turn the thoughts to the soul of somebody who has always dedicated his forces to this branch. We want to feel united also with him and his forces, after he has gone through the gate of death; therefore, we get up from our seats. The Leipzig friends know of which friendly soul I am speaking, and they have certainly turned their thoughts to this soul with moved hearts.

It was my responsibility to bring these ideas home to you today, while we were allowed to be together. These words were inspired through the consciousness that the grievous and destiny-burdened days in which we live must be replaced again with such which will pass in peace on earth in which the forces of peace will work. But a lot will be transformed, nay, must absolutely be transformed by that what happens now in the earthly life of humankind. We who bear witness to spiritual science must particularly keep in mind how much it depends on the fact that must take place on the ground—for which so much blood flows for which so often now souls go through the gate of death on which so many fathers and mothers, brothers and sisters, sons and daughters are mourning—what can be done by those whose souls can be illumined through the forward-looking thoughts of spiritual science.

Those thoughts which come from the consciousness of the living relationship of the human soul with the spiritual world have to ascend from the earth into the spiritual heights. Souls now enter these spiritual worlds, and there will be spiritual forces which are produced just by our destiny-burdened days. Imagine how many people go through the gate of death in the prime of their lives in this time. Imagine that the etheric bodies of these human beings who go between their twentieth and thirtieth years, between their thirtieth and fortieth years through the gate of death are etheric bodies which could have supplied the bodies still for decades here in the physical life. These etheric bodies are separated from the physical bodies; however, they keep the forces still in themselves to work here for the physical world. These forces keep on existing in the spiritual worlds, separated from the unused etheric bodies of the souls which went through the gate of death. The bright spirituality of the unspent etheric bodies of the heroic fighters turns to the spiritual welfare and progress of humankind. However, that what flows down there has to meet the thoughts coming from the souls which—aware of spirit—they can have by spiritual science. Hence, we are allowed to summarise the thoughts of which we made ourselves aware today in some words showing the interrelation of the consciousness based on spiritual-scientific ideas with the present events. They express how for the next peacetime the room has to be filled with thoughts which have ascended from souls to the spiritual worlds, from souls which experienced spiritual science. Then that can flourish and yield fruit in the right sense what is gained with so big sacrifices, with blood and death in our time, if souls are found, aware of spirit, which turn their senses to the realm of spirits. That is why we are allowed to say taking into account the grievous and destiny-burdened days today:

From the courage of the fighters,
From the blood of the battles,
From the grief of the bereaved,
From the nation's sacrifices
Will grow up the fruits of spirit
If souls aware of spirit turn
Their senses to the spirit-land.

• 1. Serbia refuses the ultimatum of Austria-Hungary
• 2. conversation with Eckermann, 1st September 1829
• 3. letter to Zelter, 20th February 1828
• 4. cf. the lecture On the Mystery Dramas “The Portal of Initiation” and “The Soul's Probation” 19th December 1911, Steiner's Collected Works volume 127
• 5. Ludwig Feuerbach (1804–1872): the censorship confiscated his writing Thoughts on Death and Immortality (Nuremberg, 1830)
• 6. The Bearing Force of the German Spirit. Lecture of the same title in Berlin, 25th February 1915, in Steiner's Collected Works volume 185
• 7. George M. S. Mead: last private secretary of H. P. Blavatsky. He left the Theosophical Society later.
• 8. Inner Nature of Man and Life Between Death and Rebirth, eight lectures (Vienna, 1914), Steiner's Collected Works volume 153
• 9. Inner Nature of Man and Life Between Death and Rebirth, eight lectures (Vienna, 1914), Steiner's Collected Works volume 153
• 10. Ernst Mach (1838–1916), Austrian physicist and philosopher

I consider it a particular honor to be able to speak to you about the relationship of my work in spiritual science to your pedagogical work. You will allow me to make two introductory remarks. The first is that I will, of course, need to clothe my thoughts in apparently theoretical words and ideas, since to discuss points of view, we need words. However, I expressly note that I do not speak theoretically. I would not even speak about today’s topic if I did not direct a portion of my activity toward the practical, particularly concerning educational methods and their effectiveness. Thus, what I wish to bring to you today comes directly from practice.

The second thing I would like to say is that at present spiritual science is extremely controversial. I therefore can quite understand (especially because I represent spiritual science) that there may be many objections today because its methods are, in many cases, foreign to modern points of view. Perhaps we can help make spiritual science more understandable through the way we introduce it and attempt to make it a true living force in such an important practical area as education.

Can we name any areas of life that are unaffected by pedagogical activities and interests? At an age when children can develop themselves into everything possible, we entrust them to those who act as teachers. Teachers can provide what humanity needs only through the warmest participation in the totality of human life. When I speak about the special topic of spiritual science and pedagogy, I do this because, particularly now, the science of the spirit should become an active part of life. Spiritual science should be present to reunite the separate human cultural interests that have been driven apart in the last centuries, particularly in the nineteenth century. Through spiritual science, through a concrete point of view, we can unite the specialties without becoming paralyzed by the requirements of specialization. Today, there is also a very important reason to think about the relationship of spiritual science to pedagogy: education has influenced all human thinking and activity, including modern science and its great achievements.

More than people know, the scientific way of thinking that has led to such glorious results in science has won influence over everything we do, particularly over what we do in education. Although I am unable to develop the foundations of spiritual science here, I wish to take note of one thing, namely, the relationship of the scientific method to life.

Think, for example, about the human eye, this marvel through which we experience the outside world in a particular realm of the senses. The eye, this marvelous organ, is constructed so as to see the world and at the same time (I speak comparatively) always to forget itself in this seeing. In a sense, when we really want to investigate this instrument of external vision, we must completely reverse the standpoint of observation that modern science can only approximate. While seeing, we cannot at the same time look back at the essence of our eyes. We can use this picture to relate the scientific method to life. In modern times we have carefully and conscientiously developed the scientific method so that it gives the different sciences an objective picture of the external world. In doing this, we have formed a basic mood of soul such that we forget the human self in the scientific observation of the world, such that we forget everything directly connected with human life. Thus, it has come about that the more we develop in a modern scientific sense, the less we can use this science to see what is human.

The desire of spiritual science to bring about that reversal of observation that again turns to human beings arises from an understanding of science that goes beyond the understanding conventional science has of itself. This reversal can only occur when people go through those stages of soul life that I have described in How 7o Know Higher Worlds, and in an abbreviated form have indicated in the second part of An Outline of Occult Science.These are the processes that really carry this life of the human soul beyond normal life, and beyond the normal scientific world.

To come to such a manner of looking at things, you must have what I would like to call intellectual modesty. In a recent public lecture here, I gave a picture of what is necessary. Suppose, for example, we observe a five-year-old child. Suppose we put a book of Goethe’s lyrical poetry in the hands of a fiveyear-old child. This book of Goethe’s poems contains a whole world. The child will take the book in hand and play around with it, but will not perceive anything that actually speaks to people from this volume. However, we can develop the child, that is, we can develop the soul powers sleeping in the child, so that in ten or twelve years the child can really take from the volume what it contains. We need this attitude if we are to find our way to the science of the spirit. We must be able to say to ourselves that even the most careful education of our intellect, of our methods of observation and experimentation, brings us only so far. From there on, we can take over our own development. From that stage on, we can develop the previously sleeping forces ourselves. Then we will become aware that previously we stood in the same relationship to the external nature of our spirit-soul being, particularly the essence of our humanity, as the five-year-old child to the volume of Goethe's lyrical poetry. In essence and in principle, everything depends upon a decision for intellectual modesty, so that we can find our way to the science of the spirit.

We achieve the capacity to really observe ourselves, to observe the human being, when we practice specific thinking, feeling and willing exercises developed to make thinking independent, to train the will, when we become increasingly independent from physical willing and thinking. If we can observe the human being, then we can also observe what is so extremely important, the developing human. Today, there is certainly much talk about the spirit, talk about independent thinking. The science of the spirit cannot agree with this talk for a simple reason. Spiritual science develops inner spiritual techniques to grasp and understand concrete spirituality, not the spirit about which people speak nebulously as forming the basis of things and people. Spiritual science must go into detail concerning the essence of the human being.

Today, we want to speak about the essence of the developing human. I would say that people speak quite abstractly about human individuality and its development. However, they are quite correctly conscious that the teacher especially needs to take the development of this human individuality into account. I only wish to point out that insightful teachers are very clear about how little our modern science of education is able to identify the orderly stages of human development. I would like to give two examples. The oft-mentioned Viennese educator Theodor Vogt represented the reformed Herbartian school of thought. He said that we are not advanced enough in our understanding of human history to derive a view of child development from human historical development in the same way biologists derive the individual human embryonic development from the development of the species. The pedagogue Rein repeated this point of view. It culminates in accepting that today we do not have research methods of any sort that could identify the basis of human development. The development of such capacities as those I have just cursorily mentioned (you can read more in my books) enables us to approach the riddle that meets us so wonderfully when we observe how, from birth onward, an inner human force increasingly appears in every gesture. In particular, we can see how it manifests through speech, through the relationships of people with their surroundings, and so forth. Usually people observe the different manifestations of human life much too superficially, both physiologically and biologically. People do not form a picture of the whole human being in which the body, soul and spirit intertwiningly affect one another. If you wish to teach and educate children as they need, you must form such a picture.

Now those who, strengthened by spiritual scientific methods, observe the developing child will find an important developmental juncture at approximately the time of the change of teeth, around six or seven years of age. There is an oft-quoted saying that nature makes no leaps. To a certain degree, this is quite correct. However, all such views are basically one-sided. You can see their correctness only if you recognize their one-sidedness, for nature continuously makes leaps. Think about a growing plant, to name only one example. Fine. You can use this saying, nature makes no leaps. However, in the sense of Goethe’s law of metamorphosis, we must say that, despite the fact that the green leaf is the same as the colorful flower petal, nature does make a leap from the leaf to the colorful petal, and yet another leap from the petal to the stamen, and another quite special leap to the fruit. We do not get along well in life if we abstractly adopt the point of view that nature, or life in general, does not make leaps. And this is particularly true with people. Human life flows along without leaps, but in this other sense, there are such leaps everywhere.

Around the age of six or seven there is a particularly important turning point that has far-reaching consequences for human structure and function. Modern physiology does not yet have a correct picture of this. Something also occurs in people in the spirit-soul realm. Until this time, human beings are fundamentally imitative beings. The constitution of their body and soul is such that they totally devote themselves to their surroundings. They feel their way into the surroundings. They develop themselves from the center of their will so that they mold the force lines and force rays of their will exactly to what occurs in their surroundings. More important than everything that we can bring to the child through reprimanding words, through preaching in this stage, is the way in which we ourselves behave in the presence of the child. Since the intangibles of life act much more strongly than what we can clearly observe on the surface, we must say that what the child imitates does not depend only upon the observable behavior of people. In every tone of speech, in every gesture that we as teachers use in the presence of the child during this stage, lies something to which the child adapts itself. As human beings we are much more than we know by the external reflection of our thoughts. In life we pay little attention to how we move a hand, but the way we move a hand is the faithful reflection of the whole state of our souls, the whole reflection of our inner mood. As adults with developed soul lives we pay little attention to the connection between the way we step forward with our legs, the way we gesture with our hands, the expressions on our faces, and the will and feeling impulses that lie in our souls. The child, however, lives into these intangibles. We do not exaggerate when we say that those in the young child’s surroundings who inwardly strive to be good, to be moral, who in their thinking and feeling consciously intend to do the child no wrong, even in what is not spoken—such people affect the child in the strongest possible manner through the intangibles of life.

In this connection we must pay attention to what, if I may express myself so, actually lies between the lines of life. In that we slowly find ourselves caught in the web of a more materialistic life, particularly in relation to the intimacies of existence, we become accustomed to paying relatively little attention to such things. Only when we value such things again will a certain impulse enter pedagogy, an impulse particularly necessary in a time that refers to itself as social, as a socially minded period.

You see, people cannot correctly value certain experiences if they do not take into account observations of the spirit-soul nature that is the foundation of human beings. I am speaking to you about everyday events. A despairing father comes, for example, and says, “What shall I do? My child has stolen something!” We can, of course, understand how a father can despair about such things. But, now we attempt to understand the situation better. We can say, “Yes, but what were the complete circumstances?” The child simply took some money from the drawer. What did the child do with the money? The child bought something for a friend, candy, for instance. So, the child did not steal for selfish reasons. Thus, we might possibly say the child did not steal at all. There can be no talk about the child having stolen. Every day the child has seen that Mother goes to the drawer and takes money out. The child has seen that as something normal and has only imitated. This is something that has resulted from the forces that are the most important at this stage, imitation and mimicking. If you direct the child properly in this sense, if you know how to properly direct the child’s attention, then this attention will be brought to all sorts of things that will have an important influence at this stage.

We must be quite conscious that reprimands and preaching at this stage do not help. Only what affects the will can help. This human characteristic exists until the moment when the remarkable physiological conclusion of childhood occurs, when “hardening” makes its final push and the permanent teeth crystallize out of the human organism. It is extremely interesting to use spiritual scientific methods to look at what lies at the basis of the developing organism, what forms the conclusion, the change of teeth. However, it is more important to follow what I have just described, the parallel spirit-soul development that arises completely from imitation.

Around the age of seven, a clear change in the spirit-soul constitution of the child begins. We could say that at this age the capacity to react to something quite differently than before emerges. Previously, the child’s eye was intent upon imitating, the child’s ear was intent upon imitating. Now the child begins to concentrate upon what adults radiate as opinion, as points of view. The child transforms its desire to imitate into devotion to authority. 1 know how unpleasant it is for many modern people when we make authority an important factor in education. However, if we wish to represent the facts openly and seriously, programs and slogans cannot direct us. Only empirical facts, only experience can be our guides. We need to see what it means when children have been guided by a teacher they can look up to because this teacher is a natural authority for them. That the developing human can take something into its thoughts, can live into something, because the respected adult has these thoughts and feelings, because there is a “growing together” between the developing being and the adult being, is of great importance in the development of the child. You can know what it means for the whole later life of the child only when you (I want to say this explicitly) have had the luck of having been able to devote yourself to a natural authority in the time between the transformation at around six or seven years of age and the last great transformation around the time of puberty, at about fourteen or fifteen years of age.

The main thing is not to become mired in such abstractions, but instead to enter into this very important stage of life that begins around the age of six or seven years and concludes with puberty. At this age the child, having been properly raised or spoiled through imitation, is turned over to the school by the parents. The most important things for the child’s life occur in this period. This is quite true if we keep in mind that not only each year, but each month, the teacher must carefully discover the real essence of developing children. This discovery must be not only general, but as far as possible in large classes, the teacher should also carefully consider each individual child. After the child enters school, we see the residual effects of the desire to imitate alongside the beginning devotion to authority until around the age of nine (these things are all only approximate, of course). If we can properly observe the interaction of these two basic forces in the growing child, then the living result of this observation forms the proper basis not only for the teaching method, but also for the curriculum.

Excuse me if I interject a personal remark, but I encountered this very question when the Waldorf School was formed this year. Through the understanding accommodation of our friend Emil Molt and the Waldorf-Astoria firm in Stuttgart, we were able to bring a complete unified elementary school to life. We were able to bring to life a school that, in its teaching methods and in the ordering of its curriculum, is to result entirely from what the science of the spirit can say about education. In September of this year it was my pleasure to hold a seminar for the faculty I assembled for this school. All of these questions came to me in a form very fitting to our times. What I want to talk to you about now is essentially an extract of everything given to the faculty during that seminar. These teachers are to guide this truly unified elementary school according to the needs of spiritual science and contemporary society.¹

We concerned ourselves not only with teaching methods, but particularly with creating the curriculum and teaching goals from a living observation of growing children. If we look at the growing child, we will find that after the age of six or seven much still comes from that particular kind of will that alone makes the child’s desire to imitate possible to the degree I described previously. It is the will that forms the basis of this desire to imitate, not the intellect. In principle, the intellect develops from the will much later. That intimate bond between one human being, the adult teacher, and another human being, the growing child, is expressed in a relationship between will and will. Thus, we can best reach the child in these first elementary school years when we are able to properly affect the will.

How can we best affect the will? We cannot affect the will if during these years we emphasize outer appearances too strongly, if we turn the child’s attention too strongly to material life. It turns out that we come particularly close to the will if in these first years we allow education to be permeated by a certain aesthetic artistry. We can really begin from this aesthetic artistry. We cannot, for example, begin with that teaching of reading and writing that does not arise from the proper connection between what we teach and the powers that come from the core of the child’s soul. The letters and characters used in reading and writing consist of something quite removed from life. You need only look back at earlier characters (not those of primitive peoples, but, for example, those of the highly developed Egyptian culture) to see that writing was still quite artistically formed. In the course of time, this has been lost. Our characters have become conventions. On the other hand, we can go back to the direct primary relationship that people once had to what has become writing. In other words, instead of giving abstract instruction in writing, we can begin to teach writing through drawing. We should not, however, teach through just any drawings, but through the real artistic feeling in people that we can later transform into artistically formed abstract characters for the growing child. Thus, you would begin with a kind of “written drawing” or “drawn writing,” and extend that by bringing the child true elements of the visual arts of painting and sculpture.

Psychologists who are genuinely concerned with the life of the soul know that what we bring to the child in this way does not reach simply the head, it reaches the whole person. What is of an intellectual color, what we permeate only with intellect, and particularly with convention, like the normal letters of reading and writing, reaches only the head. If we surround the instruction of these things with an artistic element, then we reach the whole person. Thus, a future pedagogy will attempt first to derive the intellectual element and the illustrative material from the artistic.

We can best take into account the interaction of the principles of authority and imitation if we approach the child artistically. Something of the imitative lies in the artistic. There is also something in the artistic that goes directly from subjective person to subjective person. What should act artistically must go through the subjectivity of people. As people with our own inner essence, we face the child quite differently when what we are to bring acquires an artistic form. In that way, we first pour our substance into what must naturally appear as authority. This enables us not to appear as a simple copy of conventional culture and the like, but humanly brings us closer to the child. Under the influence of this artistic education, the child will live into a recognition of the authority of the teacher as a matter of course.

At the same time, this indicates that spirit must prevail since we can teach in this way only when we allow what we have to convey to be permeated by spirit. This indicates that spirit must prevail in the entire manner of instruction, that we must live in what we have to convey. Here again I come to something that belongs to the intangibles of teaching life. People so easily believe that when they face the child they appear as the knowing, superior person before the simple, naive child. This can have very important consequences for teaching. I will show this with a specific example I have used in another connection in my lectures. Suppose I want to convey the concept of the immortality of the soul to a child. Conforming myself to the child’s mood of soul, I give the example by presenting a picture. I describe a cocoon and a butterfly creeping from it in a very pictorial way. Now, I make clear to the child, “In the same way that the butterfly rests in this cocoon, invisible to the eye, your immortal soul rests in your body. Just as the butterfly leaves the cocoon, in the same way, when you go through the gates of death, your immortal soul leaves your body and rises to a world that is just as different as the butterfly’s.”

Well, we can do that, of course. We think out such a picture with our intellect. However, when we bring this to the child, as “reasonable” people we do not easily believe it ourselves. This affects everything in teaching. One of the intangibles of education is that, through unknown forces working between the soul of the child and the soul of the teacher, the child accepts only what I, myself, believe.

Spiritual science guides us so that the picture I just described is not simply a clever intellectual creation.We can recognize that the divine powers of creation put this picture into nature. It is there not to symbolize arbitrarily the immortality of the soul in people, but because at a lower level the same thing occurs that occurs when the immortal soul leaves the body. We can bring ourselves to believe in the direct content of this picture as much as we want, or better, as much as we should want the child to believe it. When the powers of belief prevail in the soul of the teacher, then the teacher affects the child properly. Then the effectiveness of authority does not have a disadvantage, but instead becomes a major, an important, advantage.

When we mention such things, we must always note that human life is a whole. What we plant into the human life of a child often first appears after many, many years as a fitness for life, or as a conviction in life. We take so little note of this because it emerges transformed. Let us assume we succeed in arousing a quite necessary feeling capacity in a child, namely the ability to honor. Let us assume we succeed in developing in the child a feeling for what we can honor as divine in the world, a feeling of awe. Those who have learned to see life’s connections know that this feeling of awe later reappears transformed, metamorphosed. We need only recognize it again in its transformed appearance as an inner soul force that can affect other people in a healthy, in a blessed, manner. Adults who have not learned to pray as children will not have the powers of soul that can convey to children or younger people a blessing in their reprimands or facial expressions. What we received as the effect of grace during childhood transforms itself through various, largely unnoticed, phases. In the more mature stages of life it becomes something that can give forth blessing.

All kinds of forces transform themselves in this way. If we do not pay attention to these connections, if, in the art of teaching, we do not bring out the whole, wide, spiritually enlightened view of life, then education will not achieve what it should achieve. Namely, it will not be able to work with human developmental forces, but will work against them.

When people have reached approximately nine years of age, they enter a new stage that is not quite so clearly marked as the one around the age of seven years. It is, however, still quite clear. The aftereffects of the desire to imitate slowly subside, and something occurs in the growing child that, if we want to see it, can be quite closely observed. Children enter into a specific relationship to their own I. Of course, what we could call the soul relationship to the I occurs much earlier. It occurs in each persons life at the earliest moment he or she can remember. This is approximately the time when the child goes from saying, “Johnny wants this,” “Mary wants this,” to saying “I want this.” Later, people remember back to this moment. Earlier events normally completely disappear from memory. This is when the ensouled I enters the human being. However, it has not completely entered spiritually. We see what enters the human soul constitution spiritually as the experiencing of the I that occurs in the child approximately between nine and ten years of age. People who are observers of the soul have at times mentioned this important moment in human life. Jean Paul once so beautifully said that he could remember it quite exactly. As a young boy, he was standing before a barn in the courtyard of his parents’ home, so clearly could he recall it. There, the consciousness of his I awoke in him. He would never forget, so he told, how he looked through the veil at the holy of holies of the human soul.

Such a change occurs around the age of nine, in one case clearly, in another case less clearly. This moment is extremely important for the teacher. If you have previously been able to arouse in the growing child feelings tending in those directions of the will called religious or moral that you can bring forth through all your teaching, then you need only be a good observer of children to allow your authority to be effective when this stage appears. When you can observe that what you have previously prepared in the way of religious sensitivities is solidly in place and comes alive, you can meet the child with your authority.

This is the time that determines whether people can honestly and truly look from their innermost depths to something that divinely courses through the spirit and soul of the world and human life. At this point, those who can place themselves into human life through a spiritual point of view will, as teachers, be intuitively led to find the right words and the right behavior. In truth, education is something artistic. We must approach children not with a standardized pedagogy, but with an artistic pedagogy. In the same way that artists must be in control of their materials, must understand them exactly and intimately, those who work from the spiritual point of view must know the symptoms that arise around the age of nine. This is the time when people deepen their inner consciousness so that their Iconsciousness becomes spiritual, whereas previously it was soulful. Then the teacher will be able to change to an objective observation of things, whereas previously the child required a connection to human subjectivity. You will know, when you can correctly judge this moment, that prior to this you should, for example, speak to children about scientific things, about things that occur in nature, by clothing them in tales, in fables, in parables. You will know that all natural objects are to be treated as having, in a sense, human characteristics. In short, you will know that you do not separate people from their natural surroundings. At that moment around the age of nine when the I awakens, human beings separate themselves from the natural environment and become mature enough to objectively compare the relationships of natural occurrences. Thus, we should not begin to objectively describe nature before this moment in the child’s life. It is more important that we develop a sense, a spiritual instinct, for this important change.

Another such change occurs around eleven or twelve years of age. While the child is still completely under the influence of authority, something begins to shine into life that is fully formed only after sexual maturity. The child’s developing capacity to judge begins to shine in at this time. Thus, as teachers we work so that we appeal to the child’s capacity for judgment, and we allow the principle of authority to recede into the background. After about twelve years of age, the child’s developing capacity for judgment already plays a role. If we correctly see the changing condition of the child’s soul constitution, then we can also see that the child develops new interests. The child previously had the greatest interest, for example, in what we (of course, in a manner understandable to a child) brought in describing natural sciences. Only after this change, around eleven or twelve years of age, does this interest (I understand exactly the importance of what I say) develop into a true possibility of understanding physical phenomena, of understanding even the simplest physical concepts.

There can be no real pedagogical art without the observation of these basic underlying rhythms of human life. This art of education requires that we fit it exactly to what develops in a human being. We should derive what we call the curriculum and educational goals from that. What we teach and how we teach should flow from an understanding of human beings. However, we cannot gain this understanding of human beings if we are not able to turn our view of the world to seeing the spiritual that forms the basis of sensible facts. Then it will become clear to us that the intangibles that I have already mentioned really play a role, particularly in the pedagogical art.

Today, where our pedagogical art has developed more from the underlying scientific point of view, we place much value upon so-called visual aids (this is the case, although we are seldom conscious of it).² I would ask you not to understand the things I say as though I want to be polemic, as though I want to preach or derogatorily criticize. This is not at all the case. I only wish to characterize the role that the science of the spirit can have in the formation of a pedagogical art. That we emphasize visual aids beyond their bounds is only a result of the common way of thinking that has developed from a scientific point of view, from scientific methods. However (I will say this expressly), regardless of how justified it is to present illustrative materials at the proper time and with the proper subjects, it is just as important to ask if everything we should convey to the child can be conveyed by demonstration. We must ask if there are no other ways in which we can bring things from the soul of the teacher to the soul of the child. We must certainly mention that there are other ways. I have, in fact, mentioned the all-encompassing principle of authority that is active from the change of teeth until puberty. The child accepts the teacher’s opinion and feeling because they live in the teacher. There must be something in the way the teacher meets the child that acts as an intangible. There must be something that really flows from an all-encompassing understanding of life and from the interest in an all-encompassing understanding of life. I have characterized it by saying that what we impart to children often reveals itself in a metamorphosed form only in the adult, or even in old age.

For example, there is one thing people often do not observe because it goes beyond the boundaries of visual aids. You can reduce what you visually present the child down to the level the child can comprehend. You can reduce it to only what the child can comprehend, or at least what you believe the child can comprehend. Those who carry this to an extreme do not notice an important rule of life, namely, that it is a source of power and strength in life if you can reach a point, for example at the age of thirty-five, when you say to yourself that as a child you learned something once from your teacher, from the person who educated you. You took it into your memory and you remembered it. Why did you remember it? Because you loved the teacher as an authority, because the essence of the teacher so stood before you that it was clear to you when that teacher truly believed something, you must learn it. This is something you did instinctively. Now you have realized something, now that you are mature. You understand it in the way I have described it—"I learned something that I learned because of a love for an authority. Now the strength of maturity arises through which I can recall it again, and I can recognize it in a new sense. Only now do I understand it.”

Those who laugh at such a source of strength have no interest in real human life, they do not know that human life is a unity, that everything is connected. Thus, they cannot value what it means to go beyond normal visual aids, which are completely justifiable within their boundaries. Such people cannot value the need for their teaching to sink deeply into the child’s soul so that at each new level of maturity it will always return. Why do we meet so many inwardly broken people these days? Why do our hearts bleed when we look at the broad areas in need of such tremendous undertakings, while people nonetheless wander around aimlessly? Because no one has attended to developing in growing children those capacities that later in life become a pillar of strength to enable them really to enter into life.

These are the things that we must thoroughly consider when we change from simple conventional pedagogical science to a true art of education. In order for pedagogy to be general for humanity, teachers must practice it as an individual and personal art. We must have insight into certain inner connections if we want to understand clearly what people often say instinctively but without clear understanding. Today, with some justification, people demand that we should not only educate the intellect. They say it is not so important that growing children receive knowledge or understanding. What is important is that they become industrious people, that the element of will be formed, that real dexterity be developed, and so forth. Certainly, such demands are quite justifiable. What we need to realize though, is that we cannot meet such demands with general pedagogical phrases or standards; we can only meet them when we really enter into the concrete details of human developmental stages. We must know that it is the artistic aesthetic factor that fires the will, and we must be able to bring this artistic aesthetic factor to the will. We must not simply seek an external gateway to the will. That is what we would seek if we sought out people only through physiology and biology. That is what we would seek if we were not to seek them through the spiritual element that expresses itself in their being and expresses itself distinctly, particularly in childhood. There is much to be ensouled, to be spiritualized.

In our Waldorf School in Stuttgart, we have attempted for the first time to create something from what is usually based only upon the physiological, at least in its inner strength and its methods. Namely, we have attempted to transform gymnastics into the art of eurythmy. Almost every Saturday and Sunday in Dornach you can see a eurythmy performance. Eurythmy is an art form in which we use the human organism, with its possibilities for inner movement, as an instrument. What you see as an art form also has the possibility of ensouling and spiritualizing human movements that otherwise occur only in gymnastics.

Thus, people not only do what may affect this or that muscle, they also do what naturally flows from this or that feeling of the soul into the movement of the muscles, into the movement of the limbs.

Because it is based upon a spiritual scientific vitalization of life, we are convinced eurythmy will be significant for both pedagogy and healing. We are seeking the necessary healthy relationship between inner experiencing, feeling and expression of soul, and what we can develop in people as movement. We seek to develop these natural connections. We seek through the recognition of the ensouled and spiritualized human being what people usually seek only through physiology or other external facts. We can also affect the will not only when we apply the most common of arts to the principles of teaching in the early elementary school years. We can equally affect the will in a very special way when we allow soul-spirituality to permeate something also thought to cultivate the will, namely, gymnastics. However, we must recognize soul-spirituality in its concrete possibility of effectiveness, in its concrete form.

