The Rudolf Steiner Archive

It is an oft-repeated and a justifiable opinion, with regard to all the realms of human spiritual life, that man's greatest riddle here in our physical life is man himself. And we may truly say that a large part of our scientific activity, of our reflection, and of much besides in man's life of thought, is applied to the solving of this human riddle, to discerning a little wherein the essence of human nature consists. Natural science and spiritual science try to solve from different sides this great riddle comprised in the word Man. In the main, all the more profound natural scientific research seeks to attain its final goal by bringing together all the processes of nature, and so forth, in order to comprehend the external laws. And all spiritual science seeks the sources of existence for the sake of comprehending, of fathoming, man's being and destiny. If then, on the one hand, it is unquestioned that in general man's greatest riddle is man himself, we may say that in relation to life this expression may have a still deeper significance, in that it is necessary on the other hand to emphasize what each of us feels upon meeting another person: namely, that fundamentally each single person is in turn an enigma for others and for himself because of his special nature and being. Ordinarily, when we speak of this human enigma, we have in mind man in general, man without distinction regarding this or that individuality; and certainly many problems appear for us when we wish to understand human nature in general. But today we have not to do with the general riddles of existence, but rather with that enigma, not less significant for life, which each person we meet presents to us. For how endlessly varied are human beings in their deepest individual essence!

When we survey human life we shall have to be especially attentive to this riddle which each person presents, for our entire social life, our relation of man to man, must depend more upon how in individual cases we are able to approach with our feeling, with our sensibility, rather than merely with our intelligence, that individual human enigma which stands before us so often each day, with which we have to deal so often. How difficult it is regarding the people we meet to come to a clear knowledge of the various sides of their nature, and how much depends in life upon our coming to such clear knowledge regarding those people with whom we come in touch. We can of course only approach quite gradually the solution of the whole riddle of the human individual, of which each person presents a special phase, for there is a great gap between what is called human nature in general and that which confronts us in each human individual.

Spiritual science, or as we call it more recently, Anthroposophy, will have a special task precisely regarding this individual enigma—man. Not only must it give us information about what man is in general, but it must be, as you know, a knowledge which flows directly into our daily life, into all our sensibilities and feelings. Since our feelings and sensibilities are unfolded in the most beautiful way in our attitude toward our fellow men, the fruit of spiritual science, of spiritual scientific knowledge, will be revealed the most beautifully in the view we take of our fellow men because of this knowledge.

When in life a person stands before us, we must always, in the sense of this spiritual science, or Anthroposophy, take into consideration that what we perceive outwardly of the person is only one part, only one member, of the human being. To be sure, an outer material view of man regards as the whole man what this outer perception and the intellect connected with it are able to give us. Spiritual science shows us, however, that the human being is something very, very complicated. And often, when one goes more deeply into this complexity of human nature, the individual is then also seen in the right light. Spiritual science has the task of showing us what the innermost kernel of the human being is; what we can see with the eyes and grasp with the hands is only the outer expression, the outer shell. And we may hope to come to an understanding of the external also if we are able to penetrate into the spiritual inner part.

In the great gap between what we may call human nature in general and what confronts us in each individual, we see nevertheless many homogeneous characteristics in whole human groups. To these belong those human qualities which today form the subject of our consideration, and which we usually call the temperament. We need only utter the word ‘temperament’ to see that there are as many riddles as men. Within the basic types, the basic colorings, we have such a multiplicity and variety among individuals that we can indeed say that the real enigma, of existence is expressed in the peculiar basic disposition of the human being which we call temperament. And when the riddles intervene directly in practical life, the basic coloring of the human being plays a role. When a person stands before us, we feel that we are confronted by something of this basic disposition. Therefore it is to be hoped that spiritual science is able to give also the necessary information about the nature of the temperaments. For though we must admit that the temperaments spring from within, they nevertheless express themselves in the whole external appearance of the individual. By means of an external observation of nature, however, the riddle of man is not to be solved; we can approach the characteristic coloring of the human being only when we learn what spiritual science has to say about him.