Thus, we must recognize the connections between two capacities of the human soul. Modern psychology cannot see this because it is not permeated by spiritual science. If we can look objectively at that important moment that I have described as occurring around nine years of age, we will see, on the one hand, that something important happens that is connected with the feeling capacity, the feeling life of the child. People look inwardly. Quite different feeling nuances occur. In a certain sense, the inner life of the soul becomes more independent from external nature in its feeling nuances. On the other hand, something else occurs that we can see only through a truly intimate observation of the soul. Namely, we learn because we still have what we might call an organically developed memory. Jean Paul noticed this and expressed it brilliantly when he said that we certainly learn more in the first three years of our life than in three years at the university. This is so because memory still works organically. We certainly learn more for living. However, around the age of nine a particular relationship forms between the life of feeling and the life of memory that plays more into conscious life.

We need only to see such things. If we cannot see them, then we think they are not there. If you can really see this intimate relationship between the life of feeling and memory, then you will find, if you pay attention, the proper standpoint from which to appeal to memory in your teaching. You should not appeal to memory any differently than you appeal to feeling. You will find the proper nuances, particularly for teaching history, for everything you have to say about history, if you know that you must permeate your presentation of what you want the children to remember with something that plays into their independent feelings. You will also be able to properly order the teaching of history in the curriculum if you know these connections. In this way, you can also gain a proper point of view about what the children should generally remember. You will be able to affect the feeling to the same extent you intend to affect the memory, in the same way you previously affected the will through artistic activity. Slowly, you will gain the possibility, following this stage of life, of allowing will and feeling to affect the intellect. If, in education, we do not develop the intellect in the proper way out of will and feeling, then we work in a manner opposing human developmental forces, rather than supporting them.

You can see that this whole lecture revolves around the relationship of spiritual science to pedagogical art, and how important it is to use spiritual science to provide a true understanding of human beings. In this way we obtain something from spiritual science that enters our will in the same way that artistic talents enter the human will. In this way we can remove ourselves from a pedagogy that is simply a science of convention, that always tells us to teach in this or that manner, according to some rules. We can transplant into the essence of our humanity what we must have in our will, the spiritual permeation of the will, so that from our will we can affect the developmental capacities of the growing child. In this manner, a truly effective understanding of human beings should support education in the spiritual scientific sense. The developing human thus becomes a divine riddle for us, a divine riddle that we wish to solve at every hour. If, with our art of teaching, we so place ourselves in the service of humanity, then we serve this life from our great interest in life.

Here at the conclusion, I wish to mention again the standpoint from which I began. Teachers work with people at that stage of life when we are to implant all the possibilities of life into human nature and, at the same time, to bring them forth from human nature. Then they can play a role in the whole remainder of human life and existence. For this reason we can say there is no area of life that should not, in some way or another, affect the teacher. However, only those who learn to understand life from a spiritual standpoint really understand life. To use Goethe’s expression, only those who can form life spiritually will be able to form life at all. It seems to me that the most necessary thing to achieve now is the shaping of life through a pedagogy practiced more and more in conformity with the spirit. Allow me to emphasize again that what I have said today was not said to be critical, to preach. I said it because, in my modest opinion, the science of the spirit and the understanding that can be gained through it, particularly about the essence of humanity, and thus about the essence of the growing child, can serve the art of education, can provide new sources of strength for the pedagogical art.

This is the goal of spiritual science. It does not desire to be something foreign and distant from this world. It desires to be a leaven that can permeate all the capacities and tasks of life. It is with this attitude that I attempt to speak from spiritual science about the various areas of life and attempt to affect them. Also, do not attribute to arrogance what I have said today about the relationship of spiritual science to pedagogy. Rather, attribute it to an attitude rooted in the conviction that, particularly now, we must learn much about the spirit if we are to be spiritually effective in life. Attribute it to an attitude that desires to work in an honest and upright manner in the differing areas of life, that wishes to work in the most magnificent, the most noble, the most important area of life—in the teaching and shaping of human beings.

Discussion Following the Lecture

W: The speaker says that he listened to Dr: Steiner’s explanation concerning pedagogy with great interest and that the same could be extended to art. He mentions Ferdinand Hodler’s words that what unites people is stronger than what divides them. He then continues—

What unites us all is just that spirituality of which Dr. Steiner has spoken. Modern art also seeks this spirituality again and will find it in spite of all opposition.

I would like to mention something else. We can follow the development of children through their pictures. We often see pictures that children have painted. These pictures tell us something, if we can understand them. I will relate an experience that L, as an art teacher, have had in teaching.

I had a class draw pictures of witches. Each child expressed in the picture of the witch the bad characteristic that he or she also had. Afterward, I discussed this with the class teacher, and he told me that what I saw in the pictures was completely correct. My judgment, based upon the pictures, was completely correct.

Now a short remark concerning the way we can view modern art, the way we must view it. I can show you by means of an example. In front of us we have a blackboard. I can view this blackboard with my intellect, which tells me that this blackboard has four corners with two pairs of parallel sides and a surface that is dark and somber. My feelings tell me something else. My feelings tell me that this black, hard angular form gives me the impression of something heavy, dark, harsh, disturbing. What I first think of in seeing this blackboard, what first comes to mind, is perhaps a coffin.

It is in this way that we must understand modern pictures, no longer through reasoning, but through feeling. What do I feel in this picture, and what thoughts come to mind? We must teach children not so much to see what is externally there, but more to feel.

X: I find myself speaking now due to an inner need. In particular, I wish to express my heartfelt thanks to the lecturer for his beautiful words and for the pictures, ideas and thoughts that he unrolled before our eyes. His words have affected me extremely positively because they come from ideas with which I have concerned myself time and again for many years.

I did not know what “spiritual science” meant. Now I see quite clearly that a close connection exists between spiritual science and pedagogy. This is now my complete conviction. His words have also quite positively affected me since he demonstrated a certain development throughout the complete presentation, the development we see in the Herbart-Ziller school to which the lecturer also made reference.

The lecturer also referred to certain stages of development in children, and this causes me to make a short remark.

He has described stages in such a way that I am convinced such stages really exist. We find that Herbart also defined such stages. Already in 1804 Herbart showed, in a very interesting work concerning aesthetic form in education, what should be, what must be really important in education. From this he created the theory of stages, which Ziller carried further. These stages were to a certain degree plausibly described by Vogt in Vienna.

However, reading about all these stages had still not convinced me of their reality, of their existence, as the lecturer, Dr. Steiner, did in speaking today. For that I wish to express particular thanks.

Now one thing more. You have certainly felt that everything depends upon one thing, upon something that surely must lie heavily upon our souls, including my own. Everything depends upon the personality of the teacher. This comes out quite clearly throughout the whole lecture, with warmth, depth and responsibility. Time and again it made me particularly happy that Dr. Steiner emphasized this with complete insight and certainty. Thus, he has also shown us what a great task and responsibility we have if we wish to continue in our profession as teachers. I am generally in complete agreement with all the pictures of life he has presented. You have spoken from what I myself have experienced, thought and felt for decades. I wish to again express my most heartfelt thanks to the lecturer for his remarks.

Y: The first speaker has already expressed to a large extent what I wanted to say about how we should live into the child through art.

Now, I would like to say something somewhat critical. Dr. Steiner said that we should replace gymnastics as we now have it in the school with eurythmy. I have seen some of the eurythmy performances and understand their intent. However, I do not believe that we may use eurythmy alone in the school. What does eurythmy develop? I think that all these dancing movements ignore the human upper body, the formation of muscles. However, it is precisely this that is important to working people, and most of our elementary school students will become working people. Through eurythmy we will produce undeveloped, weak muscles, weak chest muscles, weak back muscles. The leg muscles will be strongly developed, but not those of the upper arms. They will be undeveloped and weak. We see just this weakness already today in so-called girls gymnastics, where the tendency is already to lay too much value upon dancing. Where the strength of the upper arms is demanded, these muscles fail. These girls cannot even do the simplest exercises requiring support of the arms. However, this is much less important to girls than it is to boys in their later work. If we take eurythmy and leave aside physiological gymnastics—the parallel bars, the high bar, rope climbing—then I fear that the strength people need in their work may suffer. What I wish to say is that we can teach eurythmy, and the children will receive an aesthetic training, but it should not be eurythmy alone. What pleased me at the performances in Dornach was the beautiful play of lines, the harmony of the movements, the artistic, the aesthetic. However, I would doubt that these eurythmy exercises can really play a part in making the body suitable for working. I would like to hear a further explanation if Dr. Steiner desires to have only eurythmy exercise, if he desires to deny school gymnastics, based in physiological facts, its rightful place. If we were to deny those physical exercises based upon an understanding of the human body their rightful place, then I would be unable to agree completely with the introduction of eurythmy into the schools.

Dr. Steiner: I would first like to say a few words concerning the last point so that misunderstandings do not arise.

Perhaps I did not make this clear enough in the lecture, since I could only briefly discuss the subject. When we present eurythmy in Dornach, we do this, of course, as an artistic activity, in that we emphasize just what you referred to as being pleasant. In that we emphasize what can be pleasant, in Dornach we must, of course, present those things meant more for viewing, for an artistic presentation. In the lecture I wanted to indicate more that in viewing eurythmy people would recognize that what they normally think of as simply physiological (this is somewhat radically said, since gymnastics is not thought of as only physiological), what is primarily thought of as only physiological, can be spiritualized and ensouled. If you include eurythmy in the curriculum (when I introduce a eurythmy performance, I normally mention that eurythmy is only in its beginning stages), and if today it seems one-sided in that it particularly develops certain limbs, this will disappear when we develop eurythmy further. I need to mention this so as not to leave the impression that I believe we should drop gymnastics.

You see, in the Waldorf School in Stuttgart, we have a period of normal gymnastics and a period of eurythmy, consisting of more than you see in an artistic presentation. Thus, we take into account the requirements that you justifiably presented.

What is important to me is that along with the physical, the physiological that forms the basis of gymnastics, we add the spirit and soul, so that both things are present. Just as people themselves consist of a totality in the interaction of body, soul and spirit, what is truly the soul, recognizable for itself, also works in the movements that people carry out in gymnastics and such. We are not at all concerned with eliminating gymnastics. Quite the opposite. It is my desire that gymnastics be enriched with eurythmy. We should not eliminate one single exercise on the parallel bars or high bar. We should leave out nothing in gymnastics. However, what eurythmy attempts is that instead of asking how we can handle this or that muscle from the physiological point of view, the question becomes how does a soul impulse work? In other words, alongside what already exists, we add something else. I do not at all wish to criticize what already exists, but rather to describe briefly what spiritual science fosters in the way of permeating things with spirit and soul. I agree with your objection, but it is my desire to show that bringing the soul element into gymnastics can originate from the science of the spirit.

Z: Mr. Z describes how the principle that Dr. Steiner has developed would be extremely educational and fruitful for the school.

If people were to consider how schools now handle things, they would have to say that this does not correspond to the stages described by Dr. Steiner. Goethe once said that children must go through the cultures of humanity to develop their feeling life. If we want to connect with these valuable words from Goethe and make them fruitful, we should have methods that are completely contrary to the ideas we have used for years. The second thing I would like to mention is that in drawing, we always begin with lines and figures. If we look at the drawings of the cave dwellers, we must realize that they did not have any instruction in drawing at all. I think that we can learn a great deal for teaching drawing to our children from the first drawings and paintings of those primitive people. Regarding singing, we now begin with the scale, as if that was the natural basis for singing in school. However, if we study the history of music, we will immediately see that the scale is an abstraction to which humanity has come only over many centuries. The primary thing in music is the triad, the chord in general. Thus, our singing instruction should much more properly begin with chords and only later come to scales. For other subjects, such as geography and history, I think we should pay much more attention to how primitive people first obtained this (I dare not say science), this knowledge. We could then continue in the same way. For example, we could present geography beginning with interesting drawings of the trips of discovery to the New World, and so forth. Then the children would show much, much more interest because we would have enlivened the subject instead of presenting them with the finished results as is done today in the dry textbooks and through the dry instructions—“obstructions.”³

Dr. Steiner: It is now much too late for me to attempt to give any real concluding remarks. I am touched with a deep sense of satisfaction that what has come forth from the various speakers in the discussion was extremely interesting, and fell very naturally into what I intended in the lecture. It’s true, isn't it, that you can comprehend in what, for example, you can see in Dornach, in what we present in the various artistic activities in Dornach, that something is given that reflects the fundamental conviction of spiritual science.

Now the gentleman who just spoke so beautifully about how we can educate for artistic feeling rather than mere viewing, would see that spiritual science artistically attempts to do justice to such things. He would see that in Dornach we attempt to paint purely from color, so that people also feel the inner content of the color, of the colored surface, and that what occurs as a line results from the colored area. In this regard, what is substantial in spiritual science can work to enliven much of what it touches today. The remarks about the Herbartian pedagogy were extremely interesting to me, since in both a positive and negative sense we can learn much from Herbart. This is particularly true when we see that in the Herbartian psychology, in spite of a methodical striving toward the formation of the will, intellectualism has played a major role. You must struggle past much in Herbartian pedagogy in order to come to the principles that result from my explanation today.

Regarding the last speaker, I agree with almost everything. He could convince himself that the kind of education he demands, in all its details, belongs to the principle direction of our Waldorf School, particularly concerning the methods of teaching drawing, music and geography. We have put forth much effort, particularly in these three areas, to bring into a practical form just what the speaker imagines. For instance, in the faculty seminar we did a practice presentation about the Mississippi Valley. I think the way we prepared this presentation of a living, vivid geography lesson that does not come from some theory or intellectuality, but from human experience, would have been very satisfactory to the speaker. In place of a closing word, I therefore only wish to say that I am extremely satisfied that so many people gave such encouraging and important additions to the lecture.

• 1. Translators’ note: The needs of society are to be understood as both the requirements of the Department of Education and the inherent needs of a more humanly formed social organization.
• 2. See note, p. 87.
• 3. Translators’ note: This is a word play in German: Lejtfiden—Leidfiden

[IMAGE REMOVED FROM PREVIEW]

I count it a special honour to be able to speak among you on the connection between that spiritually scientific outlook on the world to which I have devoted my life's work, and the educational activity, to which your lives are devoted. Let me begin with two introductory remarks. The first is, that what I now intend to say to you will, of course, have to be clothed in apparently theoretic words and phrases, for the simple reason that words are necessary in order to set forth our thoughts. But I say expressly at the outset, that it is not meant theoretically. For I should speak on this present subject least of all, were it not for the fact that I have always devoted a part of my activity to practical educational work, and indeed to the whole educational culture of mankind. What I want to put forward is definitely intended in this sense: it is derived from actual practice.

The second thing I would like to observe by way of introduction is this: The Spiritual Science, which I am here representing, is itself very widely and vehemently controverted and attacked as yet. And for the very reason that I represent this Spiritual Science, I can understand it well, if many an objection is brought forward at this present stage to one or other of the things I have to say. For in effect, the method which is adopted by Spiritual Science is new and unaccustomed from the points of view that still hold sway in modern thought. But it may be that the very way in which we are endeavouring to make it a real force in life, endeavouring to introduce it in so eminently practical a sphere as mar -of education, will contribute something towards an understanding, a way of approach to Spiritual Science itself.

There is no sphere in life that lies remote from the activity and interests of education. To one who has to work as a teacher or educator, the human being is entrusted at an age when he may still develop into anything in the wide world. And only when the teacher, the educator, is imbued with the very warmest interest in the whole life and civilisation of humanity, only then can he pour forth all that is needed for the teaching, the education of the child.

In bringing forward the particular subject of Spiritual Science and Education, I have this special reason: At this very point of time. Spiritual Science is intended as an element of thought and spiritual culture, to unite and gather up again the diverse spiritual and intellectual interests of mankind which have drifted so far apart in recent centuries, particularly in the 19th century. Through Spiritual Science, it is possible to draw together again into a concrete conception of the universe, all those things that have become specialised, without however failing to meet the demands of expert and special knowledge.

And to-day there is a very real reason to consider the relation of the Spiritual Science here intended, to Education. For Education, too, has had its share of the overwhelming influence that modern Natural Science, with its attendant triumphs, has exercised on all human thought and activity. Applied as a method in the sphere of Natural Science itself, the natural-scientific way of thought has led to glorious results. But at the same time—far more so than the individual realises or is conscious of—this way of thought has gained influence on all our activities. And it has gained especial influence on that activity which I call the Art of Education. Now while in the nature of the case I cannot go into the foundations of Spiritual Science as such—which I have often done in lectures in this town—there is one thing I would like to point out by way of comparison. It concerns the peculiar relation of the natural-scientific method to human life.

Consider, for example, how' the human eye comes to be this miraculous instrument, whereby in a certain sphere of sense-perception we see the outer world. This wonderful' function is fulfilled by the human eye, inasmuch as its whole construction fits it to see the surrounding world, and—I speak by way of comparison—ever and always to forget itself in the act of seeing. I might put it in this way: We must entirely invert the observing point of view (which we can only do- approximately with external scientific methods), if we would investigate and really penetrate our instrument of external, sensely sight. In the very act of seeing, we can never at the same time look back into the nature of our eye.

We may apply this image to the natural-scientific method in its relation to life. The man of modern times has carefully and conscientiously developed the natural-scientific method, until, in its Natural Law's and scientific conceptions, it reflects a faithful and objective picture of the outer world. And in the process, man has so formed and moulded his underlying mood and attitude of soul, that in his scientific observation of the world he forgets his own human self; he forgets all those things that have direct and immediate connection with human life. So it has come about, that the more we have! developed in the sense of Natural Science, the less able have we become, with this our scientific method, to see the essence of Man himself, and all that has to do with Man.

Now Spiritual Science—working entirely in the Spirit of Natural Science, but in this very spirit transcending natural- scientific knowledge—Spiritual Science would add to Natural; Science, if I may put it so, that inversion of observation which leads back again to Man. This can only be accomplished by really entering on those processes of inner life which are described in my books on the attainment of higher knowledge, or more briefly indicated in the second part of my book on “Occult Science.” Those processes do actually carry man's soul-life beyond the sphere wherein it moves in ordinary life and thought, including even Natural Science. [See “The Way of Initiation” and its sequel “Initiation and its Results” (particulars on back cover of this booklet). Dr. Steiner's book, “An Outline of Occult Science” is, unfortunately, out of print at present.]

In order to find our way into the thought of Spiritual Science, we must needs have what I would call: Intellectual Modesty. Some time ago, in a public lecture in this town, I used a certain image to indicate what is needful in this respect. Consider a child of five. Suppose you place a volume of Goethe's poems in the child's hand. A whole world is contained within its pages. The child will take it in its hand, turn it this way and that, and perceive nothing of all that would speak to the human being from out this volume. But the child is capable of development; powers of soul are slumbering within the child; and in ten or twelve years it will really be able to draw from the book what lies within it. This is the attitude we need, if we are to find our way into the Spiritual Science of which I am speaking here. We must be able to say to ourselves: By developing his intellect, his method of observation and experiment ever so carefully, the human being is brought up to a certain stage and not beyond. From that stage onwards he must take his own development in hand; and then he will develop powers which were latent and slumbering before. Then he will become aware, how before this development he confronted external Nature (so far as its spiritual essence is concerned), and, most particularly, he confronted Man, as the five-year-old child confronts the book of Goethe's poetry. In essence and in principle, everything depends on our making up our minds to this attitude of intellectual modesty. It is the first thing that counts, if we would find our way into what I have here called “Spiritual Science.”

Through adopting special methods of thinking, feeling and willing—methods which aim at making our thought independent and at training our will—through making our life of thought and will ever more and more independent of the bodily instruments, we become able, as it were, to observe ourselves. We attain the faculty of observing the human being himself. And once we are able to observe the human being, then we can also observe the growing human being, the human being in process of becoming—and this is of extraordinary importance.

It is true that the spirit is much spoken of to-day; and independence of thought is spoken of as well. But Spiritual Science as we understand it cannot join this chorus. For, by a real development of inner life, it seeks the spiritual methods to grasp the spiritual reality in actual and concrete detail. It is not concerned with that spirit of which people 'talk in a vague and misty sense, which they think of as vaguely underlying all things. The Spiritual Science here intended enters into the spiritual being of man in detail. To-day we are to speak of the being of man in process of growth, development, becoming.

People will speak, it is true—in abstract and general terms, if I may put it so—of the human individuality and of its development. And they are rightly conscious that the educator, above all people, must reckon with the development of the human being as an individual. But I may draw your attention to the fact that educationalists of insight have clearly recognised, how little the natural-scientific development of modern times has enabled man to understand any real laws or stages in the evolution of the growing human being. I will give you two examples. The Vienna educationalist, Theodor Vogt, who was well-known m the last third of the 19th century, speaking from out of the reformed Herbartian conception that he represented, made the following remark. He said: In the science of history, in our conception of the historic life of mankind, we have by no means got so far, up to the present, as to recognise how mankind evolves. ... From the evolution of species, the Natural Scientist arrives at the embryological development of the individual human being. But we have no historic conception of humanity's evolution, from which, in this sense, we might deduce conceptions about the evolving child.—This view was repeated by the Jena educationalist, Rein. It culminates in the admission, that we do not yet possess any real methods of spiritual science, such as might enable us to indicate what really lies beneath the human being's development.

In effect, we must first awaken such faculties as those to which I have just alluded, and of the cultivation of which you may read in further detail in my books. Then only are we able to approach that riddle, which meets us with such wonder when we observe how from birth onwards something works itself out from within the human being, flowing into every gesture, working itself out most particularly through language, and through all the relations which the human being enters into with his environment. Nowadays the different types of human life are, as a rule, considered too externally, from points of view of external Physiology or Biology. They make themselves no picture of the whole human being, in whom that which is bodily, that which is of the soul, and that which is spiritual, are working inwardly together. Yet if we would sensibly educate and instruct a child, it is just such a picture of the child which we must make.

* * *

Now one who, strengthened by the methods of Spiritual Science, observes the growing child, will discover, about that period of time when the change of teeth occurs—about the sixth ok; seventh year—a most significant break in the child's development. There is a constantly repeated proverb: “Nature makes no jumps.” Natura non facit saltus. That is true to a certain extent; but all these general ideas are after all one-sided. You can only penetrate their real truth, if you recognise them in their one-sidedness. For in effect Nature is continually making jumps. Take, for example, a growing plant. We can apply the proverb, “Nature makes no jumps.” Yet in the sense of Goethe's idea of metamorphosis we should have to say: “Although the green leaf of the plant is the same thing as the coloured petal, yet Nature makes a jump from the leaf to- the sepal of the calyx, from the sepal to the coloured petal, and again from the petal to the stamen.” We do not meet the reality of life if we abstractly apply the idea that Nature and Life make no jumps at all. And so it is especially in man. Man's life flows by without discontinuity, and yet, in the sense here indicated, there are discontinuities everywhere.

There is a significant break in the life of the child about the sixth or seventh year. Something enters the human organism, that penetrates it through and through. Of this, modern physiology has as yet no real conception. Outwardly, the change of teeth takes place; but something is also taking place in the spiritual and. soul-being of the child. Until this point of time, man is essentially an imitative being. His Constitution of soul and body is such that he gives himself up entirely to his surroundings. He feels his way into his surroundings; from the very centre of his will his development is such, that the lines of force, and rays of force, of his will are exactly modelled on that which is taking place in his environment. Far more important than all that we bring to the child, in this age of life, by way of admonition and correction, is the way in which we ourselves behave in the child's presence.

In real life, the intangible, imponderable elements are far more effective than what we observe externally and clearly. So it is with regard to the child's impulse to imitate. It is not only tin- gross external behaviour of the human being that matters. In every tone of voice, in every gesture, in everything the educator does in the child's presence during this period of life, lies something to which the child adapts itself.

Far more than we know, we human beings are the external impress of our thoughts. We pay little heed, in ordinary life, to the way we move our hand. Yet the way we move our hand is a faithful expression of the peculiar constitution of our soul, of the whole mood and attunement of our inner life. In the developed- soul-life of the grown-up human being, little attention is paid to the connection between the stride of the legs, the gesture of the hands, the expression of the face, and that which lies, within the soul as a deep impulse of wi)I and feeling. But the child lives its way right into these imponderable things of life. It. is no exaggeration to say: If a man most inwardly endeavours to be a good man in the presence of a child before the age of seven; if he endeavours to be sound in every way, if he conscientiously resolves to make no allowances for himself even in his inner life, in thoughts and feelings that he does not outwardly express—then, through the intangible, imponderable things of life, he works most powerfully upon the child.

In this connection there are many things still to be observed, things which, if I may so express myself, “lie between the lines.” We have become enmeshed in a more materialistic way of life, especially as regards life's more intimate and finer aspects. And so we have grown accustomed to pay little attention to these things. Yet it is only when they are rightly observed and estimated once again, that a certain impulse will enter into our educational thought and practice—an impulse that is very badly needed, especially in an age which claims to be a social age, an age of social thought.

There are certain experiences in life, which we cannot rightly estimate unless we take into account these real observations of the soul- and spiritual-life within the human being. I am referring to actual facts of experience. For instance, a father comes to you in some consternation and says: “What am I to do? My child has been stealing.” It is of course very natural for the father to be concerned about it.

But now you look into the matter more closely. You ask,

How did it happen?

The child simply went to the drawer and took out some money.

What did the child do with the money?

Well, it bought some sweets for its playmates.

Then it did not even steal for selfish reasons?

And so at length you are able to say: “Now look, the child did not steal at all. There is no question of its having stolen. Day after day the child saw its mother go to the drawer and take, out money. It thought that was the right thing to do and imitated it. The child's action was simply the outcome of the impulse which is predominant in this early age—the impulse to imitation.” Bearing in mind that this imitative impulse is the most powerful force in this first stage of childhood, we may guide the child rightly in this sense. We may direct its attention to actions, whose influence will be powerful at this stage and permanent in its effect. And rye must be fully aware that at this period of the child's life exhortations and admonitions are as yet of no assistance. It is only what works on the will, that really helps.

Now this peculiar constitution of the human being lasts until the point of time when that remarkable period, is reached physiologically—when, if I may put it so, the hardening principle makes its final onset and crystallises the permanent teeth from out of the human organism. To look into that process by the methods of Spiritual Science and see what lies beneath it. in the growing organism when this final period is reached, when the change of teeth takes place, is extraordinarily interesting. But it is still more important to follow what I just now described, namely, the spiritual psychical development that goes parallel with this Organic change, and that still takes its start from imitation.

About the seventh year a very distinct change begins to make itself felt in the spiritual and soul-nature of the child. With this change a new faculty bursts in upon the young child, a faculty of reacting to different things. Previously the eye was intent to imitate, the ear was intent to imitate. But now the child begins to listen to what goes out from grown up people as expressions of opinions, judgments, and points of view. The impulse to imitate becomes transformed into devotion to authority. Now I know that many people to-day will particularly disapprove if we emphasise the principle of authority as an important factor in education. Nevertheless, if one is out to represent the facts with open mind and serious purpose, one cannot go by programmes nor by catchwords; one must be guided simply and solely by empirical knowledge, by experience. And it must be observed how much it means for a child, to be guided by a teacher or educator, man or woman, to whom the child looks up with reverence, who becomes for the child a natural and accepted authority. It is of the very greatest significance for the growth of the human being, that at this age he will accept this or that thought as his own, because it is the thought of the grown-up man or woman whom he reveres; that he will live into a certain way of feeling, because it is their way of feeling, because in effect there is a real growing together between the young developing human being and the mature one. We should only know how much it means for the whole after life of man, if in this period of life—between the change of teeth about the sixth or seventh year, and that last great change that comes at the time of puberty in the fourteenth or fifteenth year—he had the good fortune (I use this word deliberately) to be really able to give himself up to a natural and accepted authority.

But we must not stop at the abstract generalisation; we must enter more deeply into this most important period of life—the period which begins about the sixth or seventh year and ends with puberty. The child is now taken from its home—educated or spoilt through the principle of imitation—and handed over to the school. The most important things for after life are to be done with the child during this time. Here indeed it is right to say, that not only every year but every month in the child's development should be penetrated and investigated with diligent care by the teacher or the educator. Not only in general terms—but as well as may be, even in teaching large numbers at a time, each succeeding month and year should thus be studied and observed in every individual child's development. As the child enters school, and until about the ninth year, we see the imitative impulse still working on alongside the impulse of devotion to authority, which is already making itself felt. And if we can rightly observe the working together of these two fundamental forces in the evolving human being, I hen the full and living result of such observation will provide the true basis for the method of teaching and for the curriculum.

This question came upon me very strongly during the present year, when the new “Waldorf School” had to be instituted in Stuttgart. By the sympathetic co-operation of our friend Emil Molt, we were in a position to found this school in connection with the Stuttgart firm, “The Waldorf-Astoria Cod' The Waldorf School is in the fullest sense of the word a unitary school, i.e., a school without distinction of class, a school for the whole people. [For further particulars of the Waldorf School, see Numbers 1, 2 and 5 in Volume I of the “Threefold Commonwealth” fortnightly (price 3d. each), and also Volume I, Number 2 of the bi-monthly magazine “Anthroposophy” (price 1/-). To be obtained from the Publishers of this booklet. The Waldorf School is a “unitary” school in that it makes no distinction of Class. About 500 boys and girls, between the ages of 6 and 14, or 6 and 19, are educated there; and among them the children of manual workers and of the “educated classes” are represented in fairly even proportion. They all receive the same education, up to the time when they leave school, which varies according to their future vocation and the wishes of their parents.] In its whole plan and method, and in the arrangement of the subjects, it proceeds from the impulse that Spiritual Science can give towards an Art of Education. During last September I had the privilege of giving a course of training for the group of teachers whom I had selected for this school. At that time, all these questions came upon me in a very vivid way. What I am now endeavouring to say to you is in its essential features an extract of what was given to those teachers in the training course. For they were to direct and carry on a school, founded on principles of Spiritual Science and on the social needs of this time—a real people's school, on a basis of unity.

Now in effect not only the method of instruction, but the curriculum, the arrangement of subjects, the definite aim of the teacher, can be drawn from a living observation of the evolving human being. So, for example, we shall find much in the young child's life, even after the sixth or seventh year, that still proceeds from the peculiar will-nature which alone could make it possible for the child to have so powerful an impulse to imitation. As a matter of fact, the intellect develops very much later, and it develops from out of the will. The intimate relationship which exists between the one human being—the grown-up teacher, for example—and the other human being—the growing child—this intimate relationship finds expression as a relationship from will to will. Hence in this first year of elementary school we can best approach the child if we are in a position to work upon the will in the right way. But that is just the question—How can we best work upon the will?

We can not work on the will by laying too' much stress, at this early stage, on external perception and observation—by directing the child's attention too much to the external material world. But we can very effectively approach the will if we permeate our educational work in these first years with a certain artistic, aesthetic element. And it is really possible to start front the artistic and aesthetic in our educational methods. It is not necessary to begin with reading and writing lessons, where there is no real connection between the instruction given and the forces which are coming- outwards from the soul-centre of the child. Our modern written and printed signs are in reality very far removed from the original. Look back to the early forms of writing, not among “primitive” peoples, but in so highly evolved a civilisation as that of ancient Egypt, for example. You will see how at that time, writing was thoroughly artistic in its form and nature. But in the course time this artistic element gradually became worn, down and polished away. Our written signs have become mere conventional symbols. And it is possible to go back to the immediate, elementary understanding, which man still has for that which later on became our modern writing.

In other words, instead of teaching writing in an abstract way, we can begin with a kind of drawing-writing lesson. I do not mean anything that is arbitrarily thought-out. But from the real artistic sense of the human being it is possible to form, artistically, what afterwards becomes transformed, as the child grows and develops, into the abstract signs of writing. You begin with a kind of drawing-writing or writing- drawing, and you enlarge its sphere so as to include real elements of plastic art, painting and modelling. A true psychologist will know, that what is brought to the child in this way" does not merely grasp the head—it grasps the whole human being. In effect, things of an intellectual colouring, things which are permeated by the intellect only, and by convention most particularly, like the' ordinary printed or written letters, do only grasp the head, part of man. But if we steep our early teaching of these subjects in an. artistic element, then, we grasp the whole human being. Therefore, a future pedagogy will endeavour to derive the intellectual element, and objective teaching of external things, object- lesson teaching also, from something that is artistic in character at the outset.

It is just when we approach the child artistically, that we are best able to consider the interplay of the principle of authority and the imitative principle. For in the artistic there lives something of imitation; and there also lives in it something which passes directly from the subjective man to the subjective man. Anything that is to work in an artistic way must pass through the subjective nature of man. As a human being, with your own deep inner nature, you confront the child quite differently if what you, are teaching is first steeped in an artistic quality. For there you are pouring something real and substantial into yourself as well, something that must appear to you yourself as a natural and unquestioned authority. Then you will not appear with the stamp of a merely external conventional culture; but that which is poured into you brings you near to the child in a human way, as one human being to another. Under the influence of this artistic education it will come about quite of its own accord: the child will live and grow into a natural and unquestioning acceptance of the authority of the person who is teaching him and. educating him.

This again may bring it home to us, that spirit must hold sway in education. For instruction of this kind can only be given by one who allows spirit to permeate and fill his teaching; Spirit must hold sway in our whole treatment of our teaching work, and we ourselves must fully live in all that we have to convey to the child. Here 1 am touching on another of the intangible things in the teacher's life. It is very easy, it seems to come quite as a matter of course, for the teacher as he confronts the child to appear to himself as the superior and intelligent person, compared with the simple ingenuous nature of the child. But the effects of this on our teaching work are of very great significance. I will give you a concrete example, one which I have already mentioned in other connections, in my lectures here. Suppose I want to give the child, a conception of the immortality of the human soul. I take an example, a picture of it, adapting myself to the child-like spirit. I draw the child's attention, in a real nature-lesson, to the chrysalis and the butterfly emerging from it. And now I explain to the child: Look, just as the butterfly rests in the chrysalis, invisible to- the external eye, so your immortal soul rests in your body. Just as the butterfly comes out from the chrysalis, so when you go through the gate of death, your immortal soul rises out of your body into another world. And as the butterfly enters an entirely new world when it emerges from the chrysalis, so the world into which you enter, when you rise out of the body, is a very different world from this one.

Now it is perfectly possible to think out an image like this with one's intellect. And as an “intelligent person,” while one teaches it to the child, one does not quite like to believe in it oneself. But that has its effect in education and in teaching. For by one of the intangible facts of life, through mysterious forces that work from hidden soul to hidden soul, the child, only really accepts from me what I, as teacher, believe in myself.

In effect, Spiritual Science does lead us to this point. If we have Spiritual Science, we do not merely take this picture of the butterfly and the chrysalis as a cleverly thought- out comparison, but we perceive: This picture has been placed in Nature by the divine creative powers, not merely to symbolise the immortality of the soul for the edification of man, but because, at a lower stage, the same thing is actually happening when the butterfly leaves the chrysalis, as happens when the immortal soul leaves the human body. We can raise ourselves to the point of believing in this picture as fully and directly as we should desire the child to believe in it. And if a living and powerful belief flows through the soul of the educator in this way, then will he work well upon the child. Then, his working through authority will be no disadvantage, but a great and significant advantage to the child.

In pointing out such things as this, we must continually be drawing attention to the fact that human life is a single whole, a connected thing. What we implant in the human being when he is yet a child will often re-appear only in very much later years as strength and conviction and efficiency of life. And it generally escapes our notice, because, when it does appear, it appears transformed. Suppose, for example, that we succeed in awakening in the child a faculty of feeling that is very necessary: I mean, the power of reverence. We succeed in awakening in the child the mood of prayer and reverence for what is divine in all the world. He who has learned to observe life's connections, knows that this mood of prayer rc-appears in later life transformed. It has undergone a metamorphosis, and we must only be able to recognise it in its re-appearance. For it has become transformed into that inner power of soul whereby the human being is able to influence other human beings beneficially, with an influence of blessing. No one who has not learned to pray in childhood, will in old age have that power of soul which passes over as an influence of blessing, in advice and exhortation, nay, often in the very gesture and expression of the human being, to children or to younger people. By transitions which generally remain unnoticed, by hidden metamorphoses, what we receive as an influence of grace and blessing in childhood transforms itself in a riper age of life into the power to give blessing.

In this way every conceivable force in life becomes transformed. Unless we observe these connections, unless we draw our art of education from a full, broad, whole view of life, a view that is filled with spiritual light, education will not be able to perform its task—to work with the evolving forces of the human being instead of working against them.

When the human being has reached about the ninth year of life, a new stage is entered once again—-it is not so distinct a change this time as that about the seventh year, yet it is clearly noticeable. The after-workings of the imitative impulse gradually disappear, and something enters in the growing child which can be observed most intimately if one has the will to see it. It is a peculiar relation of the child to its own ego, to its own “I.” Now of course a certain inner soul- relationship to the ego begins at a very much earlier stage. It begins in every human being at the earliest point to which ill alter life he can remember back. About this point of time, the child ceases to say “Charlie wants that” or “Mary wants that,” and begins to say “I want that.” In later life we remember hack up to this point; and for the normal human being what lies before it vanishes completely, as a rule. It is at this point that the ego enters the inner soul-life of the human being. But it does not yet fully enter the spiritual or mental life.

It is an essentially spiritual or mental experience of “I,” that first becomes manifest in the inner life of the human being about the ninth year, or between the ninth and tenth years (all these indications are approximate), Men who were keen observers of the soul have sometimes pointed out this great and significant moment in human life. Jean Paul tells us how he can remember, quite distinctly: As a very young boy he was standing in the courtyard of his parents' house, just in front of the barn (so clearly does he describe the scene), when suddenly there awoke in him the consciousness of “I.” He tells us, he will never forget that moment, when for the first time he looked into the hidden Holy of Holies of the human soul.

Such a transformation takes place about the ninth year of life, distinctly in some, less distinctly in others. And this point of time is extraordinarily important from the point of view of education and of teaching. If by this time we have succeeded in awakening in the young child those feelings, if we have succeeded in cultivating those directions of the will, which we call religious and moral, and which we can draw out in all our teaching work, then we need only be good observers of children, and we can let our authority work in this period of life—as we see it approach—in such a way that the religious feelings we prepared and kindled in the preceding period are now made firm and steadfast in the young child's soul. Tor the power of the human being to look up, with true and honest reverence from his inmost soul, to the Divine and Spiritual that permeates and ensouls the world, this period of childhood is most decisive. And in this period especially, lie who by spiritual perception can go out into the young child's life, will be guided, intuitively as it were, to find the right words and the right rules of conduct.

In its true nature, education is an artistic thing. We must approach the child, not with a normal educational science, but with an Art of Education. Even as the artist masters his substances and his materials and knows them well and intimately, so he who permeates himself with spiritual vision knows the symptoms which arise about the ninth year of life, when the human being inwardly deepens, when the ego- consciousness becomes a thing of the spirit—whereas previously it was of the soul. Whereas his previous method of teaching and education was to start from the subjective nature of the child, so now the teacher and educator will transform this into a more objective way of treating things. If we can perceive this moment rightly, we shall know what is necessary in this respect. Thus, in the case of external Nature-lessons, observation of Nature, things of Natural Science, we shall know, that before this moment these things should be brought to the child only by way of stories and fairy-tales and parables. All things of Nature should be dealt with by comparison with human qualities. In short, one should not separate the human being at this stage from his environment in Nature. About the ninth year, at the moment when the' ego awakens, the human being performs this separation of his own accord. Then he becomes ready to compare the phenomena of Nature and their relation to one another in an objective way. But before this moment in the child's life, we should not begin with external, objective descriptions of what goes on in Nature, in man's environment. Rather should we ourselves develop an accurate sense, a keen spiritual instinct, to perceive this important transformation when it comes.

* * *

Another such transformation takes place about the eleventh or twelfth year. While the principle of authority still holds sway over the child's life, something that will not appear in full development till after puberty already begins to radiate into it. It is, what afterwards becomes the independent power of judgment. After puberty, we have to work in all our teaching and education by appealing to the child's own power of judgment. But that which takes shape after puberty as the power of independent judgment, is already active in. the child at an earlier stage, working its way into the age of authority from the eleventh year onwards. Here again, if we rightly perceive what is happening in the soul-nature of the child., we can observe how at this moment the child begins to develop new interests. Its interest would be great, even before Ibis time, in Nature lessons, and descriptions, properly adapted, from Natural Science and Natural History. But a real power of comprehending physical phenomena, of understanding even the simplest conceptions of Physics, does not develop until about the eleventh or twelfth year. And when I say, a real power of understanding physical phenomena and physical conceptions, 1 know the exact scope and bearing of my statement.

There can be no real art of education without this perception of the inner laws and stages of development underlying human life. The Art of Education requires to be adapted to what is growing and developing outwards and upwards in the human being. From the real inner development of the child, we should read and learn and so derive the right curriculum, the planed teaching, the whole objective of our teaching work. What we teach, and how we teach it, all this should flow from a knowledge of the human being. But we shall gain no knowledge of the human being until we are in a position to guide cur attention and our whole world-outlook towards the spiritual—the spiritual realities that underlie the external facts of this world of the senses. Then too, it will be very clear that the intangible imponderable things of life play a real part, above all in the Art of Education.

Our modern education has evolved, without our always being fully conscious of it, from underlying scientific points of view. Thus, we have come to lay great value on lessons that centre round external objects, external objective vision. Now I do not want you to take what I am saying as though it were intended polemically or critically or by way of condemnation ex cathedra. That is by no means the case. What I want to do, is to describe the part which Spiritual Science can play in developing an educational art for the present and for the immediate future. If we have emphasised external objective methods of instruction overmuch, the reason lies, at bottom, in those habits of thought which arise from the methods and points of view of Natural Science. Now I say expressly, at the proper age of childhood and for the right subjects it is justified and good to teach the child in this external and objective way. But it is no less important to ask, whether everything that has to be communicated to the growing child can really flow from objective perception, whether it must not rather pass by another way, namely, from the soul of the teacher or educator into the soul of the child. And this is the very thing that needs to be pointed out: there are. such other ways, apart from the way of external, objective perception.

Thus, I indicated as an all-pervading principle between (be change of teeth and the age of puberty, the principle nl authority. That something is living in the teacher as an opinion or a way of feeling, this should be the reason why the child accepts this opinion or way of feeling as its own. And in. the whole way the teacher confronts the child, there must be something which works intangibly. There must in effect be something, which flows out from a knowledge and perception of life as a single whole, something which flows from the living interest that such a knowledge of life will kindle. I indicated the significance of this, when I said that what we develop in the age of childhood will often reappear, metamorphosed' and transformed, only in the grownup human being, nay, even in old age.

There is one thing we fail to observe if we carry the principle of external objective instruction to an extreme. We can, of course, bring ourselves down to the child's level of understanding. We can restrict ourselves and endeavour to place before the child only what it can see and observe and really grasp—or, at least, what we imagine it can grasp. But in carrying this principle to an extreme, we fail to observe an important law of life, which may be thus described: It is a very source of strength and power in life, if, let us say, in his 35th year a man becomes able to say to himself: “As a child you once heard this thing or that from your teacher or from the person who was educating you. You took it up into your memory and kept it there. Why did you store it in memory? Because you loved the teacher as an authority; because the teacher's personality stood before you in such a way that it was clear to you:—If he holds that belief, then you too must take it into yourself. Such was your instinctive attitude. And now you suddenly see a light; now you have become ready to understand it. You accepted it out of love for him who was your authority; and now by a full power of maturity, you recall it once again, and you recognise it in a new way. Now only do you understand it.”

Anyone who smiles at the idea of such a source of strength in after life, lacks living interest in what is real in human life. He does not know that man's life is a single whole, where all things are inter-connected. That is why he cannot rightly value how much it means, not to stop at ordinary objective lessons (which within limits are perfectly justified), but rather to sink into¹ the child's soul many things that may afterwards return into its life, from stage to stage of maturity.

Why is it that we meet so many, many people to-day, inwardly broken in their lives? Why is it that our heart must bleed, when we look out over vast territories where there are great tasks to perform, where men and women walk through life, seemingly crippled and paralysed before these tasks? It is because, in educating the children as they grew up into life, attention was not paid to the development of those inner forces that are a. powerful support to man in after years, enabling him to take his stand firmly in the world.

Such things have to be taken into account, if we would pass from a mere Natural Science of pedagogy to a real Art of Education. Education is a thing for mankind as a whole. For that very reason it must become an Art, which the teacher and educator applies and exercises individually. There are certain inner connections which we must perceive if we would truly penetrate what is so often said instinctively, without being clearly understood. For example, the demand is quite rightly being voiced that education should not be merely intellectual. People say that it does not so much matter for the growing man to receive knowledge and information; what matters, they say, is that the element of will in him should be developed, that he should become skilful and strong, and so forth. Certainly, this is a right demand; but the point is that such a demand cannot be met by setting up general principles and norms and standards. It can only be met when we are able to enter into the real stages and periods of the human being's evolution, in concrete detail.

We must know that it is the artistic and aesthetic that inspires the human will. We must find the way, to bring the artistic and aesthetic to bear on the child's life of will. And we must not seek any merely external way of approach to the will; we must not think of it merely in the sense of external Physiology or Biology. But we must seek to pass through the element of soul and spiritual life which is most particularly expressed in childhood. Many things will yet have to be permeated with soul and spirit. In our Waldorf School in Stuttgart, we have for the first time attempted to transform gymnastics and physical exercises, which in their method and organic force have generally been based on physiological considerations, into a kind of Eurhythmic Art. What you can now see almost any Saturday or Sunday in the performances of Eurhythme at Dornach, is of course intended, in the first place, as a special form of art. It is a form of art using as its instrument the human organism itself, with all its inner possibilities of movement. But while it is intended as a form of art, it also affords the possibility of permeating with soul and spirit those movements of the human being which are ordinarily developed into the more purely physiological physical exercises. When this is done, the movements that the human being executes will not merely be determined by the idea of working, in such and such a way, on such and such muscles or groups of muscles. But they will flow naturally, from each inner motive- of the soul into the muscular movement, the movement of the limbs. And we, who represent the spiritualisation of life from the point of view of Spiritual Science, are convinced that Eurhythme will become a thing of great importance, for Education on the one hand, and on the other hand for Health. For in it we are seeking the sound and natural and healthy relationship which must obtain, between the inner life and feeling and experience of the soul, and that which can evolve as movement in the human being as a whole. Thus, what is generally sought for through an external Physiology or through other external considerations, is now to be sought for through the perception of man as being permeated by soul and spirit. [For further information about Eurhythme (not to be confused with other forms of art known in England as “Eurhythme” see “The Threefold Commonwealth” fortnightly, Volume I, Numbers 2, 5 and 6. Demonstrations are given and classes arranged in London and other parts of Britain. For particulars, apply to the Secretary of the Anthroposophical Society in London.]

Thus, in the first years of elementary school, the whole principle of teaching must be saturated with the different arts, in order to work upon the will. And most particularly; that part of education which is generally thought of as an education of the will—gymnastics and physical exercises—must now be permeated with soul and spirit. But that which is soul and spirit in man must first be recognised, in its real scope, in its potentialities, in its concrete manifestation.

So again, we must recognise the connection between two faculties of the human soul—a connection which has not yet been properly discovered by modern Psychology, for in effect modern Psychology is out of touch with Spiritual Science. If we can look objectively into that important period of change which I described as occurring about the ninth year, we shall see how at that moment a very peculiar thing is happening, on the one hand, in the child's faculties of feeling, in its life of feeling. The child grows more deeply inward. New shades of feeling make their appearance. It is as though the inner soul-life were becoming more independent, in its whole feeling of the outer world of Nature. On the other hand, something else is taking place, which will only be noticed if one can observe the soul really intimately. It is certainly true, as Jean Paul observed and stated in a very penetrating epigram, that we learn more in the first three years of our life than in the three years we spend at the University. In the first three years, our memory is still working organically, and for actual life we learn far more. But about the ninth year a peculiar relationship a relationship which plays more into the conscious H/c comes about between the life of peeling and the tile of memory. These things must be seen; for those who cannot see them, they are simply non-existent.

Now, it we can really perceive these intimate relationships between the life of feeling and the memory, and if we rightly cultivate and nurture them, we find in them the right aspect for all that part of our leaching work in which a special appeal has to be made to the child's memory. As a matter of fact, appealing to the memory we ought always at the same time to appeal to the life of feeling. Particularly in our History lessons, in all stories from History, we shall find just the right shades of colouring in the way to tell the story, if we know that everything that is meant to be memorised should be permeated, as we give it out, by something that plays over into the life of feeling—the life of feeling, which at this age has grown more independent. And if we recognise these connections in life, we shall rightly place our History lesson in relation to the whole plan and curriculum. In this way also, we shall gain a correct view of historic culture in general.

Through all that primarily works upon the memory, we shall at the same time influence the life of feeling; just as we began, through artistic elements, to work upon the life of will. Then, after this period in life, we shall gradually find it possible to let the intellectual element work it way out through the elements of will and feeling. If we do not proceed in this way—if in our teaching and educating work we do not rightly develop the intellectual element from out of the elements of will and feeling—then we are working against, not with, the evolving forces of the human being.

You will have seen from the whole tenor of this lecture that in outlining the relation between Spiritual Science and the Art of Education the real point is that we so apply our Spiritual Science that it becomes a knowledge and perception of man. And in the process, we ourselves gain something from Spiritual Science which .passes into our will, just as everything which has in it the germ of art passes over into the will of man. Thus, we get away from a pedagogic science as a mere science of norms and general principles which always has its definite answers ready to hand: “Such and such should be the methods of education.” But we transplant, into our own human being, something that must live within our will—a permeation of will with spiritual life- in order that we may work, from our will, into the evolving forces of the child. In the sense of Spiritual Science, the Art of Education must rest on a true and effective knowledge of man. The evolving man—man in process of becoming—is then for us a sacred riddle, which we desire to solve afresh every day and every hour. If we enter the service of mankind in this spirit with our Art of Education, then we shall be serving human life from out of the interests of human life itself.—In conclusion, I should like to draw your attention once again to the points of view from which we started.

The teacher or educator has to do with the human being in that age, when there must be implanted in human nature and drawn forth from human nature, all those potentialities which will work themselves out through the remainder of the human being's life. There is, therefore, no sphere of life, which ought not somehow to concern and touch the person 1 whose task it is to teach, to educate. But it is only those who learn to understand life from the spirit, who can understand it. To form and mould human life, is only possible for those who—to use Goethe's expression—are able spiritually to form il. And it is this which seems to me important above all things in the present day: that that formative influence on life, which is exercised through education, may itself be moulded according to the spirit, and ever more according to the spirit.

Let me repeat, it is not for purposes of criticism or laying clown the law that these words have been spoken here to-day. It is, because in ail modesty we opine that Spiritual Science, with those very points of knowledge that it gains on the nature of man, and hence on the nature of evolving man, can be of service to the Art of Education. We are convinced of its power to bring fountains of fresh strength to the Educational Art. And this is just what Spiritual Science would do and be. It would take its part in life, not as a strange doctrine or from a lofty distance, but as a real ferment of life, to saturate every single faculty and task of man. It is in this sense that I endeavour to speak on the most varied spheres of life, to influence and work into the most varied spheres of life, from the point of view of Spiritual Science. If to-day I have spoken on the relation of Spiritual Science to Education, you must not put it down to any immodest presumption on my part. You must ascribe it to the firm conviction, that if we in our time would work in life in accordance with the spirit, very serious investigation and penetration into spiritual realities will yet be necessary—necessary above all in this our time. You must ascribe it to the honest and upright desire, for Spiritual Science to take its share in every sphere of life, arid particularly in that sphere, so wonderful, so great, so full of meaning—the formative instruction and education of man himself.

Printed for the Publishers by Charles Raper (t.u.).
194a Mare Street, Hackney, E.8.

My dear friends,

Today I should like to link on what I am about to say to the laboratory scene in Goethe's Faust just represented, and to connect it in such a way that it may form a unity, as well as a starting point for more thorough deliberations tomorrow.

We have seen that the transition from the fourteenth and fifteenth centuries to the sixteenth and seventeenth forms a remarkably significant and suggestive incision into the whole course of human evolution—a transition from the Greco-Latin age to our fifth post-Atlantean epoch in which we are now living, out of which flow the impulses for all our knowledge and all our action, and which will last until the third millennium. Now, from all that you know of Goethe's Faust, and of the connection between this Faust and the figure of Faust originating in the legend of the sixteenth century, you will see that not only this sixteenth century Faust but also what Goethe has made of him is most closely connected with all the transitional impulses introduced by the new age, both from a spiritual and from an external, material point of view.

Now for Goethe the problem of the rise of this new age and the further working of its impulses was something very powerful, and during the sixty years in which he was creating his “Faust” he was wholly inspired by the question: What are the most important tasks and the most important trends of thought of the new man? Goethe could actually look back into the previous age, the age that came to an end with the fourteenth, fifteenth centuries, of which now so little is known even to science. As I have often said, what history tells of man's mood of soul, of his capacities and needs in former centuries, is indeed nothing but colourless theory. In the souls of men in the earlier centuries, even as in the centuries immediately preceding the age of Faust, things looked completely different from how they appear to the soul modern man, to human souls in the present epoch. And in his Faust Goethe has created a figure, a personality, who looks back in the right way on man's mood of soul in former centuries, in centuries long past, while at the same time he looks forward to the tasks of the present and those of the future.

But although at first Faust looks back to an era preceding his own, he can actually only see the ruins of a culture, a spiritual culture that has come to an end. He can look back only on ruins. To begin with we must always keep in mind the Faust of the sixteenth century, the historical Faust who actually lived and then passed into folklore. This Faust still lived in the old sciences that he had made his own, lived in magic, in alchemy, and mysticism, all of which was the wisdom of former centuries, and also the wisdom in particular of pre-Christian times. In the age, however, in which lived the historic Faust of the sixteenth century, this wisdom was definitely on the decline. What was accepted as alchemy, as magic, as mysticism, by those among whom Faust lived, was already in a state of confusion. It all originated in tradition, the legacy of older ages, but it was no longer possible to find one's bearings in it. The wisdom contained there was no longer recognisable. There were,all kinds of sound formulas here from past ages, and much real insight, but these could hardly be understood. Thus the historical Faust was placed into an age of decaying spiritual life. And Goethe constantly mingled the experiences of the historical Faust with those of the Faust he was creating, the Faust of the eighteenth century, of the nineteenth and indeed of many centuries to come. Hence we see Goethe's Faust looking back to the ancient magic, to an older type of wisdom, mysticism, that did not deal with chemistry in the modern, materialistic way, hoping to make contact with a spiritual world through its dealings with nature but no longer having the knowledge enabling it to do so in the way that was right for an earlier age. The art of healing, as it was looked upon in centuries long past, was by no means so foolish as modern science sometimes makes it out to be, but the real wisdom contained in it has been lost. It was already to a great part lost in Faust's time and Goethe knew this well. He knew it not only with his intellect but with his heart, with those soul forces that have specially to do with the well-being, the soundness, of man. He wanted to find an answer to the questions, the problems, arising from it; he wanted to know how a man, continually advancing, could arrive at a different kind of wisdom with regard to the spiritual world, a wisdom adapted to the new age, as the ancients had been able to attain their kind of wisdom which in the natural course of human affairs had now to die out. For this reason he makes his Faust a magician. Faust has given himself up to magic like the Faust of the sixteenth century. But he is still unsatisfied for the simple reason that the real wisdom of the old magic had already faded away. It was from this wisdom that the old art of healing sprang; all dispensing, the whole science of medicine, was connected with the ancient chemistry, with alchemy.

Now in touching on such a question we come at the same time to one of the deepest secrets of humanity—these secrets going to show that no one can heal diseases without also being able to produce them. The ways leading to the healing of disease are the same as those leading to its production. We shall shortly hear how completely in the ancient wisdom the principle prevailed that he who healed diseases was likewise able to produce them. Thus, in olden days, the art of healing was associated in men's s minds with a profoundly moral conception of the world. And we shall also shortly see how little what is called the new freedom in human evolution would have been able to develop in those days. Actually this freedom was not taken hold of until this fifth epoch of ours, the epoch following the Greco-Roman. We shall see what it would have been like if the ancient wisdom had persisted. But in every sphere this wisdom had to disappear so that man might make, as it were, a fresh start, striving towards freedom in both knowledge and action. This he could not have done under the influence of the old wisdom. In such times of transition as those in which Faust lived the old is passing away, the new has not yet come. Then arise such moods as may be seen in Faust in the scene preceding the one produced today. Here we see clearly that Faust both is and feels himself to be a product of the new age, in which the ancient wisdom still existed though it was no longer fully understood. We see how Faust accompanied by his famulus, Wagner, goes out from his cell into the green world where, to begin with, he watches the country people celebrating the Easter Festival out-of-doors in the meadows, until he himself is affected by the Easter mood. We see at once, however, that he refuses the people's homage. An old peasant comes forward to express this homage, for the folk think that Faust, as son of a former adept in the art of healing, must be distinguished in the same way, and be able to bring them health and blessing:

“Nay, of a truth, it is but meet
Our joyful day should see you here.
You proved a very friend in need,
In evil days when death was near.
And many a man stands here alive
Whom your good father, wrestling yet,
Snatched from the fever's burning rage,
When for the Plague a bound he set.
And you yourself, a young men then,
In every stricken house were found,
And corpse on corpse was carried forth,
But you came out, aye, safe and sound.
Steadfast in trials did you prove;
Helped was the helper from above.”

Thus speaks the old peasant, remembering Faust's connection with the ancient art of healing, not only the healing of physical diseases in the people but also the healing of their moral evil. Faust knows that he no longer lives in an age when the ancient wisdom could be really helpful to humanity, for it is already in decline. Humility begins to glimmer in his soul, and at the same time despondency over the falsity he is opposing. He says:

“Yet a few paces onward, up to yonder stone;
Here a brief while we'll rest us from our straying.
Here have I often sat and mused alone,
And racked myself with fasting and with praying.
For rich in hope and staunch in faith,
With tears and sighs and frenzied wringing
Of aching hands, to stay the Death
I thought, Heaven's Lord to mercy bringing.
And now the crowd's applause rings in my ears like scorn!
O could'st thou read what in my heart is hidden.
Father and son, no more than babe unborn,
Merit the fame that seeks them thus unbidden.
My father was a worthy gentleman,
To fame unknown, who sought with honest passion,
Yet whimsical device, as was his fashion,
Nature and all her holy rounds to scan;
In the Black's Kitchen's murky region,
Cloistered with masters of the craft.
He, guided by prescriptions legion,
Concocted nauseous draught on draught.
There a red lion with lily wedded,
A wooer bold within the tepid bath,
From bridal bower to bridal bower was speeded,
Racked by the naked fire's flaming wrath.”

After the manner of those days Goethe had thoroughly studied how the “red lion” (mercury-oxide, sulphurated mercury) used to be dealt with, how the different chemicals had been combined, what the results of these processes were, and how medicines had been manufactured from them. But all that no longer represented the ancient wisdom. Goethe also knew their mode of expression; what was to be shown was put into pictures; the fusion of substances was represented as a marriage. Hence he says:

“From bridal bower to bridal bower speeded,
And, thereupon, in gorgeous hues attired,
Shone the young Queen within the glassy cell.”

This was a technical expression; just as modern chemistry has its technical terms so in those days, when certain substances had reached a definite condition and colour, the result was called the young Queen.

“Here was the medicine, but the patients died”; they died in the days of Faust as they still die today in spite of many medicines.