It is of course true that each person confronts us with his own temperament, but we can still distinguish certain groups of temperaments. We speak chiefly of four types, as you know: the sanguine, the choleric, the phlegmatic, and the melancholic temperament. And even though this classification is not entirely correct in so far as we apply it to individuals—in individuals the temperaments are mixed in the most diverse way, so we can only say that one temperament or another predominates in certain traits—still we shall in general classify people in four groups according to their temperaments.

The fact that the temperament is revealed on the one side as something which inclines toward the individual, which makes people different, and on the other side joins them again to groups, proves to us that the temperament must on the one side have something to do with the innermost essence of the human being, and on the other must belong to universal human nature. Man's temperament, then, is something which points in two directions; and therefore it will be necessary, if we wish to solve the mystery, to ask on the one hand: In how far does the temperament point to what belongs to universal human nature? and then again on the other: How does it point to the essential kernel, to the actual inner being of the individual?

If we put the question, it is natural that spiritual science seems called upon to give enlightenment, for spiritual science must lead us to the innermost essential kernel of the human being. As he confronts us on earth, he appears to be placed in a universality, and again on the other side he appears as an independent entity. In the light of spiritual science man stands within two life streams which meet when he enters earth existence. And here we are at the focal point of the consideration of human nature according to the methods of spiritual science. We learn that we have in the human being, first of all, that which places him in his line of heredity. The one stream leads us from the individual man back to his parents, grandparents, and further ancestors. He shows the characteristics inherited from father, mother, grandparents, and all preceding ancestors farther and farther back. And these attributes he transmits again to his descendants. That which flows down from ancestors to the individual man we designate in life and in science as inherited attributes and characteristics. A man is placed in this way within what we may call the line of heredity; and it is known that an individual bears within him, even in the very kernel of his being, qualities which we must certainly trace back to heredity. Very much about an individual is explicable if we know his ancestry, so to speak. How deeply true are the words uttered with regard to his own personality by Goethe, who had such a deep knowledge of the soul:

My father gave my build to me,
Toward life my solemn bearing,
From mother comes my gayety
And my delight in yarning.

Here we see how this great knower of human nature has to point even to moral qualities when he wishes to refer to inherited characteristics. Everything we find as transmitted from ancestors to descendants interprets for us the individual person in a certain respect, but only in a certain respect; for what he has inherited from his ancestors gives us only one side of the human being. Of course the present-day materialistic conception would like to seek in the line of ancestry for everything under the sun, would like even to trace back a man's spiritual being (his spiritual qualities) to ancestry; and it never wearies of declaring that even a man's qualities of genius are explicable if we find signs, indications, of such characteristics in this or that ancestor. Those who hold such a view would like to compile the human personality, so to speak, from what is found scattered among the ancestors. Anyone who penetrates more deeply into human nature will of course be struck by the fact that beside these inherited attributes, in each man something confronts us which we cannot characterize otherwise than by saying: That is his very own; we cannot say, as a result of close observation, that it is transmitted from this or that ancestor. Spiritual science comes in here and tells us what it has to say about it. Today we are able to present only sketchily what is involved in these questions, to indicate only sketchily the findings of spiritual science.

Spiritual science tells us: Certainly it is true that the human being is placed in the stream which we may call the stream of heredity, the stream of inherited attributes. Besides that, however, something else appears in an individual, namely, the innermost spiritual kernel of his being. In this are united what the individual brings with him from the spiritual world and what the father and mother, the ancestors, are able to give to him. With that which flows down in the stream of the generations is united something else which has its origin, not in the immediate ancestors, the parents, and not in the grandparents, but which comes from quite other realms, something which passes from one existence to another. On the one side we may say: A man has this or that from his ancestors. But if we watch an individual develop from childhood on, we see how from the center of his nature something evolves which is the fruit of foregoing lives, something he never can have inherited from his ancestors.

What we see in the individual, when we penetrate to the depths of his soul, we can only explain to ourselves when we know a great comprehensive law, which is really only the consequence of many natural laws. It is the law of repeated earth lives, so greatly tabooed at the present time. This law of re-embodiment, the succession of earth lives, is only a specific case of a general cosmic law.