“Here was the medicine but the patients died.
None asked the question: Who got well?
Thus have we wrought among these hills and valleys,
With hellish lecturaries, worse havoc than the malice
Of that same desolating pest.
Myself to thousands have the poison given;
They pined away—and yet my fame has thriven,
Till I must hear their shameless murderers blessed.”

This is Faust's sell-knowledge. This is how ho sees himself, he of whom you know that he has studied the ancient magic wisdom in order to penetrate into the secrets of nature. And through all that he has become spiritualised. Faust cannot remain satisfied like Wagner his famulus. Wagner contents himself with the new wisdom, relying on manuscripts, on the written word. This Wagner is a man who makes far fewer claims on wisdom and on life. And while Faust tries to dream himself into nature in order to reach her spirit, Wagner thinks only of the spirit that comes to him from theories, from parchments, from books, and calls the mood that has come over Faust a passing whimsy:

“I too have had my whimsies and my fancies,” (says Wagner)
“But no such freaks as that by any chances.
On woods and fields I soon have looked my fill.
I never shall begrudge the bird his pinion.”

He never wants to fly out on the wings of a bird to gain knowledge of the world!

“How elsewise flit we through the mind's dominion
From book to book, from leaf to leaf at will?”
Such snug delights the wintry eve console;
A blissful warmth in every limb comes o'er you;
Some venerable parchment then if you unroll
Ah, then, all heaven opens out before you!”

A thorough bookworm, a theory-monger! And so the two stand there after the country folk have gone—Faust, who wishes to penetrate to the sources of life, to unite his own being with the hidden forces of nature in order to experience them, and the other, who sees nothing but the external, material life, and just what is recorded in books by material means. It does not need much reflection to see what has taken place in Faust's inner being as the result of all the experiences which, as described by Goethe, he has passed through up to this moment. When we consider all that we meet with in Faust, we can be sure of this, however, that his inner being has been completely revolutionised, a real soul-development has taken place in him and he has acquired a certain spiritual vision. Otherwise he would not have been able to call up the Earth-spirit who storms hither and thither in the tumult of action. Faust has made his own a certain capacity not only to look at the external phenomena of the outside world, but to see the spirit living and weaving in all things. Then from the distance a poodle comes leaping towards Faust and Wagner. The way the two see the poodle—an ordinary poodle—the way Faust sees and the way Wagner sees it, absolutely characterises the two men, After Faust has dreamed himself into the living and weaving of the spirit in nature, he notices the poodle:

“Dost thou see yon black dog ranging through shoot and stubble?”

Wagner: “I saw him long ago; he struck me not in the least,”

Faust: “Look at him narrowly. What mak'st thou of the beast?”

Wagner: “A poodle who like any other poodle breathing
casts for the scent strayed from his master's heels.”

(The poodle goes circling round them.)

Faust: “Mark how, a mighty spiral round us wreathing,
Nearer and ever nearer yet he steals,
And see! unless mine eyes deceive me queerly,
He trails a fiery eddy in his train.”

Not only does Faust see the poodle but something stirs within him; he sees something that belongs to the poodle appearing as if spiritual. This Faust sees. It goes without saying that Wagner cannot de so; what Faust sees cannot be seen by the external eye.

Wagner: “I see a poodle, a black poodle only.
’Tis but some sport, some phantom of your brain.”

Faust: “Meseemth he softly coileth magic meshes
To be a future fetter round our feet”

Wagner: “He frisks in doubt and fear around us, lest ungracious
The strangers' welcome be. He thought his lord to greet.”

In this simple phenomenon Faust sees also something spiritual.Let us keep this firmly in mind. Inwardly struck by a certain spiritual connection between himself and the poodle, he now goes into his Laboratory. Naturally the poodle is there dramatically represented by Goethe as a poodle, and so it must be; but fundamentally we are concerned with what is being inwardly experienced by Faust. And in Goethe's every word he shows us in a most masterly fashion how in this scene Faust is passing through an inner experience. He and Wagner have stayed out of doors till late in the evening, till outwardly the light has gone, the dusk has fallen. And into the twilight Faust has projected the picture of what he spiritually wishes to see. He now returns home to his cell and is alone. When alone, such a man as Faust, having been through all this, is in a position to experience self-knowledge, that is, the life of the spirit in his own ego. He speaks as though his inmost soul were stirred, but stirred in a spiritual way:

“Now field and mead have I forsaken,
Which night enshroudeth, deep and still,
In us the better soul doth waken,
with a presaging, holy thrill.
Now stress of deed and storm of yearning
Sleep, at her all-compelling nod;
The love of man now bright is burning,
and burning bright the love of God.”

The poodle growls. But let us be quite clear that those are spiritual experiences; even the growling of the poodle is a spiritual experience, although dramatically it is represented as external. Faust has associated himself with decadent magic; he has associated himself with Mephistopheles, and Mephistopheles is not a spirit who can lead him to progressive spiritual forces. Mephistopheles is the spirit whom Faust has to overcome, and he is associated with him just in order that he may overcome him, having been given him not for instruction but as a test. That is to say, we now see Faust standing between the divine, spiritual world that bears forward the evolution of the universe, on the one hand, and on the other the forces stirring in his soul which drag him down into the life of the ordinary instincts, and these divert a man from spiritual endeavor. Directly anything holy stirs in his soul, it is ridiculed, the opposing impulses ridicule it. This is wonderfully presented now in the form of external events—Faust striving with all his knowledge towards the divine spiritual, and his instincts growling, as the materialist's mind growls, at spiritual endeavor. When Faust says: “Be quiet poodle,” he is really saying this to himself. And now Faust speaks—or rather, Goethe makes Faust speak—in a wonderful way. It is only when we study it word by word that we realise how wonderfully Goethe knows the inner life of man in spiritual evolution:

“When in our narrow chamber kindled
The lamp its cheerful radiance throws,
Bright gleams the light that erst had dwindled
Within the heart itself that knows.”

This is self-knowledge; seeking the spirit within itself.

“Reason again begins to speak”

A significant line, for whoever goes through the spiritual development Faust passes through during his life, knows that reason is not merely something dead within man, not only the reasoning of the head, but he realises how reason can become living—the weaving of an inner spirit that actually speaks. That is no mere poetical image:

“Reason again begins to parley
And hope to bloom that seemed dead.”

Reason again begins to speak of the past, of what is left alive out of the past. “Hope, blooms again that seemed dead,” that means that we find our will transformed, so that we know that we shall pass through the gates of death as spiritually living beings. Future and past are dove-tailed together in a wonderful way. Goethe now makes Faust say that through self-knowledge he can find the inner life of the spirit.

“Then for life's fountains long we dearly,
Ah, dearly, for life's fountain-head.”

And now Faust seeks to come nearer that towards which he is being pressed—nearer life's fountain-head. To begin with he seeks the path of religious exaltation; he picks up the New Testament. And the way in which he does so is a wonderful example of the wisdom in Goethe's drama. He picks out what contains the deepest wisdom of the new age—the John Gospel. He wants to translate this into his beloved German; and it is significant that Goethe should have chosen this particular moment. Those who know the workings of the deeply cosmic and spiritual beings realise that when wisdom is being put from one language into another, all the spirits of confusion make their appearance, all the bewildering spirits intervene. It is especially in the frontier regions of life that the powers opposed to human evolution and human well-being find expression. Goethe purposely chooses translation, to set the spirit of perversity, the spirit of lying (still inside the poodle) over against the spirits of truth. If we look closely at the feelings and emotions to which such a scene may give rise, the wonderful spiritual depths concealed in it become evident. All the temptations I have characterised as coming from what is inherent in the poodle, the temptation to distort truth by untruth, these go on working, and now they influence an action of Faust's which gives ample opportunity for such distortion, Yet, how little it has been noticed that this is what Goethe meant is still today made evident by the various interpreters of “Faust”; for what do these interpreters actually say about this scene? Well, you can read it; they say: “Goethe is indeed a man of external life, for whom the Word is not enough; he has to improve upon John's Gospel; he has to find a better translation—not: In the beginning was the Word, the Logos, but: In the beginning was the deed. That is what Faust after long hesitation decides on. This is a piece of Goethe's deep wisdom!” But this wisdom is not Faust wisdom, it is pure Wagner wisdom, genuine Wagner wisdom! Just like that wisdom quoted over and over again when, later, Faust speaks such beautiful words to Gretchen about the religious life:

“Who, then, can name Him? who thus proclaim Him? ...
The All-embracing, the All-sustaining ...”

And so on. What Faust says to Gretchen then is quoted repeatedly and represented as deep wisdom by the learned gentlemen who quote it:

“Who can name Him?
Who thus proclaim Him:
I believe Him?
Who hath that feeling,
His bosom steeling,
Can say: I believe Him not?
The All-embracing,
The All-sustaining,
Clasps and sustains He not
Thee, me, Himself?
Springs not the vault of Heaven above us?
Lieth not Earth firm—’stablished ’neath our feet?
And with a cheerful twinkling
Climb not eternal stars the sky?
Eye into eye gaze I not upon thee?
And floats in endless mystery
Invisible visible around thee? ...

These words of Faust's are often represented as deep wisdom! Now if Goethe had meant it to be accepted as such deep wisdom, he would not have put the speech into the mouth of Faust when he was trying to instruct the sixteen-year-old Gretchen. It is Gretchen-wisdom! We must take things seriously. The pundits are under a misapprehension and have mistaken this Gretchen-wisdom for deep philosophy. Faust's suggestion for the translation of the Bible is also taken for especially profound wisdom, whereas Goethe simply means to represent how men bandy about truth and error when they undertake much a task. Goethe has represented the two souls of Faust very profoundly indeed, here in this scene of the translation of the Bible.

“It is written: In the beginning was the Word.” We know that this is the Greek Logos. That actually stands in the John Gospel. In opposition to it there rises up in Faust what is symbolised by the poodle and it is this that prevents him from reaching the inner meaning of the Gospel. Why does the writer of the John Gospel choose precisely the Word, the Logos? It is because he wishes to emphasise that the most important thing in the evolution of man on earth, what really makes him externally man in this Earth-evolution, has not evolved gradually but was there in the primal beginning. What is it that distinguishes man from all other beings? The fact that he can speak, whereas no other being, animal, vegetable or mineral, can do so. The materialist thinks that the Word, Speech, the Logos, through which thought vibrates, was required by man only after he had passed through animal evolution. The Gospel of John takes the matter more deeply and says: No, in the primal beginning was the Word. That is to say, man's evolution was planned from the beginning; he is not in the materialistic Darwinian sense, simply the highest peak of the animal world; in the very first design of Earth-evolution, in its primal origin, in the beginning, was the Word. And man can develop on Earth a ego, to which animals do not attain, only by reason of the Word being interwoven with human evolution. The Word stands for the Ego in man. But against this truth the spirit of falsehood which has entered Faust rebels; he must go deeper to understand the profound wisdom of John's words,

“Already I am held up!”

But actually it is the poodle, the dog in him and what dwells in the dog, that is holding him up. He can get no higher; on the contrary he sinks much lower.

“Already I stick, and who shall help afford?
The Word at such high rate I may not tender;
The passage must I elsewise render,
If rightly by the Spirit I am taught.”

Seeing Mephistopheles coming to him he thinks that he is being “enlightened by the Spirit,” whereas in reality he is beclouded by the Spirit of darkness, and sinking lower.

“ ’Tis written: In the beginning was the Thought.” What is not higher than the Word. Sense, as we can easily prove, plays its part in the life of animals also, but the animal does not attain to the human Word. Man is capable of sense, thinking, because he has an astral body. Faust descends from the Ego to the astral body more deeply into himself.

“... In the beginning was the Thought. (Sinn)
By the first line a moment tarry,
Let not thine eager pen itself o'er hurry!”

He thinks he is rising higher but he is sinking lower.

“Does Thought work all, and fashion all outright?”

No, he is descending lower still, from the astral body to the dense, more material etheric body; and he writes:

“... In the beginning was the Force.”

(Force is what dwells in the etheric body.)

“Yet even as my pen the sentence traces,
A warning hint the half-writ word effaces.
The spirit helps me!”

(The spirit dwelling in the poodle. )

“From all-doubting freed,
Thus write I: In the beginning was the Deed.”

And now he has arrived at complete materialism; now he has reached the physical body through which the external deed is performed.

(Logos) Word.........Ego
Thought..................Astral Body
Force......................Etheric Body
Deed.......................Physical Body

Thus you have Faust living and weaving in self-knowledge. He translates the Bible wrongly because the several members of man's being of which we have so often spoken—the ego, the astral body, the etheric body, and the physical body are working together in him, through Mephistopheles' spirit, in a chaotic way. And now we see how these impulses prevail, for the external barking of the dog is what stirs him up against the truth. In all his knowledge he cannot yet recognise the wisdom of Christianity. This is shown the way he connects Word, Thought, Force, Deed. But the impulse, the urge, towards Christianity is already alive in him, and by making use of the living force of what dwells there as the Christ, he overcomes the opposing spirit. He first tries to do this with what he has received from ancient magic. But the spirit does not yield, does not show himself in his true form. He then calls up the four elements and their spirits—the salamanders, sylphs, undines and gnomes, but nothing of all this affects the spirit in the poodle. But when he calls upon the figure of Christ, “the shamefully Immolated, by Whom all heaven is permeated” then the poodle has to show its true shape.

All this is fundamentally self-knowledge, a self-knowledge that Goethe makes quite clear. And what appears now? A travelling scholar! Faust is genuinely practising self-knowledge, he stands actually facing himself. Now for the first time the wild impulses in poodle-form, which have been resisting the truth, are working, and now he sees himself with a clearness that is still not clear! The travelling student stands before him but this is only Faust's other self, for he has not become much more than a travelling student with all a student's errors. Only now that he has learnt through his bond with the spiritual world to recognise the impulses more accurately,the travelling scholar—his own ego as up to now, he has developed it—confronts him as something more definite and solid. Faust has learnt like a scholar; he has given himself up to magic and through magic scholastic wisdom has been bedevilled. What has developed out of the old, good Faust, the old travelling student, is merely the result of his having added ancient magic to his learning. The travelling scholar is still present in him and meets him under a changed form; it is only his other self. This travelling student is himself. The struggle to be free of all that confronts him as his other self, is shown in the ensuing scene.

Indeed, in the different characters whom Faust meets, Goethe is always trying to show Faust's other ego, so that he may come to know himself better and better. Many of the audience may remember how in earlier lectures I explained that even Wagner was to be found in Faust himself, that Wagner was just another ego of Faust's. Mephistopheles, also, is only another ego. It is all self-knowledge; self-knowledge is practised for knowledge of the universe. But, for Faust, none of this is yet clear spiritual knowledge; it is all wrapt in a vague, dull spirit seership, impaired by the old, atavistic clairvoyance. There is nothing clear about it. It is not knowledge full of light, but the knowledge of dreams. This is represented by the dream-spirits fluttering around Faust—really the group-souls of all the beings that accompany Mephistopheles—and represented also by his final waking. Then Goethe says, or makes Faust say, clearly and unmistakably:

“What! am I once again then cheated?
And vanishes the spirit-foison thus?
That but a dream the devil counterfeited,
A poodle from my room broke loose?”

Goethe employs the method of directing attention over and over again to the truth. That he is representing a spiritual experience in Faust, is clearly enough expressed in the above four lines. This scene shows us too how Goethe was striving for knowledge of the transition from the old era to the new in which he himself lived, that is, from the fourth post-Atlantean epoch to the fifth. The boundary line is in the fourteenth, fifteenth, sixteenth centuries. As I have said before, whoever thinks as men think today can hardly picture—unless he makes a special study of it—the soul-development of past centuries. In the days of Faust only the ruins of it remained. How often we experience today that men are not trying to come to the new spiritual research for which we are striving; they are trying to renew the old wisdom. Many indeed think that by renewing what was possessed by the people of old they will be able to find a deeper, magical and mystical wisdom about nature. There are two errors closely connected with all human spiritual striving. The first is that men buy ancient books and studying them come to prize them more highly than the newer science. They generally prize them more highly simply because they do not understand them, the language in which they are written being actually no longer comprehensible. Thus, the content of old books that has become double-Dutch being often put forward when spiritual research is under discussion is the one mischievous thing. The other is that whenever possible old names are given to new endeavours in order to justify them. Look at many of the societies calling themselves occult, or secret, or something of the kind; their whole endeavour is to give themselves an early origin, to talk as much as possible about a legendary past, and they delight in the use of old names. That is the second mischievous error. We do not have to do all this if we really see into the needs and impulses of our own age and of the inevitable future. If we pick up any book where traditions still existed, we can see from the way they were presented that, through the legacy of the past, the memory of an ancient wisdom formerly possessed by man, was still there, this wisdom had fallen into decay. Its modes of expression, however, continued for a considerable time.

I have at my disposal a book printed in the year 1740, that is, in the eighteenth century, from which I should like to read you a short passage, and we may be sure that many seeking spiritual knowledge today, coming upon such a passage will say: What depths of wisdom we have here! Indeed, there are many who believe they understand a quotation of this kind. Let me read you the one I am referring to:

“The King's crown should be of pure gold, and he must be married to a chaste bride. Now, if thou desirest to work upon our bodies, take the Greedy Grey Wolf who, according to his name, is subject to the warlike Mars but by birth is a child of ancient Saturn, and found in the hills and dales of the world, obsessed by hunger. Throw him the body of the King that he may feed upon it.”

This is the way chemical processes were described in olden days, the way to which Faust alludes when he talks of how Red Lion is married to the Lily in the glass. We should not make fun of such things for the simple reason that the way we speak of chemistry today will sound to those who come later just as this sounds to us. But we must be quite clear that this particular passage belongs to a late period of decline. Allusion is made to a “Grey Wolf.” Now this “Grey Wolf” stands for a certain metal found everywhere in the mountains, that is then subjected to a certain process. “King” is a name given to a condition of substances; and the whole paragraph describes a chemical process. The grey metal was collected and treated in a certain way; then this was called the “Greedy Grey Wolf”, and the other the “Golden King”, after the gold had gone through a process. Then an alliance was made and this is described: “And when he had devoured the King. ...” It comes about, therefore, that the Greedy Grey Wolf, the grey metal found in the mountains, is amalgamated with the Golden King, a certain condition of gold after it has been treated chemically. He represents it as follows:

“And when he has devoured the King, then make a great fire and throw the Wolf into it.”

—thus the Wolf who has eaten up the Golden King is thrown into the fire.

“So that he may be completely burnt up and the King released again.”

The gold once more makes its appearance.

“When that has happened three times the Lion will have overcome the Wolf, and will find nothing more of him to consume. Then our body is ready to begin our work.”

In this way then he makes something. To explain what he makes, we should have to describe these processes in greater detail, especially how the Golden King is made; but that is not told us here. Today these processes are no longer used. But for what does the man hope? He hopes for what is not entirely without reason for he has already made something. For what purpose exactly has he made it? The man who had this printed will certainly not have done anything more than copy it from some old book. But for what purpose was it done at the time when such things were understood? That you may gather from the following:

“And know that this alone is the right way thoroughly to purify our bodies; for the Lion cleanses itself by the blood of the Wolf; for the tincture of this blood delights marvelously in the tincture of the Lion's, for the two kinds of blood are closely allied.”

Thus he praises what he has been the cause of producing. He has invented a kind of medicine.

“And when the Lion is satiated, its spirit becomes stronger than before, and its eyes dart forth a gleam of pride, bright as the sun.”

(This describes the properties of what he has in the retort.)

“Its inner being is then able to do much, and is useful for all that is demanded of it. When it is made ready, children of men attacked by severe sickness and many diseases are grateful to it; the lepers run after it, hankering after its soul's blood, end all who have infirmities rejoice heartily in its spirit; for he who drinks of this golden spring, experiences a complete renewal of his nature, the removal of evil, strength in the blood, force in the heart and perfect health in all the limbs.”

This, you see, indicates that we are concerned with a medicine, but it is also sufficiently indicated that this also has to do with man's moral character. For naturally if a healthy man takes it in the right quantity then what is here described will make its appearance. This is what he means, and this is how it was with the men of olden days who understood something of these matters.

“For he who drinks of this golden spring, experiences a complete renewal of his nature”

Thus, by means of the art he describes here, he strives to discover a tincture that can arouse an actual stirring of life in man.

“Thanks to the strength of the heart's blood, and the perfect healthiness of all the limbs, they are either enclosed within or sensitive outside the body, for it opens all the nerves end pores so that evil can be driven out and good can peacefully take its place.”

I have read this aloud chiefly to show how in these ruins of an ancient wisdom one may find the remains of what was striven for olden times. By external means taken from nature men strove to stimulate the body, that is, to acquire certain faculties, not only through inner moral endeavour, but through the medium of nature herself, applied by man. Keep this in mind for a moment, for from it we shall be led to something of importance which distinguishes our epoch from earlier epochs. Today it is quite the thing to make fan of the ancient superstitions, for then one is accepted in the world as a clever man, whereas this does not happen should one see any sense in the old knowledge. And all this is lost, and had to be lost, for reasons affecting mankind; for spirit-freedom could never have been attained through what was thus striven for in ancient days. Now you know that in books of an even earlier date than this antiquated volume—that indeed belongs to a very late period of decline—you find Sun and Gold indicated by the same sign ⊙; and Moon and Silver by the sign ☾. To the modern man the application of the one sign used for Sun and Gold, and the other used for Moon and Silver, two faculties of the soul he necessarily has himself, is naturally sheer nonsense. And it is sheer nonsense as we find it in the literature that often calls itself “esoteric”. For the most part the writers of such books have no means of knowing why in the olden days Sun and Gold, Moon and Silver, were characterized by the same signs.

Let us start from Moon and Silver with the sign ☾. Now if we go further back in time, say a few thousand years before the Mystery of Golgotha, before the Christian reckoning of time, men did not only possess the faculties later in ruins; at the time when such things came into existence they possessed still higher faculties. When a man of the Egypto-Chaldean culture said ‘Silver’ he did not mean only what we mean when we say ‘Silver’. In the language of that time, the word signifying a ‘Silver’ was quite differently applied. Such a man had the spiritual faculties, and he meant a certain kind of force-activity found, not only in a piece of silver that actually spread over the whole earth. What he wished to say was: We live in Gold, we live in Copper, we live in Silver. He meant certain kinds of living forces were there, and these flowed towards him especially strongly from the Moon. This he felt that something sensitive and delicate that was in its coarsest, most material form in the piece of silver. He really found these forces flowing from the Moon, but also spread out over the whole earth, materialized in a particular way in the piece of silver. Now, the enlightened man of today says: Yes, of course, the Moon shines with a silvery light so they believe that it consisted of silver. It was not so, however, but rather men had an aerosol experience, lost today, in connection with the Moon, in connection with something dwelling as a force in the whole terrestrial globe, and materialized in the piece of silver.

Thus, the force lying in the silver has to be spread out over the whole earth. Naturally when this is said today it is regarded as absolute nonsense, yet, even from the point of view of modern Science it is not so. It is not nonsense at all, quite the contrary. For I will tell you something that science knows today although it is not often mentioned it. Modern Science knows that rather more than four lbs of silver, finally distributed, is contained in a cubic body the length of an English knot that you may imagine out of the ocean. So that, in all the seas surrounding the earth, there are two million tons of finally distributed silver. This is simply a scientific truth that can be proved today. The oceans of the world contain two million tons of finely distributed silver—distributed in an extreme homeopathic degree, one might say. Silver is actually spread over the whole earth. Today this must be substantiated—if one does so in the way of ordinary Science, by taking water from the sea and testing it by the most exact methods of investigation; then, with the means of modern Science itself it is found that there are two million tons of silver contained in the oceans. It is not that these tons of silver have been somehow dissolved in the ocean, or anything of that kind; they belong to it, belong to its nature and being. And this was known to the ancient wisdom through those delicate, sensitive forces originating in the old clairvoyance, at that time still in existence. The old wisdom also knew that the earth should not be looked upon merely in the way of modern Geology, but that in this earth, most finally dissolved, we have silver.

I could go further; I could show how gold is also dissolved, how, besides being materially deposited here and there, all these metals finely dissolved are really present. Ancient wisdom, therefore, was under no misapprehension when it spoke of silver; it is contained in the sphere of the earth. It was known, however, as a force, a certain kind of force. The silver sphere contains certain forces, the gold sphere other forces, and so on. More still was known of the silver that was dispersed throughout the earth-sphere; it was known that in the silver lies the force controlling the ebb and flow of the tides, for a certain force animating the whole body of the earth lies within this silver and is relatively identical with it. Without it there would be no tides; this movement, peculiar to the earth, was originally set in motion by the silver-content. It has no connection with the Moon, but the Moon is connected with the same force, and hence ebb and flow appear in certain relation with the movements of the Moon, because both they and the tides are dependent on the same system of forces. And these lie in the silver-content of the universe.

Even without clairvoyant knowledge we are able to see into such things, and to prove with a certainty unattainable in any other sphere of knowledge, unless it be Mathematics, that there used to be an old science knowing these things and knowing them well. With this knowledge and what it could do the ancient wisdom was connected, the wisdom that actually controlled nature has to be regained only through spiritual research, as it is today and as it goes on into the future. We live in the age in which an ancient kind of wisdom has been lost and a new kind only beginning to appear. What arose out of this ancient wisdom? Those consequences I have already indicated. If we knew the secrets of the universe we could make man himself more efficient. Think of it! By external means we could make man more efficient. It was possible simply by concocting certain substances and taking them in appropriate quantities, to acquire faculties which today we rightly assume to be innate in a man, such as genius, talent, and so forth. What Darwinism fantastically dreamed was not there at the beginning of earth-evolution, but the capacity to control nature existed, and from that to give man himself moral and spiritual faculties. You will now see that, for this reason, man had to keep the handling of nature within limits; hence the secrecy of the ancient Mysteries. The knowledge connected with these Mysteries, the secrets of nature, did not consist merely of concepts, ideas and feelings, nor merely of dogmatic imaginations. Whoever wished to acquire it had first to show himself wholly fitted to receive it; he had to be free from any wish to employ the knowledge selfishly, he was to use both knowledge and the ability derived from it solely in the service of the social order. This was the reason why the knowledge was kept so secret in the Egyptian Mysteries. In preparation for such knowledge, the one to whom it was to be imparted gave a guarantee that he would continue to live exactly as he had lived before, not taking to himself the smallest advantage but devoting the efficiency he would acquire, by his mastery over nature, exclusively to the service of the social order. On this assumption initiation was granted to individuals who then guided the ancient culture, of which the wonderful works are still to be seen, though, because men do not know their source, they are not understood.

But in this way men would never have become free. They would, through their nature-influences, have been made into a kind of automata. An epoch had to supervene in which man would work through inner moral forces alone. Thus, nature becomes veiled for him because in the new age, his impulses, his instincts, having become free, he has desecrated her. It is at most since the fourteenth, fifteenth, centuries that his impulses have been thus freed. Hence the ancient wisdom is growing dim; there is nothing left but the book-wisdom and that is not understood. For no one who really understood such things as the passage I have just read you would refrain from using them for his own advantage. That, however, would call forth the worst instincts in human society, worse instincts than those produced by the tentative progress of what today is said to be scientific, where, without insight into the matter, it is in a laboratory, without being able to see deeply into things, they obtain some result or other, perhaps that one substance affects another in a certain way—well, just what goes on today in chemistry. They go on trying this and find that but it is spiritual science that will have to find a way back into the secrets of nature. At the same time it must found a social order quite different from that of today, for men to be able, without being led away into a struggle with the most unruly instincts, to realize what nature conceals and her inmost depths.

There is meaning and there is wisdom in human evolution; I have tried to show you this in a whole series of lectures. What happens in history happens—although often by means of most destructive forces—in such a way that meaning runs right through historical evolution. It is often not the meaning man imagines and he has to suffer much on the paths history takes to its ends. Everything that happens in the course of time is sure to make the pendulum sometimes swing towards evil, sometimes towards the lesser evil; but by this swinging a certain condition of balance is reached. So then, up to the fourteenth, fifteenth centuries, a certain number of the forces of nature were known at least to a few; but this knowledge is now lost because the men of the newer age have not been attuned to it.

You see how beautifully it is pictured in the symbol standing for the forces of nature in the Egyptian legend of Isis. This image of Isis—what a deep impression it makes upon us when we picture it standing there in stone, but covered from head to foot with a veil, also of stone—the veiled Isis of Sais. It bears the inscription: “I am the Past, the Present in the Future; my veil no mortal man has yet lifted”. That has given rise to an unusually clever explanation—and a very clever people have accepted this clever explanation. We are told that the image of Isis is the symbol of a wisdom that can never be attained by man. Behind this veil is a being must remain eternally hidden, for the veil can never be lifted. Yet the inscription is “I am the Past, the Present and the Future; my veil no mortal man has yet lifted”. All the clever people then say: no one can fathom this being—are speaking about as logically as anyone who was to say: “I am John Miller you shall never know my name”. To say this is on a par with what you thus always hear said about the figure of Isis. To interpret the inscription: “I am the Past, the Present in the Future; my veil no mortal man has yet lifted” in this way, is as complete nonsense as to say: “I am John Miller, you will never know my name”. For what Isis is, stands written—Past, Present and Future; Time in its flight. Something quite different, therefore, from the clever explanation referred to is expressed in the words: “By veil no mortal man has yet lifted”. It means that this wisdom must be approached as those women are approached who have taken the veil, the vow of chastity; it must be approached with the same reverence, with a feeling that excludes all egoistic impulses. This is what is meant. It is like a veiled nun, this wisdom of ancient days. This is the feeling behind what is said about the veil.

Thus we see that in the days when the primal wisdom was a living thing, then either approached it in the proper way or had no access to it at all. But in the newer age men had to be left to themselves. They could no longer have this wisdom of old days, nor the forms of that wisdom. The knowledge of certain forces of nature was lost, those forces only to be known if experienced within—if they were at the same time lived inwardly. And at the time when materialism was at its height in the nineteenth century, at the beginning of the century, a force of nature appeared, the characteristic of which is recently expressed as follows: We have this nature-force but no one can understand it; it is even a secret for science.—You know how the force of electricity came to be used by man, and that electric power is such that no one can experience it inwardly through his normal forces; it remains an external force. And to a greater degree than one thinks that all the greatness of the nineteenth century arise through electricity. It would be quite easy to show how infinitely much in our present civilization depends upon electric power, and how much more, how very much more, will depend upon it in the future—even if it is employed in the present way without any inward knowledge. For in the evolution of human culture electric force has been put—as something by which man will be matured morally—in the place of the old, known force. Today in making use of electricity there is no thought of anything moral. There is wisdom in the progressive historical evolution of humanity. Man will mature by being able for a time to develop in his lower ego-bearer, in his uncontrolled egoism, what is deeply harmful—and in all conscience there is sufficient of this, as our own times clearly show. This would be quite out of the question should men have retained the ancient forces. It is electricity as a force in civilization which makes this possible. It is to a certain extent true of steam-power but to a lesser degree.

Now this is how the matter stands as I have explained to you. The first seventh part of our culture-period, that will last on into the third millennium, has passed; the peak of materialism has been reached. The social framework in which we live, that has brought about such lamentable occurrences in our days, is such that man cannot be subjected to it for another half-century without a fundamental change taking place in soul. For those having spiritual insight into world-evolution, this electoral age is, at the same time, the challenge to seek greater spiritual depth, a genuine spiritual deepening. For, to that force which remains outwardly unknown to sense-observation, there must be added in the soul the spiritual force line as deeply hidden as the electrical forces that also have to be awakened. Think how mysterious electrical power is! It was first drawn out of its secret hiding places by Galvani and Volta. And what dwells in the human soul, what is explored by Spiritual Science, that, too, lies hidden. The two like poles must meet each other. And as surely as the electric force is drawn out as the force hidden in nature, so surely will the force hidden in the soul,the force that belongs to it and is sought by Spiritual Science, also be drawn forth. This will be so, although today there are still many who look upon the endeavors of Spiritual Science as—well, almost as they might have looked upon the experiments of Galvani and Volta in the days they prepared their frogs and observed in the twitching of a leg that some force was at work. Did Science know that in the frog's leg lay the whole of Voltaic electricity, of Galvanism, all that is known today of electricity? Think back to the time when Galvani, it his primitive laboratory, was hanging his frog's leg to the window-latch; think of the moment when it began to twitch, and for the first time he was sure of this! It is true that it is not a question here of electricity itself being stimulated, but of contact electricity. When Galvani established this for the first time, could he suppose that the force that moved the frog's leg would someday be used by railways as a means of transport all over the world, or that with its aid thought would someday encircle the globe? It is not so very long since Galvani noticed this force in his frog's leg. If anyone had been expected such results to flow from this knowledge, he would certainly have been considered a fool. Thus, in our day, a man who presents the first beginnings of a spiritual science is considered a fool. A time will arrive when all that comes forth from Spiritual Science will be as important to the world, the moral world of soul and spirit, as a result of Galvani's experiment with the frog's leg for material civilization.

It is thus that progress is made in human evolution. It is only when we are aware of the things that we develop the will to collaborate in what can only be a beginning. If that other force, the force of electricity, which has been drawn out of its hiding place, has direct significance only for external, material culture, and only an indirect significance for the world of morality, what comes out of Spiritual Science will be of utmost importance in terms of its social significance. For the future, social institutions will be regulated by what Spiritual Science can give to humanity. Moreover, the whole of external, material culture will be indirectly stimulated by this Spiritual Science as well. I can only point to this today in closing.

Today we have seen Faust standing, as I said today, half in the old world and half in the new. Tomorrow we will expand this picure of Faust into one that will be a sort of worldview.

I would like to touch again today on some of the things I noted yesterday, which could no longer be properly discussed, with a few aphoristic remarks.

First, I would like to say a few words about the relationship between major and minor. If you want to get right into the intimacies of musical life, you have to be absolutely aware of how, in essence, musical life corresponds to a fine organization of our human nature. One could say that what appears in musical facts corresponds in a certain way to the finer inner constitution of the human being.

Yesterday I already hinted at a certain direction, how rhythm, which we experience musically, answers an inner rhythm in the rise and fall of the cerebral fluid and the connection that the cerebral fluid has on the one hand with the processes in the brain, and on the other hand with the processes in the metabolic system through the mediation of the blood system. But one can also point to, I would say, individually graded forms of the human constitution in this respect. Our most important rhythmic system is the respiratory system, and it is basically not difficult for most people, if they pay just a little attention, to experience how the course of thought, both the more logical course of thought and the more emotional, feeling-based course of thought, influence the breathing process. The breathing process is directly or indirectly connected with everything that a person experiences musically. Therefore, the particular breathing pattern of one or the other type of person sheds some light on the musical experience.

You see, there are people who are, so to speak, oxygen voluptuaries. They are constituted in such a way that they assimilate oxygen with a certain greed, absorb oxygen into themselves. Of course, all this takes place more or less in the subconscious, but one can certainly use the expressions borrowed from conscious life for the subconscious. People who absorb oxygen with a certain greed, who, if I may say so, enjoy absorbing oxygen, who are voluptuous in absorbing oxygen, have a very active, strongly vibrating astral life. Their astral body is inwardly active. And because their astral body is inwardly active, it also digs into the physical body with great desire, as it were. Such people live very much in their physical body.

Other people do not have this craving for oxygen. But they feel something, not like a lust now, but like a relief when they give up, exhale the carbonic acid. They are tuned to, as it were, removing the breathing air from themselves and finding a favor in the process that gives them a certain relief.

One can, by speaking the truth, say something that I would like to say, that makes a person feel a little uncomfortable. But that is one of the reasons why people reject the deeper truths, because they do not want to hear them. They then invent logical reasons for themselves. In reality, the reason is that people are subconsciously repulsed by certain truths. So they push these truths aside. And that is why they then find logical reasons for their evasion. It is certainly not so easy, for example, if you are a respected scholar and are opposed to this or that philosophical system because of an unhealthy gall-bladder, to simply say to your students: My gall-bladder does not tolerate this philosophical system! — So you then invent logical reasons, sometimes of an extraordinarily astute nature, and you console yourself with these logical reasons. For those who know life, for those who look deeper into the secrets of existence, sometimes logical reasons that come from this or that side are not quite so valuable. And so, for example, sometimes the melancholic temperament is based merely on the fact that the person concerned is a voluptuary of oxygen. And life more in the sanguine, life that is turned to the outer world, that likes to change with the impressions of the outer world, that is based on a certain love of exhaling, on a certain love of pushing the carbonic acid away from oneself.

However, these are only the external manifestations of the matter. For the rhythm, which we basically perceive only as the physical-secondary in the organism, is actually always a rhythm that takes place in the deeper sense between the astral body and the ether body. And ultimately one can say: we inhale with the astral body and with the etheric body we exhale again, so that in truth there is a rhythmic interaction between the astral body and the etheric body. And so now the individual types of people live, so to speak, in such a way that when one type of person's astral body strikes the ether body, a kind of lust occurs; when the ether body strikes back at the astral body, a kind of relief occurs in the other person, a kind of transition into the sanguine, experiencing the sanguine.

And you see, the origin of the major and minor scales is connected with this contrast between types of people, in that everything that can be experienced in minor keys belongs, or corresponds, to the constitution of the person who is based on the lustfulness of oxygen, which is based on the fact that the astral body, when it strikes the etheric body is felt with a certain voluptuousness, while conversely the major scales are based on the fact that there is a feeling of well-being when the aetheric body strikes back at the astral body, or there is a certain feeling of elevation, a feeling of relief, a feeling of momentum when the aetheric body strikes back at the astral body.

It is interesting that in the outer world things are often designated in the opposite direction. For example, one says: the melancholic person is the deeper person. Seen from the other side, he is not the deeper person, but the greater voluptuary for oxygen.

Since the musical in its intimacies essentially draws on the subconscious, we can associate such things with the very subconscious, semi-conscious, and conscious aspects of the musical experience, without indulging in an inartistic, theoretical approach. You will notice in general that a truly spiritual-scientific consideration of art does not need to become inartistic itself, for one does not arrive at bloodless abstractions and a theoretical web of aestheticizing kind. If we want to understand things spiritually, we come to realities in a certain way, the mutual interaction of which is presented pictorially or even musically in such a way that we, with our description, are ourselves in it in a kind of musical experience.

And I believe that this will be precisely the significant aspect in the further development of spiritual science: that in seeking to comprehend art, it itself seeks to create an art of comprehension, that it seeks to imbue its work and activity in ideas with pictoriality, with reality, and that in so doing, what we have today as such a dry, abstract science will be able to approach the artistic. But if we take something that has been approached purely and simply from a scientific point of view, such as education, and make it relevant to the tasks of our time, as we do in the Waldorf school , then we are in any case leading what used to be scientific pedagogy to the level of pedagogical art and talking about pedagogy in the sense that we actually understand it as an art of educating.

If you read what I wrote in the last issue of “Social Future” about the art of education, you will see how there is an effort to transform the sober science of education into the art of education.

Another thing I noted refers to the interesting comments Mr. Baumann made in his lecture about the relationship between vowels and tones and colors. He described, as you recall, the dark vowels U, O, as those that have the clearest effect in terms of tone. In the middle stands A, and at the other pole, so to speak, stand E and I, the light vowels, which appear the least tonal, which carry something noisy in them.

But then the astonishment was expressed as to how it comes about that precisely the dark vowels also correspond to the dark colors, and the light vowels, I, E, correspond to light colors, but do not actually have the tonal in their characteristic, but rather the noisy. - If I understood correctly, that was the case, wasn't it?

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Now I would like to make the following comment. If we do not write down the color scale in the abstract linearity that we are accustomed to in today's physics, but if we write down the color scale in a circle, as it must also be done in accordance with Goethe's color theory, so that we say: red, orange, yellow, green, blue, indigo, violet — if we proceed in this direction (see drawing), if we write down the color scale in this way, then we will naturally be compelled, by bringing to mind the experiential relationships between tone and color, to write U and O towards the blue side. But if we continue in Mr. Baumann's spirit, we will come to A and from this side enter the red and yellow, the light.

So when we move away from the blue in the sense of the accompanying colors of the individual tones, we are actually moving away from the color element and now touching it from behind. And therein lies the reason why we can no longer establish parallelism here in the same way as in the area where the tonal coincides with the color in a very evident way, because on the side of the color scale where the blue, the violet is, we are dealing, so to speak, with a going out of ourselves with the color. There is a sense of immersion in the external world. With sound, however, it is essentially also an outward movement. But when we come over here, we experience an onslaught of color: red and yellow colors rush at us. In this sense, behind this curtain, there is also painting here: it is the ability to paint from within the color. We live ourselves into the color. This is how we actually come out of the nature of the tones. This is the reason for the apparent incongruity that I pointed out to you yesterday.

Then I would also like to make a few comments about something that has been mentioned, that has been found – and it has not only been found by the one person mentioned yesterday, but similar things are being said and spread by a great many people – that one can feel the vowels, the tones, in the organism: I in the head, E more in the larynx, A in the chest, O in the abdomen, U very low down.

Now, these things are indeed correct, and you will no longer be surprised that these things have a certain correctness if you bear in mind that everything that exists in the outside world in the form of sound corresponds to very specific arrangements in our organism. But on the other hand, we must not forget: If such things are proclaimed without proper instruction – and proper in this case means only instruction that can speak from a certain spiritual-scientific experience – if such things are proclaimed without precise knowledge of the very interconnections that I have pointed out in a specific case today, that is, the interrelations between the astral body, the etheric body and so on, if they are trumpeted out into the world without reasonable guidance in the spiritual-scientific sense and people then do all kinds of exercises in this sense, then, indeed, quite embarrassing things can come about. If, for example, someone does breathing exercises of some kind and – as was hinted at yesterday – strongly visualizes the vowel when breathing and in doing so gets the feeling: the I sits in the head, the E in the larynx, and so on – this can certainly be right. But if he is not instructed in a sensible way, it can happen that the I remains in the head and sings continuously at the top of the head, and the E remains in the larynx and rumbles there. And if the A in the chest and abdomen also do their thing, then something similar to what Dr. Husemann has described in an excellent way for Staudenmaier in Munich, who also came up with very strange things because, as a person who has no experience at all in how to use such things, , he has actually gradually accumulated a whole legion of fools in his own organism, so many fools that these fools have simply suggested to him that this breeding of fools should now also be cultivated, that universities and schools should be founded so that all this folly can be taken even further. And you can really imagine that a naive mind has the answer for this: Now I'm supposed to pay taxes for him to live in his monkey cage with his magic, aren't I!

But today there are actually a great many things that simply boil down to the fact that the people who devote themselves to such things – and there is a certain greed even for such things – that these people are really driven crazy, you could say they are actually driven crazy. So such things are not entirely harmless, and it is good when attention is drawn to them.

You see, if you, as was the case with me before the war - now it is just no longer possible - if you had to travel, so to speak, through half of Europe more often, you really found a perpetual phenomenon throughout this half of Europe. I don't know how many people have noticed it, but those who live in spiritual science also acquire a certain talent for observation for external things, they simply see certain things. For example, they cannot simply stay in a hotel and not see all the letters in the porter's lodge for people who have arrived or who have not arrived. Letters are there from people who may have just skipped the city or this hotel due to the necessity of the trip and so on. Now, however, there was one recurring phenomenon in such porter's lodges, also in other places, again and again: these were the postings of a certain, as they were called, psychological-occult center. They sent such announcements to all possible addresses they could get hold of, about an “occult system” through which one could train oneself for all kinds of things. For example, one could train oneself to make a favorable impression on other people. In particular, one could train oneself as a commercial agent to easily persuade people to buy one's goods. Or one could also train oneself to do other interesting things, for example, to make the opposite sex fall in love with you easily and the like. Well, these things were sent out, and these things actually found a great deal of interest in the world. Then the war, didn't it, threw a bit of a wrench into these calculations for the simple reason that it had gradually become unpleasant that these things were being censored. And since censorship has not been abolished today either, at least in most areas, but on the contrary is still in effect in a very strange way, efforts to advocate occultism in this way have not yet been rewarded, and one notices less of these stories today. But I think they are being passed more and more from person to person, without using the postal system and similar things. So I just wanted to say that this vocal breathing game is not without significance and does have an embarrassing side.

Now yesterday various questions were asked that obviously relate to the statements I made in the first recitation lesson, which were only a few remarks for the time being, and that were linked to what Mr. Baumann said about the musical aspect. Well, with regard to the most important thing, of course, I must refer to the following lessons on declamation, but perhaps I can also make some aphoristic remarks there.

For example, the question was asked what changes in the way of speaking, in the art of acting, could be brought about by spiritual science. A term was used, if I understood it correctly – because it is possible that I did not understand it – that was supposed to replace physical eloquence. I think I remember this term, but I have absolutely no idea what is meant by “physical eloquence”!

Interjection: facial expressions are meant.

Oh, facial expressions as physical eloquence? Well, if that is meant, it is a rather occult expression. But perhaps we can also make a few comments on the matter by anticipating some of what still needs to be said in the lessons in context, and which perhaps can only be presented here in somewhat aphoristic form. I would like to say something about the way of speaking and acting in the art of acting, which has also undergone a rich history. One need only recall that Goethe also rehearsed his plays, for example, “Iphigenia,” with his actors in such a way that he had a baton, that he placed the greatest value on meter. And people in the second half of the 19th century would probably have described what Goethe called the beauty of his acting as a kind of chanting or something similar. There was indeed a great emphasis on meter. And one should not imagine that when Goethe himself played Orestes, for example, he went wild in the way that I have seen some Orestes actors go wild in on stages that are not even modern. When a certain Krastel played Orestes, yes, sometimes you felt the need to get a cage to contain his wildness. So one should not imagine that Goethe himself might have played the role of Orestes. On the contrary: he softened and smoothed out the very thing that was present in the content as strength and intense inner life by carefully observing the meter. So that there was moderation and balance in the manner of delivery that Goethe used for his Orestes.

As for facial expressions, it may be said that in earlier times – and these times are not so far back – these facial expressions were much more subject to the laws of theatrical art than they were in the last third of the 19th century. To a certain extent, stereotypical movements were used for certain types of feelings, and these were adhered to. So that it was less important, for example, to see in detail how some hand movement expresses some wild passion, but rather to see how some hand movement is, how it runs, how it has to connect to a previous hand movement, creating a beautiful form, and how it transitions to the next hand movement. So it was the inner shaping that was most important in facial expressions. And to the same extent that this artistry in both speech and facial expressions declined, to the same extent did the naturalistic immersion in the individual gesture and the individual word come about, and what then ultimately became the demand of naturalism for the entire drama was that which cannot actually be followed in the serious sense. Because, if it came down to only showing a front or back room in the stage set, where the same things happened that would naturally happen in a front or back room in three hours, , then one would actually have to say: the stage space would be designed in a completely naturalistic way if the side with the curtain were also closed – and the last naturalistic thing that one has striven for on the stage would actually have been achieved with something like that. It would have been quite interesting if, for example, the aesthetic wishes of Arno Holz had also led to the demand that the stage area be closed off at the front by a wall, so that it would now quite naturally depict a back room. One could have seen what impression such naturalism, such complete naturalism, would have made on the audience.

I know that when you take things to such grotesque extremes, it is very easy to find fault with them. But in the end, extreme naturalism really comes down to the fact that you can't really say anything other than that it is the last consequence.

And so it is with this pushing of the actor into the ordinary naturalistic way of speaking and into the naturalistic gesture. In more artistic times, the other tendency prevailed. There the gesture strove for the beautiful, plastic form, for the moving plastic form. And the spoken word strived more back to the musical. So that in fact the theatrical presentation was also lifted out of the ordinary naturalism, in that the actors moved as they did on stage for the older among us, with those tragedians and tragic actresses whom the younger ones no longer knew, like Klara Ziegler and others. There you could still see the last echoes of decadence. They couldn't do the things anymore, but they still did them with the last remnants of plastic stagecraft, and they still had in their manner of speaking what sound and even tone and even melos had in speaking.

It was interesting: those who, on the one hand, went wild, went wild naturalistically, like Krastel, on the other hand, did not want to become naturalistic – their temperament got the better of them – they did not want to become naturalistic. Therefore, however, they also took their path to the musical in speaking in such a way as the others did to the plastic in movement. I don't know if any of you still remember such things; but if you have seen and heard Krastel on the Viennese stage more than once, you may still have the sound of Krastel's singing in your ears.

So, by returning to earlier forms of acting and mime, we are dealing with a convergence of theatrical performance with the musical and the plastic. And basically, all art is based on the fact that certain archetypes of this art, I would say, split, that the individual forms, the differentiated forms of art emerged from what was a kind of singing art in prehistoric times. And when someone like Richard Wagner came along and directed his whole heart and soul back to the archetypes of artistry, then this striving for the Gesamtkunstwerk emerged from him. But the further we go back in the development of the human spirit, the more we find that what is separate today flows together. For example, at least for the older times of Greek civilization, we can assume that there was only a slight difference between recitation and song. Recitation was very much sung. And song approached recitation. What later became differentiated into recitation and song was thoroughly unified. And it was probably the same with the northern peoples. What the northern peoples had was not one-sided singing and one-sided saying, that is, declaiming; but it was the art of declamation that arose from the Nordic way— just as the art of recitation arose from the southern type. It was the art of declamation and the song of the north, which was based on quite different foundations than Greek song, which in turn were a kind of unity. So we are dealing with a differentiation of the arts. And it must be assumed that in the old form, singing, i.e. music, recitation or declamation and rhythmic movement, the art of dance, were connected in a unified way. They sounded together as a unified whole.

This art of dance was then the older form of eurythmy. And it is absolutely — although this can only be recognized with spiritual scientific research methods — it is absolutely, albeit in a somewhat different form, because everything is of course subject to development, as a eurythmic part in the Greek unity of singing and recitation art, this eurythmy. So that this eurythmy is definitely something that was part of musical life in older times. And basically we are not doing anything different today than going back to earlier forms of artistic expression in eurythmy. Except that we naturally have to take into account the fact that the arts have now advanced so much. So that the close connection between singing, recitation and eurythmy, as it certainly still existed in Greece in the time of Aeschylus, cannot exist. We have to take more account of the fact that we have come to a differentiation. Therefore, the forms of eurythmy today must be sought through real inspiration, intuition and imagination.

They are. I have always mentioned this in a certain way before eurythmic performances, in a kind of introduction: one must not imagine that something has simply been taken over from the old eurythmic forms; but what was previously done more instinctively has been raised into consciousness in the sense in which it must be done in our time. And this visible language of eurythmy is directly sensed and received from the spiritual world. For basically all human beings eurhythmy! All of you eurhythmy, namely your ether body. Then, when you speak, you eurhythmy. The secret of speaking consists in the fact that the entire ether body follows the impulses of the vowel and the consonant, the entire arrangement of the sentence formation. Everything that is presented in eurythmy is mirrored in the movements of the etheric body when people speak. And speaking is based only on the fact that what is spread throughout the entire etheric body in movements is concentrated in the physical through the larynx and its neighboring organs. So that he who can see the etheric body of the person speaking perceives speech twice: in the movements of the larynx and its neighboring organs and in the etheric body as a whole. And when we practise eurythmy, we do nothing other than cause the physical body to perform the movements that the etheric body performs when a person speaks. The only difference is that we naturally have to round off, shape and transform everything that the ordinary human etheric body does into art, into beauty and the like.

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If every person were to practise eurythmy continually, I can assure you that not everyone would be able to do so artistically! The results are not always beautiful, although the process itself can be extremely interesting. And I once saw an extremely interesting group doing eurythmy. It was in Hermannstadt in 1889, and I was traveling from Vienna to Hermannstadt on Christmas Eve. And I had the misfortune of missing the connecting train in Budapest. So I had to take a train that went via Szegedin instead of Debrecen, and I arrived at the Hungarian-Transylvanian border on that Christmas Eve. There, where I had to wait for twelve hours, I met a group of people playing cards. It was, as they say, a motley crew from all the different nationalities that can be found in this corner of the world. Well, I took up the position of an observer. It was not a pleasant position, because the table at which I was to eat my supper looked so tempting that one would have liked to take out one's pocket knife and scrape off the dirt. And similar things could be observed. But I watched. The first player dealt the cards. Now you should have seen the eurythmy that sprang from the eyes of the others! The second played the cards – there were already two of the company lying on the table. Then the third played the cards, and then two more were lying under the table. And when the other cards were played, there was a colorful jumble: a wonderful but not beautiful eurythmy performed by these etheric bodies!

But there is so much to be learned about the human being and human nature by observing such scenes, where the human being's astral body comes into such a terribly angry movement, expressing all passions and then dominating the etheric body. And then there is the screeching of the etheric body when it screams! You can imagine that they shouted in confusion. And it was precisely this shouting that was then expressed in eurythmy. A lot can be studied from this. But when it comes to beautiful eurythmy, these movements must first be rounded off a little, translated into beauty.

But I am drawing your attention to certain processes that must precede the establishment of eurythmy if this eurythmy is not to be something fantastically contrived, but if it is to be what I have always presented in the introductions to the eurythmic performances. And I say such things in particular because it is very often imagined that everything that is presented in spiritual science and the art that is built up out of it is just pulled out of a hat. It is not pulled out of a hat, but is based on very thorough work.

Now this is, at least in essence, what I noted yesterday in relation to these matters.

There is still something about the Chinese scale. What was mentioned yesterday about the Chinese scale is not uninteresting when considered in connection with what I have just spoken about today. I said: the musical fact that takes place in the outer world corresponds to something in the human constitution. And if it is said today that the human being consists of these and these limbs, which interact in this and that way – physical body, etheric body, astral body and so on – then one can say in a certain way: there is also inner music in it, and this inner music corresponds to our outer musical reality.

But things are constantly changing as humanity develops. And a Chinese person is a different kind of human being from a European. A Chinese still has many connections between the physical body and the etheric body, the etheric body and the sentient soul, the sentient soul and the mind or emotional soul, and so on, which have already completely disappeared in European man. This constitution of the Chinese person now corresponds to the Chinese scale. And if one studies music history in such a way, for example, by taking a sensible approach to the development of the scale system, and if one has an understanding of the connection between the inner human organization and the outer musical facts, one can look back from the scales and from many other musical facts to the constitution of the respective human group or race, and so on.

Now, just a moment ago, I was also made aware of a difference of opinion regarding what I meant by delving into the sound yesterday.

I did not mean that tones are still present in the sequence of time, which might resonate together and then be perceived as one tone. This is not meant. Rather, what is meant is that today, in relation to the evolution of humanity, one begins to speak of an organization within the tone, to split the tone within oneself, so that one is, as it were, heading towards going deeper into the tone, going down below the tone and going beyond the tone above, in contrast to what was experienced by many people until our world time simply as one tone. to speak of a division, to split the tone within oneself, so that one is, as it were, heading towards going deeper into the tone, going down below the tone and, as it were, going beyond the tone above it to another tone. And then, I thought, when you have the actual tones that have been modified by the two neighboring tones that you have actually developed, when you have these three tones, you can express the varied main tone. It is then a slightly different tone. And you will notice that you have to shift one of the newly emerging tones downwards and the other upwards. But when you do that, you don't come across our usual tones, but tones that our current tone systems don't have. And in this way, I believe, an expansion of our tone system will indeed have to come about.

And it is also the case that, in a sense, an opposite process to our present-day tone system has led to it again. Our present-day tone system has also only come about through all kinds of superimpositions of tone sensations. Our tones would not have been immediately understood in certain ages.

I believe that a change is currently taking place in the way we experience sound, and that just as a very specific kind of music is emerging from the sometimes quite grotesque forms of experimentation, something is also announcing itself that wants to get out. For example, I have to say: either I don't understand Debussy at all, or I can only understand him in such a way that he foresaw something of this living into the sound. It is a completely different kind of musical feeling through Debussy than, for example, even in Wagner. Isn't it, you can say that.

So that is what I actually meant, that you find a kind of melody from the individual tone, which you then just spread out in time. But you only get this melody if you have a different tone system. That is what I meant.

There is still another question about Goethe's relationship to the theory of tone. This is, I would say, a somewhat complicated chapter, for Goethe's relationship to the theory of tone has not only one, but two sources, two starting points. From his correspondence with Zelter, we learn a great deal about the way in which Goethe, at his most mature point of view, thought about tone and music. But that actually had two sources. One source was that he had a certain naive musical understanding. He was not exactly diligent in music lessons. This may well be related to the fact that he was not exactly diligent in other subjects either, where the teachers were quite foolish. And, isn't it true that if we are familiar with Goethe's spelling at a certain age of his life, then we know that if someone were to get their hands on a Goethe manuscript from Goethe's archive today, say from around 1775 – so he was well into his twenties – a modern high school teacher would say of such a manuscript: “quite careless,” it would be full of red lines and “quite insufficient” would be written underneath. And so the one source actually shows more of his naive understanding of music than of what he had learned.

But then there is another source of Goethe's theory of sound: his attempt to gain a view, which could be called a general physical view, from his theory of colors. And, isn't it true, this theory of colors is very original and formed with enormous inner diligence and entirely from the matter at hand. But he could not conduct original research in all fields of physics. And so he formed many of his views on the theory of sound by creating analogies to the theory of colors. He sketched out – he only presented everything schematically – and provided schematics for the theory of sound in which he tried to bring the phenomena of music into an analogy with what he experienced in color, in the phenomena of light. That is the second source.

Now, as a third point — which is not a source but a way of looking at the matter — Goethe adds something else, namely that Goethe already had an instinctive feeling for those paths that we are uncovering today as spiritual-scientific paths. In many of Goethe's writings, one finds a remarkable experience that he then expresses in the most diverse ways, sometimes as theoretically as he did in his theory of colors, sometimes analogously theoretically as in his theory of sound, but also in poetry. What was instinctively present in Goethe's subconscious soul in this way lives its way into his works in a remarkable way. In this connection, those of his poems that remained unfinished, such as 'Pandora', are particularly interesting. Had this 'Pandora' been completed, it would have been something written entirely out of the spiritual world. It would have to be truly observed in the spiritual world.

Now, Goethe did not arrive at spiritual insight, but he was completely true inwardly. Therefore, he did not finish the matter, which remained stuck in this way, out of an inner weighing back and forth. And to study this, how Goethe always got stuck in such things, and because he was a true personality, a true nature, then left the matter alone, is one of the most interesting things in Goethe's poetry. It shows how Goethe had a feeling that, I would say, was of a spiritual-scientific, anthroposophical nature. And that was the third thing. So that in fact he saw more in the world of sounds in an ingenious way than would actually have corresponded to his learned understanding of music.

But it was precisely this that helped him to overcome his prejudices. Therefore, a certain spiritual-scientific trait also comes into the schematic representation of Goethe's theory of sound. And what is found in these sound theory schemas, for example, about the relationships, the polar relationships between major and minor, can of course be interpreted in the most diverse ways. There is only a scheme, and there is one parallelized with the other, the other parallelized with the one. So of course you have to know Goethe very well if you want to understand how he thought of it himself. But you can see from it that there are ways to be found to get very favorable results. And Goethe's theory of sound could also be inspiring for a physicist in spiritual scientific terms, just as it would be for a musician. For there is certainly an artistic element at work in Goethe's scientific work. And in his scheme for the theory of sound, there is really something that gives a kind of, I would even say score-like impression. There is something musical in it. Just as you can also find something truly musical in the way Goethe's theory of colors is presented.