It will not appear so paradoxical to us when we think the matter over. Let us observe a lifeless mineral, a rock crystal. It has a regular form. If it is destroyed, nothing of its form remains which could pass over to other rock crystals. The new rock crystal receives nothing of its form. Now if we rise from the world of minerals to the world of plants, it becomes clear to us that a plant cannot originate according to the same law as a rock crystal. A plant can originate only when it is derived from the parent plant. Here the form is maintained and passes over to the other entity. If we rise to the animal world, we find that a development of species takes place. We see that the 19th century considered this discovery of the development of the species as among its greatest results. Not only does one form proceed from another, but each animal in the body of the mother repeats the earlier forms, the lower evolutionary phases of his ancestors. Among the animals we have a rising gradation of species. Among human beings, however, we have not only a gradation of species, a development of kinds, but we have a development of the individual. What a man acquires in the course of his life through education, through experience, is just as little lost as the animal's succession of ancestors.

A time will come when a man's essential core is traced back to a previous existence. It will be recognized that the human being is a fruit of an earlier existence. This law will have a peculiar destiny in the world, a destiny similar to that of another law. The opposition against which this teaching has to assert itself will be overcome, just as the opinion of the scientists of earlier centuries was overcome: that the living can originate from the lifeless. Even into the 17th century the learned and the unlearned had no doubt whatever that from ordinary lifeless things not only lower animals could be evolved, but that earthworms, even fish, could originate from ordinary river slime. The first who declared energetically that the living can originate only from the living was the great Italian natural scientist, Francesco Redi (1627 to 1697), who showed that the living derives only from the living. That is a law which is only the forerunner of another: namely, that the soul-spiritual derives from the soul-spiritual. On account of this teaching he was attacked, and only with difficulty escaped the fate of Giordano Bruno. Today burning is no longer the custom; but anyone who appears with a new truth today, for instance, anyone who wishes to trace back the soul-spiritual element to the soul-spiritual, would not be burned, to be sure, but would be looked upon as a fool. A time will come when it will be considered nonsense to think that a man lives only once, that there is not something permanent which unites itself with his inherited characteristics.

Spiritual science shows how that which is our own nature unites with what is given to us by heredity. That is the other stream into which the individual is placed, the stream with which the present civilization does not wish to have anything to do. Spiritual science leads us to the great facts of so-called re-embodiment, of reincarnation, and of karma. It shows us that we have to take into consideration the innermost essential kernel of man as that which descends from the spiritual world and unites with something which is given by the line of heredity, unites with what it is possible for the father and mother to give to the individual. For the spiritual scientist that which originates from the line of heredity envelops this essential kernel with outer sheaths. And as we must go back to father and mother and other ancestors for what we see in the physical man as form and stature, and so forth, for the characteristics which belong to his outer being, so we must go back to something entirely different, to an earlier life, if we wish to comprehend a man's innermost being; perhaps far, far back, beyond all hereditary transmission, we may have to seek the human being's spiritual kernel which has existed for thousands of years, and which during these thousands of years has entered again and again into existence, again and again has led an earth-life, and now in the present existence has united itself again to what it is possible for father and mother to give. Every single human being, when he enters into physical life, has a succession of lives behind him. And this has nothing to do with what belongs to the line of heredity. We should have to go back more than centuries if we wished to investigate what was his former life when he passed through the gate of death. After he has passed through the gate of death he lives in other forms of existence in the spiritual world. And when again the time comes to experience a life in the physical world, he seeks his parents. Thus we must go back to the spirit of man and his earlier incarnations, if we wish to explain what in him confronts us now as the soul-spiritual part. We must go back to his earlier incarnations, to what he acquired in course of them. We have to consider how he lived at that time, what he brought with him, as the causes of what the individual possesses today in the new life as tendencies, dispositions, abilities for this or that. For each person brings with him from his former life certain qualities of his life. Certain qualities and his destiny he brings with him to a certain degree. According as he has performed this or that deed, he calls forth the reaction, and feels himself thus to be surrounded by the new life. So he brings with him from earlier incarnations the inner kernel of his being and envelops it with what is given him by heredity.

Certainly this one thing should be mentioned, because it is important, since actually our present time has little inclination to recognize this inner kernel of being, or to look upon the idea of reincarnation as anything but a fantastic thought. It is considered today to be poor logic, and we shall hear materialistic thinkers objecting over and over again that what is in man arises entirely through heredity. Just look at the ancestors, he says, and you will discover that this or that trait, this or that peculiarity, existed in some ancestor, that all the individual traits and qualities can be explained by tracing them in the ancestors. The spiritual scientist can also point to that fact, and he has done so. For example, in a musical family musical talent is inherited, etc. That is all supposed to support the theory of heredity. Indeed, the law is expressed point blank, that seldom does genius appear at the beginning of a generation; genius stands at the end of a line of heredity. And that is supposed to be a proof that genius is inherited. Here one proceeds from the standpoint that some person has a definite characteristic—he is a genius. Someone traces back the peculiar abilities of the genius, seeks in the past among his ancestors, finds in some ancestor signs of a similar characteristic, picks out something here and there, finds this quality in one, that in another, and then shows how they finally flowed together in the genius who appeared at the end of the generation; and he infers from it that genius is transmitted. For anyone whose thinking is direct and logical that could at best prove the opposite. If finding qualities of genius among the ancestors proves anything, what does it prove? Surely nothing else than that man's essential being is able to express itself in life according to the instrument of the body. It proves nothing more than that a man comes out wet if he falls into the water. Really it is no more intelligent than if some one wishes to call our special attention to the fact that if a man falls into the water he gets wet. It is only natural that he takes up something of the element into which he is placed. Surely it is quite self-evident that the qualities of the ancestors would be carried by that which has flowed down through the line of heredity, and has finally been given through father and mother to the particular human being who has descended from the spiritual world. The individual clothes himself in the sheaths which are given to him by his ancestors. What is intended to be presented as proof of heredity could much better be looked upon as proof that it is not heredity. For if genius were inherited, it would have to appear at the beginning of the generations and not stand at the end of a line of heredity. If anyone were to show that a genius has sons and grandchildren to whom the qualities of genius are transmitted, then he would be able to prove that genius is inherited; but that is just not the case. It is limping logic which wishes to trace back man's spiritual qualities to the succession of ancestors. We must trace back spiritual qualities to that which a man has brought with him from his earlier incarnations.

If now we consider the one stream, that which lives in the line of heredity, we find that there the individual is drawn into a stream of existence through which he gets certain qualities: We have before us some one possessing the qualities of his family, his people, his race. The various children of the same parents have characteristics conditioned in this way. If we consider the true individual nature of a human being, we must say that the soul-spiritual essential kernel is born into the family, the people, the race; it envelops itself with what is given by the ancestors, but it brings with it purely individual characteristics. So we must ask ourselves: How is harmony established between a human essence which perhaps has acquired centuries earlier this or that quality and the outer covering with which it is now to envelop itself, and which bears the characteristics of family, people, race, and so forth? Is it possible for harmony to exist here? Is it not something in the highest sense individual which is thus brought into earth life, and is not the inherited part at variance with it? Thus the great question arises: How can that which has its origin in quite other worlds, which must seek father and mother for itself, unite with the physical body? How can it clothe itself with the physical attributes through which the human being is placed within the line of heredity?

We see then in a person confronting us the flowing together of two streams; of these two streams each human being is composed. In him we see on the one side what comes to him from his family, and on the other what has developed from the individual's innermost being; namely, a number of predispositions, characteristics, inner capacities and outer destiny. An agreement must be effected. We find that a man must adapt himself to this union, in accordance with his innermost being on the one side, and on the other in accordance with that which is brought to him from the line of heredity. We see how a man bears to a great degree the physiognomy of his ancestors; we could put him together, so to speak, from the sum of his various ancestors. Since at first the inner essential kernel has nothing to do with what is inherited, but must merely adapt itself to what is most suitable to it, we shall see that it is necessary for a certain mediation to exist for that which has lived perhaps for centuries in an entirely different world and is again transplanted into another world; the spirit being of man must have something here below to which it is related; there must be a bond, a connecting link, between the special individual human being and humanity in general, into which he is born through family, people, race.