Finally, read Goethe's theory of colors with regard to its composition, to the sequence of results, to the sequence in the description of the experiments! I recommend that you do so. And then read any standard physics book, that is, the optical chapter of a contemporary physics book, and you will perceive a huge difference. This difference also has a meaning, because the time will come when one will already feel towards the scientific presentation: That which considers, considers more the how. — It is actually only in the way something is presented that the way it is understood is expressed. And it is also one of the saddest achievements of modern times that, in a sense, the less artistically one can write, the worse the style, the better lecturer one becomes, and the more artistically one writes, the worse the lecturer one is. Of course, this is not stated, but the system is set up accordingly. And what has been achieved in terms of barbarisms in scientific stylization in recent times will no doubt be the subject of interesting cultural-historical chapters in the future, the likes of which present-day humanity can hardly imagine. “Scientific barbarism of style in the 19th and 20th centuries” will probably one day fill many pages of future literary works, if there are still oddballs around who write as much about things as the current oddballs write about some things.

But now I believe that I have essentially exhausted the questions. I don't know if this or that has been left out, but you see, not everything can be exhausted at once. These things are only intended to stimulate here. These lectures and exercises are only intended to provide suggestions! I hope that you will not leave here without the feeling of having received such suggestions, after what I hope will be quite some time.

Question: What is the concept of art that is not art at all, actually? What is the essence of art, and how does it differ from art history?

The question is posed in an extraordinarily abstract way and, in my opinion, in an extraordinarily inartistic way, for the simple reason that a statuary of a relationship to art and art science that boils down to a distinction cannot be properly felt in spiritual science.

You see, if you want to understand how the spiritual scientific stimulates artistic comprehension, then you have to have a sense for the difference between the way some aestheticians have written about architecture, sculpture, music and the like. After all, Moriz Carriere was regarded by many people, not only in Munich, as a great esthete, perhaps not for an art historian in your sense, but that does not matter, one could also bring examples from this region. But when Carriere, the esthete, lived in Munich, there also lived a painter. I met one of those, and on a particular occasion, when I had all sorts of things to show him, we also talked about Carriere. And he said: Oh yes, I still remember quite well how we, when we were young painters, young badgers, were completely absorbed in the artistic, talked about Carriere and called him the “aesthetic grunt of delight”.

Now, one may indeed have great respect for the abstract expression of one's thoughts on the artistic; but to demand - after speaking of an artistic conception of art that one must simply feel - that one should now in turn give a definition of the essence of art, I think that is something that does not go quite well. Of course it would be terribly easy to define the essence of art, because it has truly been defined many dozen times in the course of the 19th century and at the beginning of the 20th century. And if necessary, one can still imagine what someone who does not think that the artistic can be grasped through the approach of the humanities means by art science. But the point is not to get stuck with certain prejudices that one has once adopted, but to be able to place oneself in the living movement of intellectual life and go along with what is really demanded today from the depths of humanity: a coming together of science, art and religion, not a furthering of the splitting of these three currents of human spiritual life.

Of course, you can still cause offence today if the way you look at art has to take a completely different form from the traditional, conventional approach of some art scholars. But today we are at the point where we have to move forward in the direction that has been indicated here. And that also means that questions such as What is the essence of art? What is the essence of man? - which, according to the definition, will eventually cease altogether. It is a matter of our having to understand more and more what people like Goethe meant when he says in his introduction to the theory of colors: One cannot really speak about the essence of light; colors are the acts of light. And anyone who gives a complete description of the color phenomena also says something about the essence of light. So anyone who addresses the facts of any field, any field of art, in a form that comes close to the experience of that field of art, gradually provides a kind of consideration of the essence of the field of art in question. But this will be overcome altogether, that definitions are placed at the top or somehow without context, that questions are raised: What is the essence of man, what is the essence of art and the like?

We had such a strange case here yesterday; someone said: Wagner - thesis, Bruckner - antithesis, and spiritual science should now be the synthesis. Yes, you see, something like that, placed in a certain place, if, for example, I said something sensible about Wagner, then said something sensible about Bruckner, and then knew how to say something sensible about something traditional, then, so to speak, summarizing the many, I could use the abstract, bloodless concepts: thesis, antithesis, synthesis, to summarize. Then it would make sense. But as a single dictum it is impossible. So you have to have a feeling for something when something is an organism,

I will give you an example from another area: Hegel's Encyclopedia of Philosophical Sciences. The last chapter is about philosophy itself. Yes, what is said there about philosophy itself is said in addition to everything that has gone before. So that one has absorbed everything that has gone before. It is magnificent, a tremendous architectural conclusion. Please, take this last chapter away and take it for yourself, as something like a definition of philosophy – it is pure nonsense. It is pure nonsense! This is what draws attention to the fact that we must again enter into the experience of the whole from the understanding of the individual, how we must gradually rise from the stick we have been trained in, in terms of individual characteristics, to grasping the whole, to overlooking the whole.

And in this sense, I think that it does lead to a kind of understanding when one shows what is happening externally as a musical fact in its other pole in inner experience; and when one then empathizes with what is going on in the person, then I believe that this is indeed a more artistic conception than that of some musicology! And I would like to add that today, for easily understandable reasons, we cannot go far enough. If we had already progressed so far that we could take it all the way to the imaginations and the description of the imaginations, then we might also be able to create something similar to what the Greeks created when they spoke of Apollo's lyre, actually meaning this inner part of the human being as a living musical instrument that reproduces the harmonies and the melos in the cosmos. We are not even yet so far advanced that we can feel what the Greeks felt when they heard the word Cosmos. This word is not connected with some abstraction of a modern scientist, with a certain description of the universe, but with the beauty of the universe, with the harmony of that in the cosmos which is actually connected with the beauty of the universe.

Humanity once proceeded from a kind of interaction of that which is differentiated today. We must indeed be able to experience these differentiations, but we must in turn have the opportunity to see this differentiation together, to hear it resound together, to work ourselves into a living whole, so that what is the result of knowledge also becomes the content of an artistic work and the revelation of a religious experience.

That is what we must strive for again. That which is wisdom can certainly appear in the form of beauty and reveal itself in the form of a religious impulse. Then we will experience something that still belongs to a more distant future: that we ourselves find a synthesis between an altar and a laboratory bench. When we can stand with the reverence for nature with which we should actually stand before it, then science becomes a form of worship for us. And when we as human beings imbibe those skills, that manual dexterity that corresponds to such an understanding of nature and of the spirit and the soul, then all our dealings with science will also flow into beautiful forms.

Today this still seems like a fantasy. But it is a reality! For it is something that must be striven for and realized, lest humanity descend ever deeper into decadence.

A participant asks about the deeper meaning of the fairy tale of the Bremen Town Musicians, and whether it has something to do with the context of the human constitutional elements. “But of course I am willing to go without the answer today if Dr. Steiner is too tired.”

That is not the reason, my dear Mr. Büttner, but I would like to say the following about it: I once said some things in Berlin and also gave some examples of the way in which spiritual science can be used to understand fairy tales, and I actually had to apply quite a lot of research effort to get to the bottom of fairy tales. Because, you see, I really don't want to be one of those people who live by the saying:

When interpreting, you are fresh and lively;
because if you don't interpret it, you just interpret it.

That was never my principle. Rather, it always took me a great deal of effort to get to the heart of a fairy tale, sometimes in all possible regions of research. And so I have to say: even if I were even more tired than I am today, it would give me the greatest pleasure to be able to make you happy with an interpretation, an explanation of the fairy tale of the Bremen Town Musicians. But I have never studied it and therefore have nothing to say about it. And so I ask you to wait until an opportunity presents itself in this or in a next life, after the matter has been researched.

Question: How does spiritual science view the phenomenon of instinctive so-called absolute hearing?

Dr. Steiner has made it very easy for us to experience the spirit of the living in her declamation. Inspired by this, I would like to ask what kind of singing a student should do? I can assure you that in the new way of practising art that has been entrusted to us, for the establishment of a new art of singing, for example, no teacher can really come into consideration as a helper for a male voice that is to be educated. I would therefore also like to ask whether a woman can also work as a trainer.

There doesn't seem to be much homeopathy in the question today! First, yes, that's right, after all, there is not much to be connected or connected to it, other than what is present in any other human ability. It is quite reasonable to assume, although I can only express this with caution here because it is a question that I have not yet dealt with in a truly research-based way, but it is reasonable to assume that this instinctive presence of an absolute sense of tone consciousness in a number of people – I believe in fewer people than one would usually think – is based on some peculiarity of the etheric or astral body, which is then somehow reflected in the physical body. But it would be necessary to conduct very specific research. It is only very likely to me that this absolute sound consciousness is based on the fact that a very specific configuration of the three semi-circular canals is also present in this case. So that is probable – but as I said, I would only like to express myself with caution here – this organ, which has many functions, including, among other things, an organ of equilibrium for certain equilibrium conditions, that this organ probably also has something to do with an absolute sense of tone.

Now to what was said in connection with Dr. Steiner's declamation. I can assure you, the question is indeed asked, but not actually asked in such a way that one finds out something that the questioner actually wants when he asks: What should be taught in singing, how should it be taught, so that what one has in mind in the spiritual-scientific sense by good vocal art can be achieved as quickly as possible? – Yes, I must say that, in my feeling, there is a great deal of philistinism mixed up in this question. Because it is true that one must seriously admit that spiritual science has a certain influence on people, that it has a certain effect on people and that people are not remodeled by spiritual science – they are not worked on from the outside — but that they come into a position to bring out of themselves certain forces that have so far remained latent in the development of humanity and to reveal a deeper human nature through them.

In this way the most diverse branches of human spiritual life will also be further developed. And among the many things that could be said about such a question, one thing can be said by pointing out that, above all, we should get away from talking about all the many methods of teaching singing. I do not like to say this at all, because the localities where these methods are hatched are so terribly populated that one does not know where to stop when expressing one's opinion about present-day methods of teaching singing! I do not want to dwell on this, but I would like to draw attention to one thing.

I believe that one must begin to understand what it means not to work according to a method, not to ask: How must this and that be placed, how must breathing be arranged, how must the many preparations be made before one even gets around to singing anything? Most of today's methods are actually preparation methods, methods of attitudes, methods of breathing and so on. One must disregard all of this, which actually amounts to regarding the human organism a bit like a machine and oiling it in the right way, bringing the wheels to the right axis height and the like. It is a bit of an exaggeration, of course, but you get what I mean. Instead of this, one should see that especially in art lessons an enormous amount depends on the personal, imponderable relationship between teacher and pupil, and one should come to associate with it an idea of what it means to actually lift one's consciousness out of the larynx and everything that produces the sound, and to be more consciously in touch with the surrounding air, to sing more with the environment of the larynx than with the larynx itself. I know that many people today cannot yet connect with what is said, but one must just gain these concepts. More emphasis must be placed on how one experiences, I might say, listening back, by singing but hearing, by learning to listen to oneself, but in such a way that one does not do something while listening, as if one were walking and constantly stepping on one's feet; that would, of course, disturb the singing. So when you come to live less in the physiological and more in the artistic as such, and when the teaching also proceeds more in the intervention of the artistic, then you will come upon the path to which the questioner may have been pointed.

However, I do believe that a pedagogy such as we cultivate through the Waldorf School will also gradually achieve success for art and singing lessons if we are given the external means to do so.

What Mr. Baumann meant yesterday with regard to the Waldorf School is also present in eurythmy and in singing, in the musical element. If it is not yet possible to do with the musical and the vocal as it should be according to his ideal, it is truly not due to our education, not at all to our education, at least not to the education of our teachers , but rather it is more a matter of the education of those who, from completely different backgrounds, could perhaps provide appropriately large rooms in which musical instruments can also be properly accommodated, and well-ventilated rooms for eurythmy and the like. I would like to make a point of mentioning this. And I believe that what could already be achieved in Waldorf schools today, including in the field of music and eurythmy teaching, could be quite different if we only had to deal with the pedagogy of our teachers and not with the pedagogy of other things that are necessary when a school is to be founded.

I was asked today – I don't know if the gentleman is here – whether he has a feeling that schools should also be founded in other places. I said that you just have to start at the beginning. If you have money, then we'll talk further!

Well, that is perhaps also something that hits the nail on the head. Or did you mean it differently? I don't want to ascribe to you, Mr. Baumann, that you couldn't have meant it differently.

Paul Baumann: Now the question about male voices,

Dr. Steiner: Perhaps it would be a disappointment if I left it out altogether: Can a woman also work as a creator for a male voice? Since I have already said that it essentially depends on the personal imponderable, I would naturally like to extend this to answering this question, and I do believe that under certain circumstances this could even be a very favorable relationship, that this man could even learn a great deal, much more than if he were to be taught by a man – especially if the woman is still beautiful or otherwise intact!

My dear guests!

I must ask you to excuse me for speaking in German and not in Dutch; however, I will have to show you a number of photographs to illustrate today's lecture, and they will not be in German, but international.

The anthroposophically oriented spiritual movement from Dornach has been working on this for the last twenty years or so. In the early years, however, the Anthroposophical Society was a member of the general Theosophical Society, but I never put forward anything other than what I currently represent. And when, after this anthroposophy had been tolerated for a while within the Theosophical Society, it was then found to be too heretical and was to a certain extent expelled, the Anthroposophical Society was founded as an independent society.

The anthroposophical movement definitely wants to reckon with the scientific attitude of the contemporary civilized world, it does not want to be anything sectarian or the like, but it wants to have a serious stimulating effect on the various sciences of our time, on the religious consciousness and also on the artistic and social life of the present.

By around 1909, the anthroposophical movement had grown to such an extent within Central Europe that it was impossible for it to work without its own building, and so a number of long-standing members came up with the idea of erecting their own building for anthroposophy. And when I was approached with the intention of erecting such a building, a very specific impulse immediately arose from the nature of anthroposophical work. Otherwise, if one had been forced by some spiritual movement to construct a building of one's own, one would have gone to some master builder and had him construct a Renaissance building or a Gothic building or a Greek building or something similar.

It would have been impossible for anthroposophically oriented spiritual science to proceed in such an outward manner. For this is not something that merely seeks to spread a theoretical culture, but anthroposophically oriented spiritual science emerges from the source of the full human being. I have taken the liberty of explaining how it emerges from this source of full humanity in the two previous lectures here in this hall. But because this is so, because anthroposophy is not merely a one-sided theoretical science, but because it is something for the whole of human life in all its forms of activity, this anthroposophical movement also had to create its own architectural style out of its sources at the moment when it was faced with the necessity of erecting its own building. And we have succeeded in creating such a building. It is not yet finished, but it is already finished to such an extent that courses were held in it last fall and will be held again at Easter. We have succeeded in erecting such a building on the Dornach Hill near Basel in Switzerland.

I said that the style of this Goetheanum, the attempt at a new style of building, was also formed from the same sources from which spiritual science was born, naturally with all the dangers, with all the shortcomings with which such a first attempt at a new style must be associated. Anthroposophy really emerges from the sources of being, not from thoughts or mere experimental and intellectually extended investigations, from the sources of existence itself. Therefore, in all its work, it must connect itself with the creative forces that are active in nature itself, for example, because the ultimate creative forces in nature are, as I have explained in the previous lectures, themselves of a spiritual nature.

I may perhaps use a comparison. Take a nut. It has a nut kernel; this nut kernel is formed in a lawful way. But there is also the nutshell; it could not be otherwise as it is, since the nut is as it is. The same force that shapes the nut kernel also shapes the nutshell in a unique way. Just as the nut kernel is shaped by natural law, so is the nutshell.

In Dornach, anthroposophical spiritual science is taught from the podium. The results of anthroposophical spiritual science are explored. Artistic representations are offered which are an outward expression - artistic, not symbolic or straw allegorical, but artistic - of that of which spiritual science itself is the expression. Therefore, around all this, around the kernel, so to speak, the shell must also be formed, which is [formed] precisely out of the same laws.

Therefore, an architecture has been cultivated in Dornach that is [designed] from the same sense, from the same spirit as anthroposophical spiritual science itself. Sculpture is done there out of exactly the same spirit, painting out of the same spirit. When someone stands on the podium and speaks in ideas, it is just another form of expression of what the pillars speak, what the paintings on the walls speak, what the sculptures speak. Everything is, if I may put it this way, cast from a single mold.

People are so afraid that nothing artistic would be created in this way, but only something symbolic or allegorical. Well, ladies and gentlemen, in Dornach there is not a single symbol, not a single allegory, but everything is attempted to be given in artistic form. The aim is not to somehow embody the ideas that are presented through images, that would be inartistic. Rather, the one spiritual life that underlies it can be shaped artistically at one time, and at another time it can be shaped ideally, in thought, scientifically. Art in Dornach is not a didactic expression of a science, for example, but it is one representation, and science is the other representation of the same great spiritual unknown from which anthroposophical spiritual science draws everything it wants to give humanity.

The entire external design of the Dornach building had to be accordingly. Anyone who looks at this Dornach building will see a double-domed structure, with two circular cylinders standing side by side, but interlocking, and two hemispherical domes above them, which are joined together in the circular segment by a somewhat difficult mechanical construction. Since in Dornach what can be researched through spiritual science is to be brought to the world, this must be reflected in the building itself. The small domed building is a kind of stage in which mystery plays and the like are performed. Eurythmy is also performed, but many other things are planned. The podium for the speaker is located between the small and large domed rooms. The large dome room is the auditorium or audience room for almost a thousand people. This double-domed building expresses the fact that anthroposophical spiritual science has something to say to the world of the present and the future in spiritual, general human and social terms, which I took the liberty of discussing in the two previous lectures.

If you approach the building from the west [and] come towards the main portal, which is oriented to the west, you will first see the following view (Fig. 5). The bottom of the building is made of concrete; at the top is a terrace that leads around the building in a stylized curve. This wooden structure stands on this concrete foundation. The domes are covered with that wonderful Nordic slate that is found in the slate quarries that can be seen on the journey from Kristiania to Bergen, from the Vossian slate quarries. This slate fits in wonderfully with the main idea of Dornach. Concrete and wood are both processed in such a way that an architectural style emerges which can be characterized as the transformation of the existing geometric, symmetrical, mechanical, static, dynamic architectural styles into an organic architectural style. Not as if any organic form had been imitated in the architectural forms of Dornach, that is not the case, but rather I tried, in the sense of Goethe's theory of metamorphosis, to become completely integrated into the natural creation of organic forms and to obtain organic forms which, by metamorphosing them, could then form a whole in the Dornach building; organic forms which are such that each individual form must be in the place where it is.

Imagine the nature of organic forms. Think of something seemingly quite insignificant in the organic form of the human organism: an earlobe. You will have to say to yourself: This earlobe, in the place where it is, could not be otherwise, as it is, if the whole organism is as it has just revealed itself. The smallest and the largest thing in an organic context has its very specific form at its place in the organism. This has been carried over into the building concept of Dornach.

I know very well how much can be objected to this organic principle of building from the point of view of the old architectural styles. But this organic building style was once coined in the Dornach building concept. It may be rejected from the old point of view, but after all, everything new was rejected from the old point of view. In any case, however, if one can make friends with the transformation of static-dynamic, geometric building forms into organic ones, then one will find that all transitions from one organic form to another - not organic [natural] forms, for nothing is naturalistically imitated - [can be experienced] with the same inner regularity as, say, the plant leaf that is at the bottom of the stem, metamorphoses when it appears further up the stem, always [is] the same form, but alternating with the greatest variety.

So in Dornach you will find certain organic forms carried into the building concept everywhere, as they are carved out of the wood here, as they appear here on the entrance pillars as capitals. Here on the side windows (Fig. 4, 12) you can see the same motif, on the windows of the side wing (Fig. 13) too, apparently no longer similar, but nevertheless the same metamorphosed, just as the motif of the green leaf reappears in the flower petal.

If you look at the building from the inside and the outside, you can get the impression: If any motif is near the gate, it is worked differently, so that you can see that the motif has less to bear against the gate, while it has to brace itself against the whole weight of the building. All of this, as it is taken into account in nature in the formation of the bones and muscle shapes, is definitely carried out in Dornach's building concept. Take a look at the bone form within the formation of the knee, it is designed in a wonderfully natural and ingenious way so that certain bones, which form the foundation bones, carry what lies on them. They are expanded and retracted in the right place. Feeling one's way into the forms of organic formation, of carrying, of weight, that was necessary in order to build Dornach.

Here (Fig. 5) you enter. Here is a room to put down your clothes, here is a staircase inside, through which you walk up. You can walk around this terrace and at the same time have a distant view over the countryside, the Swiss Jura.

The same picture, slightly shifted and closer (Fig. 6).

Here (Fig. 7) you can see the building as it presents itself to you from the southwest. Here the gallery, below the concrete building.

The building as you see it when you approach it from the north (Fig. 1), so that you have the large dome in front of you, [here] the small dome. Here the two domes are joined together.

From a point in the north, the building (Fig. 2). Here you can see a strange structure. This is the one that is most criticized. It is the building that stands near the building. I started by looking at the lighting and heating machines as if they were the kernel of a nut, and constructing a shell over it out of concrete, which is extremely difficult to work with artistically. Those who still criticize this building today don't consider what would be standing there if no effort had been made to create something artistic out of the artistically brittle concrete material: there would be a red chimney. I would like to ask people whether that would be more beautiful than what is certainly a first attempt to stylize something out of concrete, which has some shortcomings, but is nevertheless a first attempt to create something artistic in these things.

Here (Fig. 3) the building seen from the northeast. Here is a house that was already standing when we were given the building plot. A house that we very much hope we will be able to buy one day. You can imagine for what purpose we would like to acquire it; of course it disturbs the whole aspect of the building.

Here is the interlocking of the domes (Fig. 17). Here the main wing, here the main entrance (Fig. 10).

Here is the studio where the stained glass windows were made (Fig. 103). It was listed as a studio for grinding the stained glass windows.

Behind it is the boiler house again (Figs. 106, 107). In a neighboring village, Arlesheim, there is a particularly tastelessly built church. I have nothing to say against it, but it is honestly tasteless. Nevertheless, the Swiss Association for the Beautification of Swiss Buildings has managed to say that this [our] building disfigures this part of Switzerland: just take a look at the beautiful church in Arlesheim.

The ground plan (Fig. 20). Main entrance, organ room, auditorium. Here is the lectern. The stage area. Here are the two side wings with the individual rooms for the performing actors and other artists. Here you can see seven columns on both sides. Here in the curve six columns. These seven pillars are not formed out of some mystical urge in the number seven, but purely out of artistic feeling. Just as the violin has four strings, so the artistic feeling here has resulted from inner reasons that a certain artistic development and in turn an artistic conclusion can be achieved by developing just seven motifs. With these pillars, the risk was taken not to design the capital and architrave motifs as repetitions, but in a lively development. When you enter from the west portal, you come across the first two columns. However, they are symmetrical. But if you move on from the first to the second column, the capital of the second column, the base, the architrave above the second column is designed in a way that must be organic. It is designed in such a way that one had to live into the creation and creation of the forces of nature if one wanted to artistically shape the second pillar motif out of the first, the third again out of the second and so on, until a certain conclusion was reached in the seventh pillar motif.

Many visitors come to Dornach and ask: What does the individual chapter mean? You can't ask that at all about art. The essential thing is that one pillar emerges artistically and formally from the other pillar. Whereas in the static architectural style we are actually only dealing with symmetry, with repetitions of the same motif, here we are dealing with a living evolution from the first to the seventh column. I will show the columns later, then you can see this.

Section through the building (Fig. 21).

Original model, cut vertically in the middle (Fig. 22). I originally had to work out the whole building as a model, so that even the building plan, ground plan and elevation, as they were based on, were formed according to this model. This whole model is precisely the embodiment of the Dornach building concept, is conceived in the same way as spiritual science itself is conceived, is to a certain extent another expression for that for which the one expression is spiritual science itself.

Right next to the main entrance, the main portal in the west (Fig. 15). The pictures were taken at a time when construction was still in full swing.

A little further on from the main entrance (Fig. 12). Here the part containing the stairs to go up. Here is a house nearby. This house was built in a very special way. After all, we built the entire structure through the understanding of our anthroposophical friends. The fact that the Dornach hill was used to build this house is explained by the fact that a friend in Basel, near Basel, bought this building plot a long time ago to build a summer house for himself; he then gave us this plot as a gift. We were then able to build there. The friend also wanted to have his house here. And that's when I was given the task - various conditions made it necessary - to stylize a house, a family home with fifteen rooms, out of concrete material. It was a bit of a gamble. There are certainly still flaws in this house, which is formed out of the artistic nature of the brittle concrete material. But such things have to be done for the first time.

A side wing (Fig. 17). These two side wings are inserted like a crossbeam. Here the main motif is again metamorphosed. Everywhere the same and yet again something different, one could say, is contained in the building forms.

Front façade of a side wing (Fig. 14). Here again the motif that is at the main entrance, very widened, designed with rich material, here once more sparingly designed in the same metamorphosis. A certain law of symmetry is observed everywhere, but this is combined with asymmetry. This asymmetry gives the building an artistically pleasing effect and great variety.

Taken somewhat larger, the motif of the façade of one such side wing (Fig. 11).

We enter through the concrete entrance in the west, imagine (Fig. 23). Then we first come to the stairs leading up here. This would be the room where you put your clothes. Then you go to the front, here you enter the auditorium. Here I have dared to make the column shape organic.

[Then] for example this shape here (Fig. 24): There are three motifs standing perpendicular to each other. How did this form come about? Not through any kind of philosophizing, but purely out of feeling. You can say to yourself: anyone who has first entered through the main portal and then wants to come into the auditorium must be able to move in a certain way towards the thought and feeling of what he wants to hear in Dornach from an anthroposophically oriented spiritual view: Here you may enter for the security of your soul, to gain a firm foothold within yourself. Here you may enter in such a way that no illusions of life shall beguile you; that no kind of wavering shall come over you. This has been sensitively expressed here in this motif.

Then you see here a pillar supporting the staircase (Fig. 25). The staircase motif itself is designed in such a way that it is organically braced against the building, in this case against the exit. Here it is carried by a column that does not imitate organic motifs in a naturalistic way, but is just as organically shaped as the forms of living creatures in nature are shaped by the creative forces of nature. How this pillar stands up, how it supports something on one side, where the load to be carried is lighter, how it braces itself against this side, where the main load of the building lies, is expressed in the smallest things in the same way as the earlobe shape expresses the affiliation to the whole human organism. Every form in Dornach must be perceived as a necessity in its place.

Here (Fig. 26) is a motif that I have executed in the various metamorphoses. Here it is made of concrete, in the upper section of wood. It's a front piece for a radiator. As I said, in Dornach the individual forms emerge from each other in a metamorphic way, and there are no abstract forms that are merely appropriate to the underground art, but everything is realized in a strictly organic artistic way.

Here (Fig. 27) you can see the room that you enter when you climb the staircase that has just been built. This is a wooden building. Here is a pillar supporting the ceiling. Everything that immediately follows in the interior is handcrafted by a large number of our friends. It must be emphasized again and again that a large number of friends have gathered in Dornach over many years, all of whom have worked out these individual sculptural forms, which were given to them in the model, by hand. In a sense, the entire wooden structure is the handiwork of the anthroposophical friends. And that is something that could have been exemplary at the same time for the loving cooperation of a group of people.

If you now enter and look backwards in the auditorium, you can see the organ loft here. This is the model (Fig. 30). The idea is not to place the organ in a cavity, but to take the organ and shape the architecture accordingly. Additional motifs were then added during the elaboration.

Here is the interior (Fig. 29). When you enter the interior, you can see the organ porch where the singers stand. Here are the first three columns. I will explain the picture of the column formation in a moment. Above the columns are the architraves, which also show progressive motifs.

Here is the organ loft (Fig. 28).

Here is the space above the organ, sculpted out of wood (Fig. 33). Please take a look at the chapter. It is composed of simple forms. We will make the transition to the next and next capital and architrave forms. You don't have to think about how one capital emerges from another, but it is simply perceived like a leaf on the stem of a plant from which others now emerge metamorphically. Thus the next motifs here are always formed quite sensitively from the previous ones.

Here you have the simple capital motif of the first column (fig. 34).

The first column and the second column (Fig. 35). If you think of the simple motif from top to bottom, from bottom to top, you can imagine how it grows. The drops from above grow into this form, and from below the forms grow to meet them in more complicated shapes. It is the same with the architrave motifs.

Second column motif (fig. 36): already more complicated.

Second and third columns together (fig. 37): Again organically metamorphosed, the third column is obtained from the second column.

The third column on its own (Fig. 38).

Third and fourth pillars together (Fig. 39). What is still simple here has become more complicated. You make very special discoveries in the process. I simply let one motif emerge from the other according to artistic feeling. In doing so, I realized that it is only through this artistic approach that one can really understand the essence of evolution in nature. One usually imagines that the first forms in a developmental process are the simpler ones, which then become more and more complicated. This is not the case. If you work artistically, allowing one to emerge from the other, then you end up shaping the simpler into the more complicated, but when the complication has reached a certain level, things become more harmonious, but simpler again. This is how evolution works: from the simple to the complicated and then back to simplification. This discovery is surprising at first. You create something like this from the purely artistic and then find that it actually corresponds fully to the artistic creation of nature.

Consider the human eye: it is the most perfect, but not the most complicated. Certain organs of lower beings, the fan in the eye, the xiphoid process, are absorbed by the human eye. You come to that by yourself if you shape purely artistically.