Between these two, namely what we bring with us from our earlier life and what our family, ancestors and race imprint upon us, there is a mediation, something which bears more general characteristics, but at the same time is capable of being individualized. That which occupies this position between the line of heredity and the line which represents our individuality is expressed by the word TEMPERAMENT. In that which confronts us in the temperament of a person we have something in a certain way like a physiognomy of his innermost individuality. We understand thus how the individuality colors, by means of the qualities of temperament, the attributes inherited in the succession of generations. Temperament stands right in the middle between what we bring with us as individuals and what originates from the line of heredity. When the two streams unite, the one stream colors the other. They color each other reciprocally. Just as blue and yellow, let us say, unite in green, so do the two streams in man unite in what we call temperament. That which mediates between all inner characteristics which he brings with him from his earlier incarnation, on the one side, and on the other what the line of heredity brings to him, comes under the concept temperament. It now takes its place between the inherited characteristics and what he has absorbed into his inner essential being. It is as if upon its descent to earth this kernel of being were to envelop itself with a spiritual nuance of that which awaits it here below, so that in proportion as this kernel of being is able best to adapt itself to this covering for the human being, the kernel of being colors itself according to that into which it is born and to a quality which it brings with it. Here shine forth the soul qualities of man and his natural inherited attributes. Between the two is the temperament—between that by which a man is connected with his ancestors and that which he brings with him from his earlier incarnations. The temperament balances the eternal with the transitory.

This balancing occurs through the fact that what we have learned to call the members of human nature come into relation with one another in a quite definite way. We understand this in detail, however, only when we place before our mind's eye the complete human nature in the sense of spiritual science. Only from spiritual science is the mystery of the human temperament to be discovered.

This human being as he confronts us in life, formed by the flowing together of these two streams, we know as a four-membered being. So we shall be able to say when we consider the entire individual: This complete human being consists of the physical body, the etheric body or body of formative forces, the astral body, and the ego.

In that part of man perceptible to the outer senses, which is all that materialistic thought is willing to recognize, we have first, according to spiritual science, only a single member of the human being, the physical body, which man has in common with the mineral world. That part which is subject to physical laws, which man has in common with all environing outer nature, the sum of chemical and physical laws, we designate in spiritual science as the physical body.

Beyond this, however, we recognize higher super-sensible members of human nature which are as actual and essential as the outer physical body. As first super-sensible member, man has the etheric body, which becomes part of his organism and remains united with the physical body throughout the entire life; only at death does a separation of the two take place. Even this first super-sensible member of human nature—in spiritual science called the etheric or life body; we might also call it the glandular body—is no more visible to our outer eyes than are colors to those born blind. But it exists, actually and perceptibly exists, for that which Goethe calls the eyes of the spirit, and it is even more real than the outer physical body, for it is the builder, the moulder, of the physical body. During the entire time between birth and death this etheric or life body continuously combats the disintegration of the physical body. Any kind of mineral product of nature—a crystal, for example—is so constituted that it is permanently held together by its own forces, by the forces of its own substance. That is not the case with the physical body of a living being; here the physical forces work in such a way that they destroy the form of life, as we are able to observe after death, when the physical forces destroy the life-form. That this destruction does not occur during life, that the physical body does not conform to the physical and chemical forces and laws, is due to the fact that the etheric or life-body is ceaselessly combating these forces.

The third member of the human being we recognize in the bearer of all pleasure and suffering, joy and pain, instincts, impulses, passions, desires, and all that surges to and fro as sensations and ideas, even all concepts of what we designate as moral ideals, and so on. That we call the astral body. Do not take exception to this expression. We could also call it the “nerve-body.” Spiritual science sees in it something real, and knows indeed that this body of impulses and desires is not an effect of the physical body, but the cause of this body. It knows that the soul-spiritual part has built up for itself the physical body.

Thus we already have three members of the human being, and as man's highest member we recognize that by means of which he towers above all other beings, by means of which he is the crown of earth's creation: namely, the bearer of the human ego, which gives him in such a mysterious, but also in such a manifest way, the power of self-consciousness.

Man has the physical body in common with his entire visible environment, the etheric body in common with the plants and animals, the astral body with the animals. The fourth member, however, the ego, he has for himself alone; and by means of it he towers above the other visible creatures. We recognize this fourth member as the ego-bearer, as that in human nature by means of which man is able to say “I” to himself, to come to independence.

Now what we see physically, and what the intellect which is bound to the physical senses can know, is only an expression of these four members of the human being. Thus, the expression of the ego, of the actual ego-bearer, is the blood in its circulation. This “quite special fluid” is the expression of the ego. The physical sense expression of the astral body in man is, for example, among other things, the nervous system. The expression of the etheric body, or a part of this expression, is the glandular system; and the physical body expresses itself in the sense organs.

These four members confront us in the human being. So we shall be able to say, when we observe the complete human being, that he consists of physical body, etheric body, astral body, and ego. That which is primarily physical body, which the human being carries in such a way that it is visible to physical eyes, clearly bears, first of all, when viewed from without, the marks of heredity. Also those characteristics which live in man's etheric body, in that fighter against the disintegration of the physical body, are in the line of heredity. Then we come to his astral body, which in its characteristics is much more closely bound to the essential kernel of the human being. If we turn to this innermost kernel, to the actual ego, we find what passes from incarnation to incarnation, and appears as an inner mediator, which rays forth its essential qualities.

Now in the whole human nature all the separate members work into each other; they act reciprocally. Because two streams flow together in man when he enters the physical world, there arises a varied mixture of man's four members, and one, so to speak, gets the mastery over the others, and impresses its color upon them. Now according as one or another of these members comes especially into prominence, the individual confronts us with this or that temperament. The particular coloring of human nature, what we call the actual shade of the temperament, depends upon whether the forces, the different means of power, of one member or of another predominate, have a preponderance over the others. Man's eternal being, that which goes from incarnation to incarnation, so expresses itself in each new embodiment that it calls forth a certain reciprocal action among the four members of human nature: ego, astral body, etheric body and physical body; and from the interaction of these four members arises the nuance of human nature which we characterize as temperament.

When the essential being has tinged the physical and etheric bodies, that which arises because of the coloring thus given will act upon each of the other members; so that the way an individual appears to us with his characteristics depends upon whether the inner kernel acts more strongly upon the physical body, or whether the physical body acts more strongly upon it. According to his nature the human being is able to influence one of the four members, and through the reaction upon the other members the temperament originates. The human essential kernel, when it comes into re-embodiment, is able through this peculiarity to introduce into one or another of its members a certain surplus of activity. Thus it can give to the ego a certain surplus strength; or again, the individual can influence his other members because of having had certain experiences in his former life.

When the ego of the individual has become so strong through its destiny that its forces are noticeably dominant in the fourfold human nature, and it dominates the other members, then the choleric temperament results. If the person is especially subject to the influence of the forces of the astral body, then we attribute to him a sanguine temperament. If the etheric or life-body acts excessively upon the other members, and especially impresses its nature upon the person, the phlegmatic temperament arises. And when the physical body with its laws is especially predominant in the human nature, so that the spiritual essence of being is not able to overcome a certain hardness in the physical body, then we have to do with a melancholic temperament. Just as the eternal and the transitory intermingle, so does the relation of the members to one another appear.

I have already told you how the four members express themselves outwardly in the physical body. Thus, a large part of the physical body is the direct expression of the physical life principle of man. The physical body as such comes to expression only in the physical body; hence it is the physical body which gives the keynote in a melancholic.

We must regard the glandular system as the physical expression of the etheric body. The etheric body expresses itself physically in the glandular system. Hence in a phlegmatic person the glandular system gives the keynote in the physical body.

The nervous system and, of course, what occurs through it we must regard as the physical expression of the astral body. The astral body finds its physical expression in the nervous system; therefore in a sanguine person the nervous system gives the keynote to the physical body.

The blood in its circulation, the force of the pulsation of the blood, is the expression of the actual ego. The ego expresses itself in the circulation of the blood, in the predominating activity of the blood; it shows itself especially in the fiery vehement blood. One must try to penetrate more subtly into the connection which exists between the ego and the other members of the human being. Suppose, for example, that the ego exerts a peculiar force in the life of sensations, ideas, and the nervous system; suppose that in the case of a certain person everything arises from his ego, everything that he feels he feels strongly, because his ego is strong—we call that the choleric temperament. That which has received its character from the ego will make itself felt as the predominating quality. Hence, in a choleric the blood system is predominant.