Something very strange also happened to me. I said I had to form seven pillars, really not out of any mystical inclination. The seventh pillar turned out to be the end; you couldn't go any further, the motifs had been fulfilled. But later I discovered that if I took the convex shape of the seventh pillar and reshaped it a little artistically, it went straight into the concave, hollowed-out shape of the first pillar. I wasn't looking for that. It was the same with the sixth and second pillars, and also with the third and fifth pillars. I discovered that the capitals and the pedestal figures were something that emerged naturally from the work in the sense of an evolution. This is not something I was looking for. Even in nature itself, such surprising formal relationships arise. When you create artistically, you get these things that confront you from the individual forms, and you come to a deep respect for the mysterious working and weaving firstly in nature, but secondly in the world of forms itself, which you can penetrate imaginatively and artistically and by looking at it.

A column on its own has become relatively complicated (fig. 42). But you will see that by thinking of this motif in such a way that it grows from top to bottom, from bottom to top, something emerges that I did not aim for; but when people look at it, they will say: He has formed the staff of Mercury. I didn't want to form that, but it came out like that.

It spreads out, grows, thus creating this complicated motif (fig. 41), then the motifs become simpler.

Here you can see this motif (Fig. 43). Now I couldn't go any further in the complication. By thinking of it as growing and perceiving it as growing, I created this simpler motif.

The last two columns with their architraves above them (fig. 45). The column directly in front of the stage entrance (fig. 46).

In this way, you can see how the individual capitals came about, how the entire column motifs developed artistically in their evolution.

Here we are in front of a plinth (Fig. 48). I wanted to show these pedestals in turn, one after the other, how they develop apart in the same way as the capitals.

All pedestals (figs. 48-54). First becoming more complicated, then simpler again.

Here you can see from the auditorium into the stage area (Fig. 57). Here you can see the painted interior of the stage dome. Here the architrave above the columns of the auditorium. Here the auditorium closes off the stage area. Still in progress is the gap that connects the auditorium with the stage area (Fig. 56).

Another view from the auditorium, whose last columns you can see, into the stage area (Fig. 55). Here the painted stage dome. With regard to the painting of the two domes, however, I cannot give you such pictures, or rather I cannot give you pictures that speak as clearly as I can about the other. For with regard to the painting of the Dornach building, what I once described as the essence of modern painting has been very seriously striven for and followed, at least in the small dome room. Everything that is created in painting must be extracted from color.

The world of color is a world unto itself. The person who immerses himself in the world of color learns to recognize the creativity of each individual color; he learns to recognize the creativity that lies in the harmony of colors. Those who know how red affects human perception, how red speaks from within, those who know that blue has a formative, creative effect, come to shape the painterly world out of the colors

This is roughly what they tried to create when painting the small domed room in Dornach. The essential thing is always, if I may put it this way, the spot of color in a certain place. Although the figurative is born out of color, everything is originally conceived out of color. Light, dark and colors are actually the only things that are justified when you depict something painterly with the help of the surface; drawing is actually a mendacity. Take the horizon line: the blue sky above, the greenish sea below. If you paint it like this, then the horizon emerges by itself as the creature of the color encounter. And so it is with all lines in real painting. In painting, form is the work of color. This is what was attempted in Dornach.

There (Fig. 64) you first see what is under the dome, the architrave motif, directly above the group that is to be placed in the east of the building as the sculptural center of this building, so to speak. A motif from the small domed room (Fig. 66). I ask that these motifs be judged in the same way as those of the large domed room, except that six columns are intended on both sides; thus the whole shapes and designs are “ben other.

A capital motif of the small domed room (fig. 58-63).

The first thing in the painting of the small domed room when you enter it (Fig. 73). Of course, you will only get a real sense of what I can show you now when you feel this [photographic] reproduction in its defects, when you say to yourself: What is this actually? There should be color! Of course it is also color, everything is taken out of the color.

Here is a child flying towards a kind of fist figure (fig. 69). The child is red-yellow, the fist figure in blue.

Here fist (fig. 70), [here] the child (fig. 69). This fist figure roughly represents the civilization of the fifteenth, sixteenth century, in which we are actually all still immersed. However, that which takes shape from that civilization in external theoretical science is basically only a surface. The person who lives into the world view that has emerged through the newer natural sciences with his whole human being feels death strongly on the one side and budding, germinating life on the other. These two polar opposites confront us precisely from the present-day view of nature. Just take the following: The way we describe nature, we use terms that are basically taken from the dead, the mineral. Our natural scientists see an ideal in thinking of plant and animal life along the lines of the mineral, perhaps even being able to work experimentally in this direction. The idea of death is very strong (Fig. 71). On the other hand, if we delve into our self-consciousness, there is that life which is polar opposite to death, which we feel in particular when we allow the life of a child to affect us uninfluenced by knowledge. It is entirely in keeping with the feeling that a fist figure appears here, painted out of the blue.

[Here] the only word you will find in the entire structure: ICH (Fig. 72).

It is at this time, when this fist figure enters modern civilization, that we first really get to know the ego as the abstract content of self-consciousness. As you know, older languages still have the I in the verb. In this age, the ego is peeled out, set apart, when at the same time this culture appears, the political contrasts of which I have just described. This is the first motif that confronts us in the painting of the small dome.

Here Faust (fig. 70), here Death (fig. 71) as the contrast to the child. It is precisely the most modern cognitive and spiritual life that is to emerge in this motif, but out of the color, out of the yellow-reddish tone of the child, the blue tone of Faust, the brownish-blackish tone of this skeleton.

An angel-like figure above Faust (fig. 74). In a sense, everywhere below is a figure representing the more human, above it a spirit figure, the inspirer, the inspiring figure.

Here (fig. 75) is an image born out of the sensibility of Greek culture, i.e. more in the past. The fist figure was conceived out of modern culture, which we are still part of. Here is a kind of Pallas Athena figure, perceived from Greek culture, with the inspiring figure above it (Fig. 76).

Also such an inspiring, spirit-like figure (fig. 77).

Here (fig. 78) going further back an initiate of the Egyptian culture, above him the inspiring figure, so that everything worked out of the color is really intended here as figurative, which even represents the successive cultures and their evolution.

Here again two figures (fig. 79), and below them the figure that I will show you in larger size later. This is a kind of man of more recent times, a man of the present Central European culture. That which is ambivalent in this man of the present is expressed in his inspiration, which is above him. Here is a Luciferian figure. In this Luciferic figure there is to live all that which lives in that human nature, that through which man wants to go beyond himself, through which he falls into the rapturous, mystical, theosophical. The other, the Ahrimanic, through which he falls into the philistine, the intellectual-materialistic. These two opposites are in every human being today. Man seeks a balance between this duality. Everything in him that leads pathologically to fever, to pleurisy, is in this Luciferic form; everything that leads to sclerosis, to calcification, is in this Ahrimanic form.

Here (Fig. 81) you see one thing, in a sense the human being with those forces that age him, drive him towards sclerosis, drive him mentally towards intellectuality, towards materialism. Man would be like this, despite the fact that no one desires it so much, so Mephistopheleanahrimanic, if he had no heart, if he were merely a man of intellect. He is in all of us, but we also have a heart.

This (Fig. 80) is the one who represents us if we only had a heart and no mind. The Luciferic figure: rapturous, mystical, theosophical, everything that wants to go beyond the human being. Here is the human being who, with the help of these two again polar, contour-like opposing effects, really feels duality and can only bear it if the child is placed by his side. The man of the present in his ambivalent nature. Here (fig. 82) still somewhat larger, the same man who feels conflict within himself.

Here (figs. 83, 84) we come somewhat closer to the center. Here two figures, one painted more light, the other more dark. I have always taken the view that the Russian people's soul contains the man of the future. Today, only in the East is everything distorted. Today, through Lenin and Trotsky, the East is working towards the death of culture, towards the most terrible destruction. For all that which is at work in the East as forces of decline in the most terrible way can only lead to the destruction of all culture. But that is not what corresponds to the Russian national soul. And if nothing else would bring down Lenin and Trotsky, the Russian people's soul would one day bring them down. But the Russian people's soul is such that every Russian has his own shadow next to him. There is not only the ambivalent man as in Central Europe, who carries Lucifer and Ahriman within him, the enthusiastic and the materialistic, there is a man who has a second man beside him. This shadow must first be absorbed by the man of the future, but then he will also become the man of the future.

Here (Fig. 83) the inspiring angel, above it a centaur figure. When the man of the future will have attained his maturity, this figure will be that which may be put forward as the actual inspirer next to the angelic figure; today he is still centaur-like.

Here (Fig. 84) this centaur figure, the starry sky in between, so rightly sensing that evolution in the spirit which hovers between the angelic and the animal. Man stands, as it were, between the animal, which has assumed a human form in its passions and instincts, and the angelic, in which the ahrimanic is transformed into the spiritual and thereby receives its cosmic justification.

Here (fig. 85) from the other side, symmetrically situated, the angel, the centaur figure, carved out of the yellow.

Here you can see what is painted in the middle: a kind of representative of humanity (fig. 86). Anyone who sees this representative of humanity may feel as if it were an embodiment of the figure of Christ. This Christ figure in the middle is shaped as I had to place it according to my supersensible view of the Christ figure, which I believed, as this being really lived in Palestine at the beginning of our era. The traditional figure of Christ with the beard was only invented in the fifth or sixth century. Today we have to go back through spiritual scientific research to the time when Christ lived in Palestine in order to be able to discover his form through extrasensory vision. I make no claim to be believed authoritatively that this is the true figure of Christ, but I see it this way and I hold from the depths of my being that this is the figure of Christ. Below it, carved into a rock, is the figure of Ahriman. From the right arm of the

The figure of Christ emanates lightning bolts that snake around the ahrimanic figure. The Ahrimanic figure is everything that man would be if he had only reason, only intellect, only a materialistic attitude, not a heart. Above it is the figure of Lucifer, carved out of the red, all that which in man tends to rapture, to fantasy, to one-sided theosophy, to mysticism.

Here (Fig. 87) you see this figure of Lucifer, the face painted entirely out of the red, above the figure of Christ.

The Ahrimanic figure (fig. 88), the countenance - the wings are bat-like in the Ahrimanic figure - bound by the lightning bolts emanating from the hand of Christ. Of course, it all depends on how you perceive it from the color.

Here is the head of the Christ figure (fig. 90). This is what is painted into the dome at the very east end of the small dome room. Below this painting - Christ, Lucifer, Ahriman - is a nine and a half meter high wooden group (Fig. 93); again in the middle is the representative of humanity, who can be perceived as Christ. Twice above it is the Lucifer motif, twice below it the Ahriman motif. And then out of the rock an elemental being, which looks at the Christ in the midst of Lucifer and Ahriman like a natural being.

Here (fig. 91) the first model of the Christ figure in profile, as I made it in order to base the wooden group, the sculpture on it.

En face the first model; it is somewhat defective (fig. 92). A model of the Ahriman figure (Fig. 99). A Lucifer figure (Fig. 101), at the side of the wooden figure in the middle.

Another Lucifer (Fig. 98). Above it, carved out of the rock, an elemental being bending its head, as it were, and looking at Christ in union with Lucifer and Ahriman. I have dared to form a face quite asymmetrically, so that it is carved out of the composition. This is usually done in such a way that the composition is made up of the individual figures. Here in the wooden group, the individual figure is always created from the meaning and spirit of the whole composition, hence this asymmetry. It is a completely asymmetrical face, but it has to be like this at the point in the composition where it is in the group.

Here you have the heating and lighting house (Fig. 106) standing on its own, the rear front completely adapted to the machines that are inside. The whole thing is only finished when the smoke comes out of the top. Then these extensions will also be perceived as justified. Artistically, one creates from the form and cannot give an abstract explanation as to why it is this way or that. Some people think they are leaves, others think they are ears. That's not the point, it's the form that matters, which adapts on the one hand to growing out of the boiler house and on the other hand to what happens in the boiler house.

The glass house in which the glass windows have been cut (Fig. 103). These windows are located in the auditorium. They are cut out of monochrome glass panes, i.e. glass panes tinted with a single color. They have a certain history: We had first ordered glass panes from a factory near Paris in the spring of 1914, but the shipment was so delayed that it simply disappeared on the battlefield; we never saw anything of it. We had to buy the panes a second time.

The idea is that the motif is now cut out of the single-colored glass pane using special machines. The pane is then inserted and the work of art is created in the sunlight that passes through. This is connected with the whole idea of building in Dornach. In buildings everywhere else, you have to deal with walls that close off the room. In Dornach you have walls that don't evoke the idea at all: You are closed off. Everything I have now shown you is actually designed to make the walls artistically transparent. The viewer or listener has the feeling in the building that the wall is transparent, artistically transparent through its form, and that he is in contact with the whole wide universe. This is expressed artistically and physically through these glass windows, which are actually only a kind of score, as they are worked out as glass etchings. They become works of art when the sunlight shines through them. In other words, what is inside the building expands into the outer, sunlit nature. The glass cutting had to be done in this studio, which now serves as the building office.

The door to the glass house (Fig. 104). Not even philistine door handles, but completely new door handles (Fig. 105).

[Now] a small sample of the stained glass windows. All kinds of motifs cut out of the single-colored glass pane, but they only make sense to enjoy when you are standing in front of them.

Here (Fig. 112) a pair of people, the feelings of this pair of people carried out in what is around them.

Another window motif, scratched out of the glass (fig. 110). The glasses are not all of the same color, but one color is always followed by another. So that when you enter the building, you can see the different colors from the various windows. The whole room is then illuminated with a symphony of colors, which is artistically perceived as being composed of the most diverse colors. Now, ladies and gentlemen, I have taken the liberty of presenting to you the architectural concept of Dornach in the eighty pictures I have shown you. I have also taken the liberty of explaining to you how this Dornach building concept aims to replace merely static, geometric, symmetrical building with organic building. This had to happen because this spiritual science, as I have represented it here in my lectures, is not merely a one-sided science, but full of life; because it wants to draw fully from the source of world and human life. Therefore, it is not merely a phrase when it is said that religion, art and science and social life should be united with one another, but that the building in its new architectural style simply had to express the same thing out of the whole essence of this spiritual science that is expressed in the spiritual science itself through thoughts or laws.

My esteemed audience, through the willingness of a large number of understanding friends to make sacrifices, we have brought the building so far that last fall we were able to have about thirty experts, people of practice, hold courses in this building, and shorter courses are to be held again at Easter. However, the building is not yet finished. We can only express the hope that we will be able to complete this building, from which a spiritual-scientific movement, which will also bring the social liberation that is necessary for the people of the present and the near future, will emanate. For this, however, it will be particularly necessary to have the international understanding that I described yesterday as the basis for a world school association that works towards the liberation of spiritual life as one member of the tripartite social organism. It will be necessary for this spiritual life to be promoted and supported by the World School Association in an international way.

With regard to the building of Dornach, I know very well what can be objected to from older points of view, from old architectural styles. But if we never dared to do anything new, the development of humanity could not progress. And the impulse to move forward has to do above all with that which wants to emanate from Dornach as anthroposophically oriented spiritual science. Forward in the development of humanity, according to the goals that I indicated yesterday at the end of the lecture.

We know, in that we have also formed this outer shell of anthroposophical spiritual science in the building of Dornach, the Goetheanum, what all can be criticized about this building, what all can be objected to it. We have only one justification for ourselves, which is ultimately decisive for everything new: we must dare to try this new thing. And we always remember what is true: that what is justified will work its way through against all resistance if it is justified. If it is not justified, it will be eliminated and will do little harm to humanity. In the face of all opposition, it will become clear whether the building idea of Dornach is justified as an outer shell for anthroposophically oriented spiritual science. We can only say: we think it is justified, and that is why we dared to do it!

Today, seeing that from a living grasp of the anthroposophical world-conception there results something for the whole human being, for man in his totality, we would like to put forward something taken from the art of recitation. As I have mentioned already, there is a certain fear in artistic circles, especially among poets, reciters and so on, that everything approaching the conceptual, everything which takes a “scientific” form, is really foreign to art – and actually inimical to the original and vital in it, choking instinctive and intuitive art. And as regards that intellectuality which has arisen in the course of recent centuries of human development this is absolutely the case. Yet this very intellectuality is also connected with an inclination toward what is present in external, physical reality: our very languages have gradually adopted a certain form – what might be called a tendency towards materialism. In our words and their meaning lies something which points directly to the external sense-world. Hence this intellectuality, which possesses only picture-being and is all the more authentic the less it contains of life and reality from man’s inner nature – this intellectuality will indeed have little in common with the primordial vitality that must lie at the root of all art. But the reinvigoration of spiritual life to which Anthroposophy aspires means precisely the reimmersing of intellect in the primordial forces of man’s soul life. The artistic will not then appear in the so-much-dreaded gloom of intellectual pallor; imagination will not be drawn down through Anthroposophy into logic and materialism, but will on the contrary be made to bear fruit. From living together with the spiritual it will be nourished and bear fruit. An enhancement of art is to be hoped for just through its being pervaded by Anthroposophy and the anthroposophical way of thinking – the whole bearing and demeanour of Anthroposophy.

What applies to the arts as a whole we will show today with reference to recitation and declamation. Over the last decades recitation and declamation have been steered more and more into a predilection for endowing with form the meaning-content of the words. A stress on the word-for-word content has become increasingly conspicuous. Our times have little understanding for such a treatment of the spoken word as was characteristic of Goethe, who used to rehearse the actors in his plays with special regard for the formation of speech, standing in front of them like a musical conductor with his baton. The speech-formation, the element of form that underlies the word-for-word content – it is really this which inspires the true poet as an artist. The point must be emphasized: Schiller, when he felt drawn by inner necessity to compose a poem, to begin with had something in the way of an indeterminate melody, something of a melodic nature as the content of his soul; something musical floated through his soul and only afterwards came the word-for-word content, which had really only to receive what was for the poet, as an artist, the essential thing – the musical element of his soul. So we have on the one hand something musical, which as such would remain pure music; and on the other, the pictorial, painterly element to which in declamatory-recitative art we must return. To say something merely as an expression of the prose-content – it is not for this that true poetry exists. But to mould the prose-content, to re-cast it into measure and rhythm into unfolding melody – into what really lies behind the prose-content – for all this the art of poetry exists. We would surely not be favoured with such a mixed bag of poetry if we did not live in unartistic times when in neither painting nor sculpture, nor poetry nor its recitative-declamatory rendering, is true artistry to be found.

If we look at the means by which poetry is brought to expression, which in our case is recitation and declamation, then we must naturally refer to speech. Now speech bears within it a thought- and a will-element. The thought tends toward the prosaic. It comes to express a conviction; it comes to express what is demanded within the framework of conventions of a social community. And with the progress of civilization language comes to be permeated more and more with expressions of conviction, with conventional social expression and to that extent becomes less and less poetic and artistic. The poet will therefore first have to struggle with the language to give it an artistic form, to make it into sornething which is really speech-formation.

In my anthroposophical writings I have drawn attention to the character of the vowels in language. This character man experiences in the main through his inner being: what we live through inwardly from our experience in the outer world finds expression in the vowel-sounds. Occurrences that we portray objectively, the essential forms of the external world, come to expression in the consonants of a language. Naturally, the vocalic and consonantal nature of language varies from language to language. Indeed from the way in which a language deploys its consonants and vowels can be seen the extent to which it has developed into a more or less artistic language. Some modern languages, in the course of their development, have gradually acquired an inartistic character and are falling into decadence. When a poet sets out to give form to such a language, he is called upon to repeat at a higher level the original speech-creative process. [Note 17] In the construction his verses, in the treatment of rhyme and alliteration (we shall hear and discuss examples of these later) he touches upon something related to the speech-creative process. Where it is a matter of bringing inner being to expression, the poet will be drawn, by virtue of his intuitive and instinctive ability, to the vowels. The result will be an accumulation of vowels. And when the poet needs to give form to outward things or events, he will be drawn to the consonants. One or the other will be accumulated, depending an whether something inward or something external is being expressed. The reciter or declaimer must take this up, for he will then be able to re-establish the rhythm between inner being and the outer world. On this kind of speech-formation, on the bringing out of what lies within the artistic handling of speech, the formation of a new recitative and declamatory art-form will largely depend.

We will now introduce a few shorter poems to show how recitation and declamation must be guided by speech-formation.

MÄCHTIGES ÜBERRASCHEN

Ein Strom entrauscht umwölktem Felsensaale,
Dem Ozean sich eilig zu verbinden:
Was auch sich spiegeln mag von Grund zu Gründen,
Er wandelt unaufhaltsam fort zu Tale.

Dämonisch aber stürzt mit einem Male –
Ihr folgten Berg und Wald in Wirbelwinden –
Sich Oreas, Behagen dort zu finden,
Und hemmt den Lauf, begrenzt die weite Schale.

Die Welle sprüht und staunt zurück und weichet
Und schwillt bergan, sich immer selbst zu trinken:
Gehemmt ist nun zum Vater hin das Streben.

Sie schwankt und ruht, zum See zurückgedeichet;
Gestirne, spiegelnd sich, beschaun das Blinken
Des Wellenschlags am Fels, ein neues Leben.

—A Sonnet by Goethe.

[We encounter a similar movement and transition in style in the course of this English sonnet:

Devouring time blunt thou the Lyons pawes,
And make the earth devoure her owne sweet brood,
Plucke the keeneteeth from the fierce Tygers jawes,
And burne the long liv’d Phoenix in her blood,
Make glad and sorry seasons as thou fleet’st,
And do what ere thou wilt swift-footed time
To the wide world and all her fading sweets:
But I forbid thee one most hainous crime,
O carve not with thy howers my loves faire brow,
Nor draw noe lines there with thine antique pen,
Him in thy course untainted doe allow,
For beauties patterne to succeding men.
Yet doe thy worst ould Time dispight thy wrong,
My love shall in my verse ever live young.

—William Shakespeare (1564-1616).]

Das Tier, die Pflanze, diese Wesen hatten
noch die un-menschliche Geduld der Erde;
da war ein Jahr, was heut nur noch Sekunde.

Jetzt geht ihr nichts mehr rasch genug von statten.
Der Mensch begann sein ungeduldig Werde.
Sie spürt: ‘Jetzt endlich kam die grosse Stunde:

auf die ich mich gezüchtet Jahrmillionen!
Jetzt brauch ich meinen Leib nicht mehr zu schonen,
jetzt häng ich bald als Geist an Gottes Munde.’

—A Ritornello by Christian Morgenstern.

[A series of three-line stanzas with recurring rhymes is a comparatively simple representative of a poetic form that is capable of being extended almost indefinitely. Our first poem is a relatively uncomplicated example; a second shows something of what can be achieved by a poet working within very strict limitations.

THE COVENANT

The covenant of god and animal,
The frieze of fabulous creatures winged and crowned,
And in the midst the woman and the man –

Lost long ago in fields beyond the Fall –
Keep faith in sleep-walled night and there are found
On our long journey back where we began.

Then the heraldic crest or nature lost
Shines out again until the weariless wave
Roofs with its sliding horror all that realm.

What jealousy, what rage could overwhelm
The golden lion and lamb and vault a grave
For innocence, innocence past defence or cost?

—Edwin Muir (1887-1959).

The highly-developed, courtly poetry of the late Middle Ages provides many examples of this type of elaborate and difficult structure. This Balade is a moderately ambitious and very beautiful instance:

TO ROSEMOUNDE

Madame, ye ben of al beaute shryne
As fer as bercled is the mappemounde;
For as the cristal glorious ye shyne,
And lyke ruby ben your chekes rounde.
Therwith ye ben so mery and so jocounde,
That at a revel whan that I see you daunce,
It is an oynement unto my wounde,
Thogh ye to me ne do no daliaunce.

For thogh I wepe of teres ful a tyne,
Yet may that wo myn herte nat confounde;
Your seemly voys that ye so smal outtwyne
Maketh my thoght in joye and blis habounde.
So curteisly I go, with love bounde,
That to my-self I sey, in my penaunce,
Suffyseth me to love you, Rosemounde,
Thogh ye to me ne do no daliaunce.

Nas never pyk walwed in galauntyne
As I in love am walwed and y-wounde;
For which ful ofte I of my-self divyne
That I am trewe Tristam the secounde.
My love may not refreyd be nor afounde;
I brenne ay in an amorous plesaunce.
Do what you list, I wil your thral be founde,
Thogh ye to me ne do no daliaunce.

—Geoffrey Chaucer (c. 1340–1400).]

WELTENSEELENGEISTER

Im Lichte wir schalten,
Im Schauen wir walten,
Im Sinnen wir weben.

Aus Herzen wir heben
Das Geistesringen
Durch Seelenschwingen.

Dem Menschen wir singen
Das Göttererleben
Im Weltengestalten.

—Poem in form of a Rondeau by Rudolf Steiner.

A scene will next be presented from my first Mystery Play, The Portal of Initiation. What we have here is a representation of experiences connected with the spiritual world. One might be tempted to look upon something like this as contrived by the intellect, as though we were going after some sort of “symbolic” art – but that would not really be art at all. What will be spoken here, despite the psychic-spiritual nature of the events, was actually seen, in concrete form. Everything was there, down to the very sound of the words. Nothing had to be manufactured, or put together, or elaborated allegorically: it was simply there. We have attempted to give form to man’s manifold experiences in relation to the spiritual worlds; we have tried simply to give form to soul-forces, to what man can experience inwardly as differentiated soul-forces. Something results from this quite spontaneously, that is not shaped by any intellectual activity. As it is here a matter of purely spiritual contents, it is especially important to realize that it is not a matter of giving information or the prosaic word-for-word content, but of giving form to the actual spiritual contents. On the one hand a musical element will be perceptible – at the very point where one might suspect an intellectualising tendency – and on the other we will have a pictorial element, which must be particularly brought out whenever we are giving form to some kind of event. [Note 18]

From The Portal of Initiation, Scene 7.

MARIA: You, my sisters, at this hour
be once again my helpers,
as you have often been before, –
that I may make world-ether
resound within itself.
It shall ring out in harmony
and, ringing, permeate
a soul with knowledge.
I can behold the signs
that lead us to our task.
So shall your work
unite itself with mine.
Johannes, in his striving,
shall through creative deeds of ours
be raised to true existence.
The brothers in the temple
held council
how they could lead him
out of the depths to light-filled heights.
And they expect of us
that we arouse within his soul
the strength for soaring flight.
And so, my Philia, breathe in
clean essence of the light
from wide-flung spaces;
be filled with tones, enticing,
from souls’ creative power,
that you can hand to me
the gifts you gather
from spirit grounds.
Then I can weave them
into the stirring dances of the spheres.
And you, too, Astrid,
beloved mirror-image of my spirit,
create the power of darkness
in streaming light,
that colours may shine forth.
Bring harmony to tonal being
so that world-substance, weaving,
can live and sound.
I can entrust then spirit feeling
to seeking human senses.
And you, O sturdy Luna,
you are as firm within
as is the living heart
that grows within the tree;
join with your sisters’ gifts
the image of your own uniqueness,
that certainty of knowledge
be granted to the seeker.

PHILIA: I will imbue myself
with clearest essence of the light
from worldwide spaces.
I will breathe in sound-substance,
life-bestowing,
from far ethereal regions,
that you, beloved sister, with your work
may reach your goal.

ASTRID: And I will weave
into the radiant light
the clouding darkness.
I will condense
the life of sound,
that glistening it may ring
and ringing it may glisten,
that you, beloved sister,
may guide the rays of soul.

LUNA: I will enwarm soul-substance
and will make firm life-ether.
They shall condense themselves,
they shall perceive themselves,
and in themselves residing
guard their creative forces,
that you, beloved sister,
within the seeking soul
may quicken certainty of knowledge.

MARIA: From Philia’s horizons
shall stream forth joyfulness.
The undines’ power
of ever-changefulness shall rouse
a sensitivity of soul,
that the awakened one
can then experience
the world’s delight,
the world’s despair.
From Astrid’s weaving
shall spring forth love’s desire.
The airy life of sylphs
shall stir up in the soul
the urge for sacrifice,
that he, the consecrated one,
revive and quicken
those who are sorrow-laden,
those who are joy-entreating.
From Luna’s strength
shall stream forth firmness;
the power of fire-beings
can actively create
soul-certainty,
so that the knowing one
can find himself
in soul-life-weaving,
in world-life-breathing.

PHILIA: I will entreat the spirits of the worlds
that they, with light of being,
enchant soul feeling,
that they, with tone of words,
charm spirit hearing,
that he whom we must waken
may rise
upon soul paths
to heavenly heights.

ASTRID: I will guide streams of love,
that fill the world with warmth,
into the heart
of him, the consecrated one,
that he can bring
the grace of heaven
to earthly work
and mood of consecration
to sons of men.

LUNA: I will from primal powers
beseech both strength and courage,
and will imbed them deep
within the seeker’s heart,
that confidence
in his own self
may be with him
throughout his life.
He shall then feel himself
secure within himself.
And he shall pluck
each moment’s ripened fruit,
to draw from them their seeds
for all eternity.

MARIA: With you, my sisters,
united for this earnest work,
I shall succeed
in what I long to do.
There penetrates the cry
of him, who’s been so sorely tested,
into our world of light.
Trans. Ruth and Hans Pusch.

When we come to the sonnet it is, of course, to be taken for granted that a sonnet does not arise from the intention to compose a sonnet, but by necessity from the working out of inner experiences. It is evident that the sonnet tends toward something visual or pictorial that lives in the language – we have an experience which is in some way twofold. Such an experience presents itself, and we wish to give it a form, such as appears in the first two strophes. But we are then thrown into a contradiction of inner experience. The second strophe confronts the first wave, so to speak, like a counter-wave. And in the last two strophes we feel the contradictions that govern the universe. The human heart and the human mind strive for a unison, a harmonious association, so that they may resolve in harmony what found expression in discord and overcome the material dissonance through the spirituality of harmony. This is manifested even in the rhyme-scheme of the first two strophes and in the linked rhymes of the concluding strophes. In as far as there is not such a necessity of inner experience, a sonnet cannot arise; for it must manifest itself even down to the rhyme-scheme as a picture-form. And now, the musical element infiltrates this pictorial form: a musicality that depends principally on vowel sounds, and on what enters the vowel from the consonant – for every consonant has its vowel-element. This gives what one might call musical substance to the primarily pictorial form taken by the sonnet. What is present within the sonnet, shaping it, is metrical and, in the art of speaking, metre is brought to expression specifically through recitation: something the Greeks managed to bring to a certain eminence. The Greeks lived in the metre; that is to say, in the plastic element of the language. If, on the other hand, we look at what comes to us from the Nordic or Central European, Germanic tradition, we see how into the plasticity of speech there enters something musical from within. Here we have something which streams out more from the will, more from the personality whereas with the Greeks everything flows from metrical clarity of vision. With the Greeks it was primarily the art of recitation that attained a certain peak, whereas among the Germanic peoples it was declamatory art, drawing on the musical principle and flowing into themes and rhythms and cadences, which stirred into activity. And whereas in recitation we have to do with something in speech that in one sound broadens, in another makes ‘pointed’, forming it pictorially – in musicality we have what endows language with a melodic quality. It is in fact something like this that we can see in the sonnet and its treatment in the several regions of Europe. We can see how the declamatory united with the recitative, how the Germanic later united with the Greek feeling for measure. [Note 19] It is of some importance for us to realise the musical as well as the plastic quality inherent in speech-formation, for us to learn to introduce into declamation and recitation something which essentially leads us from what has significance for the senses to what is moved by the spirit. For this, it is once again necessary to have a feeling for poetic form as such – the form of a ritornello or a rondeau, for instance. This does not in truth make for a poetry wanting in thought; it simply expresses thought, not through abstractions, but through its productive creativity. If it is to adapt itself to forms created in this way, the art of speaking must be restored to a life in the actual waves of speech – the recitative with its pure formation; and the high or low intonations, the melodic forms of declamation. And if a dramatic touch has to be added, as in the scene you have just heard, which dealt with purely spiritual experiences, the intellectual significance or literal meaning must be completely overcome, completely transformed from a literal communication of prose fact into actual speech-formation. We thus have in immediate presentation the same experience as when in a prose piece we pass from prosaic understanding to a vision of what is represented in the prosaic. The pleasure of the prosaic is indirect: we must first understand, and through understanding we are then led to visualisation. This entails from the first something inartistic, for the aesthetic quality lies in immediacy. The art of speech-formation must have direct expression. What is actually presented (and not an intellectual imitation of it) must show itself and be given form. In our times we often see so-called poets working up intellectual imitations, rather than those immediate responses which make themselvesfelt in speech-formation. Goethe, who expresses so beautifully a living apprehension of tranquillity – a tranquillity preceding that of sleep – gives it utterance in these lines:

Über allen Gipfeln
Ist Ruh;
In allen Wipfeln
Spürest du
Kaum einen Hauch;
Die Vögelein schweigen im Walde.
Warte nur, balde
Ruhest du auch.

Compare Shelley, “Evening. Ponte a Mare, Pisa.”

The sun is set; the swallows are asleep;
The bats are flitting fast in the grey air;
The slow soft toads out of damp corners creep,
And evening’s breath, wandering here and there
Over the quivering surface of the stream,
Wakes not one ripple from its summer dream.

There is complete accord between the feeling for the summits and the tree-tops and what goes on in our own heart. A harmony lies in the sounds, in the very word-formation, so that what is mediated to us through the outer world sounds again – especially if we really listen to the poem – in the word- and speech-formation. All our experience of the outer world has passed over into the speech-formation itself. That would be the ideal of true poetry: to be able to present an experience received from outside in the very treatment of the language. The mere repetition of external experience, simply trying to express external experience in words – this is not poetry. The art of poetry only arises when something experienced in the outer world is reconstituted out of the life of the human soul in terms of pure speech-formation. [Note 20]

We can observe this in a truly artistic poet like Goethe, when he feels the need to recreate an identical prose-content out of a different mood and feeling. From living with the Gothic and the mood it transmitted to him, from the feeling let us say for the pointed arches striving upwards, which he felt most deeply in his appreciation of Strasbourg Cathedral, Goethe had gained at the beginning of his time in Weimar a sensibility which, when given poetic form, became something like inner declamation. Thought and feeling took such a form in him that we can experience directly in speech-formation something also to be found in contemplating a Gothic cathedral. We can see something striving upwards, something unfinished, in a Gothic cathedral; and this was Goethe’s mood in Weimar when he conceived his Iphigeneia. Driven by a deep longing for the fulfilment of his poetic disposition, Goethe set out, but in the course of his journey south he was gradually overcome by another mood – by a longing for measure. Faced with the Italian art that confronted him there, he felt a kind of echo of Greek art. He writes to his Weimar friends: “I suspect that the Greeks created their works of art in accordance with the very laws by which nature proceeds.” Looking at the Saint Cecilia, at Raphael’s works, the essence of metre became clear to him; and this became an inner recitation. He no longer felt the form of his first Iphigeneia to be a personal truth: he forged his play anew, so that we now have a Nordic and a southern Iphigeneia. Any consideration of the Nordic Iphigeneia must treat of it in terms of declamatory art, where it is preeminently the vowels that hold sway and that give form in the sounding of speech. In the Roman Iphigeneia recitation must predominate: what is relevant here is the plastically formed presentation of experience in a speech-formation comparable to the presentation in Raphael’s work. In two short passages we shall now compare the two versions of Iphigeneia and have before us what goes on in a poet when he really lives in aesthetic form and has to recreate his artistic forms out of inner necessity. Recitation and declamation must strive to follow poetry such as this.

In the first instance, therefore, we will present the Gothic-German Iphigeneia as Goethe originally conceived it – the Weimar Iphigeneia. [Note 21]

[Blake’s earlier poetry was strongly influenced by Romantic interest in northern “Bardic” verse, and something of its powerful declamatory nature can still be felt in this “Introduction” to Songs of Experience:

Hear the voice of the Bard!
Who Present, Past, & Future, sees;
Whose ears have heard
The Holy Word
That walk’d among the ancient trees,

Calling the lapsed Soul,
And weeping in the evening dew;
That might controll
The starry pole,
And fallen, fallen light renew!

‘O Earth, O Earth, return!
Arise from out the dewy grass;
Night is worn,
And the morn
Rises from the slumberous mass.

Turn away no more;
Why wilt thou turn away?
The starry floor,
The wat’ry shore,
Is giv’n thee till the break of day.’

—William Blake (1757-1827.]

And now Goethe wished to introduce into these verses something fundamentally alien to the north. These verses express what I have just claimed as emerging straight from the whole mood living in Goethe. It can be said, of course, that anyone who does not enter into the genuinely aesthetic will lack the deep sense of necessity that Goethe felt in Italyof forging his favourite subject, Iphigeneia, anew. Not only was he subject in Italyto impressions of what he regarded as Greek art, but the sun there has a different effect. A differently coloured heaven arches over us, and the plants struggle up from the earth in a different way. All this made its mark on Goethe, and we can trace how in every line he is again compelled to rewrite and adapt the substance of his Iphigeneia to a quite different mood. It was Hermann Grimm who first showed a really sensitive understanding for these matters. In his lectures on Goethe he stressed the radical difference between the German and the Roman Iphigeneia, demonstrating how Goethe transformed what at first lived in the dimension of depth, so to speak – where there is a tendency to make the tone too full, too bright, or too dull, in order to achieve a spiritual expression of the literal prose content; he showed how Goethe transformed this into something that lives in the plane of speech, as it were, in the metre, and how he tried to introduce into his Iphigeneia the symmetry he believed himself to have found in Greek art.

In order to characterise what Goethe experienced in artistic speech, therefore, it becomes necessary to work from the declamatory into the recitative when producing his Roman Iphigeneia – the recitative which, as we have said, the Greeks brought to perfection. [Note 22]

[To a much greater extent than Goethe, Blake consistently reworked his poetry into ever different forms as he matured and changed as a poet. By the time he came to write “Night the Ninth” of The Four Zoas he had extended his range to include a classically derived pastoral verse with a much more recitative quality. The visionary scene from the earlier “Introduction” appears again there – though after a more thorough metamorphosis than was the case with Goethe’s play. This is The Four Zoas ix, 386-409:

And thus their ancient golden age renew’d; for Luvah spoke
With voice mild from his golden Cloud upon the breath of morning:

‘Come forth, O Vala, from the grass & from the silent dew,
Rise from the dews of death, for the Eternal Man is Risen.’

She rises among flowers & looks toward the Eastern clearness,
She walks yea runs, her feet are wing’d, on the tops of the bending grass,
Her garments rejoice in the vocal wind & her hair glistens with dew.

She answer’d thus: ‘Whose voice is this, in the voice of the nourishing air,
In the spirit of the morning, awaking the Soul from its grassy bed?
Where dost thou dwell? for it is thee I seek, & but for thee
I must have slept Eternally, nor have felt the dew of thy morning.
Look how the opening dawn advances with vocal harmony!
Look how the beams foreshew the rising of some glorious power!

The sun is thine, he goeth forth in his majestic brightness.
O thou creating voice that callest! & who shall answer thee?’

‘Where dost thou flee, O fair one? where doth thou seek thy happy place?’

‘To yonder brightness, there I haste, for sure I came from thence
Or I must have slept eternally, nor have felt the dew of morning.’

‘Eternally thou must have slept, not have felt the morning dew,
But for yon nourishing sun; ’tis that by which thou art arisen.
The birds adore the sun: the beasts rise up & play in his beams
And every flower & every leaf rejoices in his light.
Then, O thou fair one, sit thee down, for thou art as the grass,
Thou risest in the dew of morning & at night art folded up.’

—William Blake.

It may be that in the case of an artist like Goethe, we shall find what it is that flows over into form only if we can understand with full intensity how, when he himself spoke his Iphigeneia, tears would roll down his cheeks. Goethe found his way from the Dionysian – to use the Nietzschean expression – into the Apollonian, into metrical form. Because the Greeks in their soul-life stirred the will to this metrical formation, they achieved something in this Apollonian realm, and of this Nietzsche felt that here art is exalted above outer sense-reality. He felt that art could elevate us above the pessimism of a humanity confronting the tragic in the immediate reality of physical perception. What holds sway here as the inner, the essentially human – though conforming to measure and the Apollonian principle – this was what particularly attracted Goethe once he had entered this element, and induced him to attempt the creation of something in Greek metre, in an inwardly recitative-declamatory style rather than his former purely declamatory one.

We will now give an example, from Goethe’s “Achilleis”, of the aesthetic form that Goethe conceived after he had sunk himself in the metrical, inwardly recitative style of the Greeks. [Note 23]

[In their attempts to recapture the feeling of the original Greek some translators have been driven to adopt a hexameter verse, as in this rendering of Odyssey VI, 85ff:

Now when at last they arrived at the beautiful stream of the river,
Here the perennial basins they found where waters abundant
Welled up brightly enough for the cleansing of dirtiest raiment.
So their mules they unloosened from under the yoke of the waggon,
Letting them wander at will on the bank of the eddying river,
Browsing on clover as sweet as the honey, and then from the carriage
Bearing within their arms to the deep dark water the garments
Cast them in trenches and trod them in rivalry one with another.
So, when the raiment was washed and was thoroughly cleansed of the dirt-stains,
All on the shore of the ocean in order they spread on the shingle
Where it is washed by the tides of the sea as they sweep to the dry land.
There did they bathe and anointing themselves with the oil of the olive
Set them adown to the midday meal on the bank of the river,
Leaving the garments to dry on the beach in the glare of the sunlight,
Now when in food they had fully delighted, both she and her maidensj
Casting aside their scarfs with a ball they betook them to playing,
White-armed Nausicaa with the choral melody leading.
E’en as descending a height moves Artemis, darter of arrows,
Either on Taygetus long-ridged or on huge Erymanthus,
Taking delight in the chase of the boar and of timorous roe-deer,
Whilst all around her the daughters of Zeus, who beareth the aegis,
Nymphs of the woodland, play – and Leto sees it rejoicing;
Even as over the rest uplifting her brows and her forehead
Easily known in her beauty she stands, though fair be the others,
Thus shone forth in her beauty the maiden amidst her attendants.
Now when at last it was come to the moment of homeward returning,
After the mules were yoked and folded the beautiful garments,
Other was then the device of the grey-eyed goddess Athene,
E’en that Odysseus awaking and seeing the fair-faced maiden
Her might follow as guide and reach Phaeacia’s city.
Seizing the Ball, at the maiden among her attendants the princess
Flung it, but missing the maiden it fell in a bottomless eddy.
Piercingly all of them shrieked; and godlike Odysseus, awakened,
Sat straight up and pondered thereon in his heart and his spirit:
‘Ah me! what is the folk whose country I now am arrived at?
Dwell here savages wanton and wild, despisers of justice?
Have they a love for the stranger and hearts that revere the immortals?
Lo, how piercing a cry as of maidens ringeth around me,
Nymphs peradventure that dwell on precipitous summits of mountains,
Or by the fountain springs of the rivers and leas of the lowlands;
Else, maybe, I am near to a folk of articulate language.
Nay, go to, I will test for myself this matter and view it.’

Trans. H.B. Cotterill.

With such poetry Goethe tried to find his way back to Hellenism. He believed himself, as he felt at a certain period of his life, nearer to the original source of poetry than he could ever have been had he not gone back to the Greeks. We have to look at Goethe’s instinctive artistic life, when he sought Greek metre and what the Greeks had formed plastically in inner recitation. As with the other art-forms, true poetry was to be sought where the fountain-head of art sprang more abundantly – in primitive humanity, in unaccommodated man and his inner experience, not yet shrouded by the thick veil of materialistic civilisation. In Greek, we can observe the measured flow of the hexameter; we observe how the dactyls are formed. What do we really have in this verse-measure? Now we must remember, speaking more theoretically, how something lives in man which strives inwardly toward a certain rhythm or harmony of rhythms.

Let us take, on the one hand, the breathing-rhythm: in a normal person of average age, about 18 breaths per minute; while in the same space of time we have 72 pulse-beats, four beats coinciding with each breath. This is an inner harmonising of rhythms in human nature. Let us picture the four pulse-beats taking place in each breath and consider their ratio, their harmony with the breath. Let us bring the first two pulse-beats together into one long syllable, and the remaining two pulsebeats into two short syllables. We then have the verse-measure underlying the hexameter. We can also produce the hexameter for ourselves by examining the harmony of the four and the one: the first three feet and, as the fourth, the caesura – all being related to the one breath. What is formed in this way we derive from man’s own being: we create out of man’s being, embodying in speech an expression of human rhythms. Now the fourfold rhythm of the blood can, of course, struggle with the unitary breathing-rhythm, separating and reuniting as they strive toward harmony. They separate in this or that direction, and then flow together again. In this way are revealed the several forms of verse and prosody. But each time it is an overflowing of what lives in man himself into speech. In the formation of Greek metres man unfolds his own being; something of man’s most intimate morphology comes to his lips and forms itself into speech. Here then lies the mystery: the Greeks strove for vocal expression of the most intimate, even organic life of man’s rhythmic system.

Goethe felt this. The Greeks by their very nature (and let us not misunderstand this) were striving after thought. Not for mere abstract thought, but something that led them away, through thought, into concrete speech-formation – the pictorial that is active in man. For what occurs in man through the confluence of the blood- and breathing-rhythms is transmitted to the brain and transformed into thought-content. The process is even vaguely recognisable in prose. This is really thought that has been stripped of everything that lay hidden in Greek recitative metre. The Greeks spoke of the music of Apollo’s lyre, meaning man himself as a work of art: a rhythmic being in the harmony of his breathing- and blood-rhythms. Here are uttered unfathomable cosmic mysteries which tell us more than any prose language can.

Into all this sounds the will. As we turn to the north we meet once more with the declamatory. The general inclination of Nordic language, Nordic speech-formation, is to make the will predominant. It is mainly breathing which lives in Greek rhythm (being closer to thought than the blood-circulation), but the experience of blood-circulation was rightly regarded by ancient spiritual researchers as the immediate expression of human personality, the human ego. And this is what lives in the Nordic treatment of speech. Here we see how the blood-rhythm strikes in and the breathing rhythm recedes. We see in addition how the blood-rhythm is connected with the mobility of the entire man. Looking back, we see how in the Nibelungenlied Nordic man could sense the wave-beat of his blood, instigated by a will-impulse and then subsiding into thought: in this way alliteration comes into being. We begin with a will-impulse, which then strikes up against the form, like a wave building up and then subsiding again into the repose of rhythm. This was felt as something constituting the whole man. Whereas the Greeks wanted to penetrate inwards into the breathing-system, Nordic man was inclined towards depth of personality and the life of the blood-rhythm. Nordic-Germanic poetry is spiritualised human blood. Here the will lives and gives itself form. We must imagine the will-working of Wotan, moving on waves of air or welling up in man as blood and forming the human personality. [Note 24]

The primal element of will, the human being as a whole, finds expression in Nordic-Germanic poetry. We can see this welling-up and surging in the epic Nibelungenlied. And even in more recent times, Wilhelm Jordan has tried to imitate the alliterative style, such as lived in Nordic declamation, and has tried in the speech-formation of his own epic to restore to life the things I have described. What lives in Jordan’s Nibelunge, therefore, we must not simply declaim by extracting and stressing the prose content. Rather, there must sound forth that wave-motion drawn from the inner nature of man. In Wilhelm Jordan’s alliteration, these Wotan-waves must sound forth as they did when he himself recited them. This he actually did; those who were still able to hear him will know how he tried, through a declamatory verse-technique, to draw out what is latent in alliteration.

We shall conclude by giving an example from the beginning of the Nibelungenlied, where the Nordic element (as opposed to Greek metre) is in evidence. This will strike a contrast to what Goethe, particularly in his later years, received from Greek culture. From there he derived the finest quality that lived in him, while yet wishing to unite it, together with the Nordic, into a single whole.

And finally, a short passage of alliterative verse from Wilhelm Jordan’s Nibelunge – his attempt at a re-creation of ancient German poetry.

From The Nibelungenlied.

I. Äventiurde

Uns ist in alten maeren wunders vil geseit
von heleden lobebaeren, von grôzer arebeit;
von freude und hôchgezîten, von weinen unde klagen,
von küener recken strîten möget ir nu wunder hoeren sagen

Ëz wuohs in Buregonden ein vil edel magedîn,
daz in allen Landen niht schoeners mohte sîn,
Kriemhilt geheizen, diu wart ein schoene wîp;
dar umbe muosen dëgene vil verliesen dën lîp

Der minneclîchen meide trüejen wol gezam:
ir moutten küene recken, niemen was ir gram.
âne mâzen schoene sô was ir edel lîp:
der juncfrouwen tugende zierten anderiu wîp.

Ir pflâgen drî künige edel unde rîch,
Gunther unde Gêrnôt die recken lobelîch,
unt Gîselher dër junge, ein waetlîcher dëgen;
diu frouwe was ir swëster, die helden hetens in ir pflëgen.

Ein rîchiu küneginne frou Uote ir muoter hiez;
ir vater dër hiez Dancrât, dër in diu erbe liez
sît nâch sîme lëbene, ein ellens rîcher man,
dër ouch in sîner jugende grôzer êren vil gewan.

Die hërren wâren milte, von arde hôhe erborn,
mit kraft unmâzen küene die recken ûzerkorn.
dâ zën Burgonden sô was ir lant genannt.
si frümten starkiu wunder sît in Etzelen lant.

Ze Wormze bî dëm Rîne si wonten mit ir kraft;
in dienten von ir landen vil stolziu ritterschaft
mit lobelîchen êren unz an ir endes zît.
si sturben jaemerlîche sît von zweier frouwen nît.

Die drî künige wâren, als ich gesaget hân,
von vil hôhem ellen; in wâren undertân
ouch die besten recken, von dën man hât gesaget,
starc unt viel küene, in scharpfen strîten unverzaget.

Daz was von Tronege Hagene, unt ouch dër bruoder sîn
Dancwart dër snëlle, von Metzen Ortwîn,
Die zwêne marcgrâven, Gêre unt Eckewart,
Volkêr von Alzeie, mit ganzem ellen wol bewart,

Rûmolt dër küchenmeister, ein ûzerwelter dëgen,
Sindolt unde Hûnolt; dise hërren muosen pflëgen
dës hoves unt dër êren, dër drîer künige man.
si heten noch manigen recken, dës ich genennen nienen kan.

Dancwart dër was marschalc; dô was dër nëve sîn
truhsetze dës küniniges von Metzen Ortwîn.
Sindolt dër was schenke, ein waetlîcher dëgen;
Hûnolt was kameraere: si kunden, hôher êren pflëgen

Von dës hoves êre unt von ir wîten kraft,
von ir vil hôhen wërdekeit unt von ir ritterschaft,
dër die hërren pflâgen mit freuden al ir lëben,
dësn künde iu ze wâre niemen gar ein ende gëben.

In disen hôhen êren troumte Kriemhilde,
wie si züge einen valken starc, schoene unt wilde,
dën ir zwên’ arn erkrummen; daz sie daz muoste sëhen,
irn kunde in dirre wërlde leider nimmer geschëhen.

Dën troum si dô sagete ir muoter Uoten.
sine kundes niht bescheiden baz dër guoten
‘dër valke, den du ziuhest, daz ist ein edel man;
in enwëlle got behüeten, du muost in schiere vloren hân.’

‘Waz saget ir mir von manne, vil liebiu muoter mîn?
âne recken minne sô wil ich immer sîn;
sus schoene ich wil belîben unz an mînen tôt,
daz ich von recken minn sol gewinnen nimmer nôt.’

‘Nune versprich ëz niht ze sêre,’ sprach ir muoter dô.
‘soltu immer hërzenlîche zër wërlde wërden vrô,
daz kümt von mannes minne; du wirst ein schoene wîp,
ob dir got gefüeget eins rëhte guoten ritters lîp.’

‘Die rede lât belîben, vil liebiu frouwe mîn;
ëz ist an manigen wîben vil dicke worden schîn,
wie liebe mit leide ze jungest lônen kan;
ich sol sie mîden beide, sone kan mir nimmer missegân.’

Kriemhilt in ir muote sich minne gar bewac.
sît lëbete diu vil guote vil manigen lieben tac,
daz sine wësse niemen, dën minnen wolde ir lîp
sît wart si mit êren eins vil wërden recken wîp.

Dër was dër sëlbe valke, dën si in ir troume sach,
dën ir beschiet ir muoter. wie sêre siu daz rach
An ir naehsten mâgen, die in sluogen, sint!
durch sîn eines stërben starp vil maniger muoter kint.

[Langland’s Piers Plowman is among the masterpieces of the English “Alliterative Revival” of the fourteenth century. This extract is from the C-text version, Passus IX, 152-191:

A Brytonere com braggynge a-bosted Peers al-so;
‘Wolle thow, ne wolle thow we wolleth habbe oure wil,
Bothe thy flour and thy flessh fecchen when ous lyketh,
And make ous myrye ther-myd maugre ho bygruccheth!’
Peers the plouhman tho pleynede to the knyght,
To kepe hym and hus catel as covenent was bytwyne hem:
‘Awreke me of these wastours that maken thys worlde dere;
Thei counte nat of cursing ne holy kirke dreden;
Ther worth no plente,’ quath Peers ‘and the plouh ligge.’
Curtesliche the knyght then as hus kynde wolde,
Warned Wastour and wissed hym betere,
‘Other ich shal bete thy by the lawe and brynge the in stockes.’
‘Ich was nat woned to wirche,’ quath Wastour and ich wolle nat now bygynne,’
And let lyght of the lawe and lasse of the knyght,
And sette Peers at a pese pleyne hym wher he wolde.
‘Now, by Crist,’ quath Peers ‘y shal apeyre yow alle!’
And hopede after Hunger that herde him at the ferste.
‘Ich praye the,’ quath Peers tho ‘pur charite, sire Honger,
Awreke me of these wastours for the knyght wol nat.’
Honger hente in haste Wastour by the mawe,
And wrang hum by the wombe that al waterede hus eyen.
He buffated the Brutener a-boute the chekes,
That he loked lyk a lanterne al hus lyf after.
He bet hem so bothe be barst neih hure guttes,
Ne hadde Peers with a peese-lof prayede hym by-leve.
Honger, have mercy of hem,’ quath Peers and let me yeve hem benes;
And that was bake for bayarde may be here bote.’
Tho were faitours a-fered and flowen to Peersses bernes,
And flapten on with flailes fro morwe til evene,
That Honger was nat hardy on hem for to loke,
For a potful of potage that Peersses wyf made.
An hep of eremites henten hem spades,
Spitten and spradde donge in despit of Hunger.
Thei corven here copes and courtepies hem made,
And wenten as workmen to weden and mowen;
Al for drede of here deth such dyntes yaf Hunger.
Blynd and brokeleggede he botnede a thousande,
And lame men he lechede with longen of bestes.
Preestes and other peple to Peers thei drowen,
And freres of alle fyve orders al for fere of Hunger.

William Langland (c.1331- ?).

From Die Nibelungen.
“Hildebrand’s Homecoming”, Canto 17:

Schon drängten sich draussen mit dröhnenden Tritten Zu jedem der Tore der Krieger tausend; Schon hob sein Hifthorn der Hunnenkönig, Um Sturm zu blasen. Doch stumm noch blieb es. Ob sein Herz auch zermalmt war, er musste horchen, Und gramvoll beseufzte die grosse Seele Verloren Grund begrabener Hoffnung In des stolzen Germanen Sterbegesang:

‘Erwacht! In den Wolken
Ist Waffengerassel.
Erwacht, es gewittert,
‘Als wieherten Rosse.
Walkürien kommen
Zum Kampf geflogen
In glänzenden Brünnen,
Von Brautlust glühend.
Sie lenken herunter
Die luftigen Renner,
Um Tapfer zu kiesen
Mit tötendem Kuss.

Erwachet! Es warten
Die Wodanswölfe,
Es rufen die Raben
Ihr Mahl zu rüsten.
Um der Seele die Pforte
Zum Sonnenpfade
Weit aufzuschliessen,

Ist Eisen geschliffen.
Das Leben ist Schlaf nur,
Erlösung der Schlachttod.
Erwachet zum Sterben,
Und Sterbend erwacht.

Erwachet! Es winken
Von Walhalls Schwelle
Die erkorenen Gäste
Des Götterkönigs.
Da lebt ihr in Leibern
Aus Licht gewoben;
Da ist Kampf nur Kurzweil
Und Wunde Wollust.
Da labt das Gedenken
Erduldeter Leiden,
Da schildert ihr scherzend
Der Niblunge Not.’

Wilhelm Jordan

[In the absence of any modern English attempt to restore alliteration in its full-blooded form, there may be a certain interest here in the following piece. The chiming effect of the alliterations serves in this instance rather to embellish and lend spice to the recitative flow of the verse, not aspiring to become the ordering principle of the poem:

EUROPA AND THE BULL

Naked they came, a niggling core of girls
Maggoting gaily in the curling wool
Of morning mist, and careless as the lark
That gargled overhead. They were the root
Of all that writhing air, the frothing rock
Of that grey sea in whose vacuity
Footless they stood, nor knew if it or they
Were moving now. Yet, even as they gazed,
Cave after cave of light calved out of gloom,
As on they glided through the muddling veils
Roof rose on roof, laugh laddered into laugh
Into the motionless meadow, clear as stone,
Interminably domed.
Nothing supernal here; only cow-parsley:
Any place was convenient velvet,
And everwhere was peace, pin-drizzled by
Bird-song; the bay bare lake a gong
Unbruised. Easy at the sea’s edge the rocks
Breathed up and down.
The Inland hills stood still
Like hoardings to be stared at. Happy place!
And happy happy day! How giddily then
They sleeked along the sand with smoking heels.
Some frayed off with fountain-fling of arms
To play and plunge, staccatoing the water
And some more slowly followed, picking the deep flowers
Out of the fume and underdrone of bees: green-kneed
They rose and fell in waves delightedly: new sights
Consumed them; new mites and motes of smell
Held and incensed them: crumbs of booty glowed
In every foot-dent, eiderdowntrodden.
And all among them moved the moon-like cows
Grazing light tracks across the long night-grass.

But look! the Bull! indubitably bull,
Elbowing slowly through the obeisant herd,
Blazing and bellowing. His massy head,
Laden like a dahlia, dallied and swung,
And his vast eye slid to and fro as sharp
And glaucous as sea-holly, salting all
Their thoughts with suddenness. They hardly knew
What most to admire; but most his hub of power
And circumambience of gentleness
Delighted them. Arms curved and craved to stroke
His milky sides, insidiously veined
With watery blues and bloody ivyings.
But how describe him? words can only add
To lightning the thunder’s redundancy.
He was most godlike and most temperate.

Slow, slow, slow, with bubble-pause and slide
He paced before Europa there, and she
As if with shivering drew her shoulders now
Shyly about her, yet she shivered still.
Never did shadow so shimmer with midges
As she with switherings. Should she go?
Or no? Body and soul see-sawed in her.
As slowly the swan comes forward, in advance
Bearing its bellying tray of effusive plumes,
Yet backward rears its head and huffs its glance
As if it fended off its offering that presumes:
Swollen with slowness and undertowed by longing
It grows on the water, close, thundery, and thronging,
Till suddenly beside us, without fuss,
Immense it blossoms like a cumulus –
So slowly rose Europa, slowly she
Opened her fan-like self and mounted him
And spread her valances.
O how his reticence reined and trounced him then,
Lifting his feet into flounces of flight
And ratchet-edges of agitation,
Chawing each gentle step. To have and to hold –
How he would love to have but feared to hold
Her who as srnooth as metal sat and smiled.
And how his silver slaverings flowed, and now
His chattering hooves danced under him like stones....