The choleric temperament will show itself as active in a strongly pulsating blood; in this the element of force in the individual makes its appearance, in the fact that he has a special influence upon his blood. In such a person, in whom spiritually the ego, physically the blood, is particularly active, we see the innermost force vigorously keeping the organization fit. And as he thus confronts the outer world, the force of his ego will wish to make itself felt. That is the effect of this ego. By reason of this, the choleric appears as one who wishes to assert his ego in all circumstances. All the aggressiveness of the choleric, everything connected with his strong will-nature, may be ascribed to the circulation of the blood.

When the astral body predominates in an individual, the physical expression will lie in the functions of the nervous system, that instrument of the rising and falling waves of sensation; and that which the astral body accomplishes is the life of thoughts, of images, so that the person who is gifted with the sanguine temperament will have the predisposition to live in the surging sensations and feelings and in the images of his life of ideas.

We must understand clearly the relation of the astral body to the ego. The astral body functions between the nervous system and the blood system. So it is perfectly clear what this relation is. If only the sanguine temperament were present, if only the nervous system were active, being quite especially prominent as the expression of the astral body, then the person would have a life of shifting images and ideas; in this way a chaos of images would come and go. He would be given over to all the restless flux from sensation to sensation, from image to image, from idea to idea. Something of that sort appears if the astral body predominates, that is, in a sanguine person, who in a certain sense is given over to the tide of sensations, images, etc., since in him the astral body and the nervous system predominate. It is the forces of the ego which prevent the images from darting about in a fantastic way. Only because these images are controlled by the ego does harmony and order enter in. Were man not to check them with his ego, they would surge up and down without any evidence of control by the individual.

In the physical body it is the blood which principally limits, so to speak, the activity of the nervous system. Man's blood circulation, the blood flowing in man, is that which lays fetters, so to speak, upon what has its expression in the nervous system; it is the restrainer of the surging feelings and sensations; it is the tamer of the nerve-life. It would lead too far if I were to show you in all its details how the nervous system and the blood are related, and how the blood is the restrainer of this life of ideas. What occurs if the tamer is not present, if a man is deficient in red blood, is anemic? Well, even if we do not go into the more minute psychological details, from the simple fact that when a person's blood becomes too thin, that is, has a deficiency of red corpuscles, he is easily given over to the unrestrained surging back and forth of all kinds of fantastic images, even to illusion and hallucination—you can still conclude from this simple fact that the blood is the restrainer of the nerve-system. A balance must exist between the ego and the astral body—or speaking physiologically, between the blood and the nervous system—so that one may not become a slave of his nervous system, that is, to the surging life of sensation and feeling.

If now the astral body has a certain excess of activity, if there is a predominance of the astral body and its expression, the nerve-system, which the blood restrains to be sure, but is not completely able to bring to a condition of absolute balance, then that peculiar condition arises in which human life easily arouses the individual's interest in a subject, but he soon drops it and quickly passes to another one; such a person cannot hold himself to an idea, and in consequence his interest can be immediately kindled in everything which meets him in the outer world, but the restraint is not applied to make it inwardly enduring; the interest which has been kindled quickly evaporates. In this quick kindling of interest and quick passing from one subject to another we see the expression of the predominating astral element, the sanguine temperament. The sanguine person cannot linger with an impression, he cannot hold fast to an image, cannot fix his attention upon one subject. He hurries from one life impression to another, from perception to perception, from idea to idea; he shows a fickle disposition. That can be especially observed with sanguine children, and in this case it may cause one anxiety. Interest is easily aroused, a picture begins easily to have an effect, quickly makes an impression, but the impression soon vanishes again.

When there is a strong predominance in an individual of the etheric or life-body—that which inwardly regulates the processes of man's life and growth—and the expression of this etheric body—that system which brings about the feeling of inner well-being or of discomfort—then such a person will be tempted to wish just to remain in this feeling of inner comfort. The etheric body is a body which leads a sort of inner life, while the astral body expresses itself in outer interests, and the ego is the bearer of our activity and will, directed outward. If then this etheric body, which acts as life-body, and maintains the separate functions in equilibrium, an equilibrium which expresses itself in the feeling of life's general comfort—when this self-sustained inner life, which chiefly causes the sense of inner comfort, predominates, then it may occur that an individual lives chiefly in this feeling of inner comfort, that he has such a feeling of well-being, when everything in his organism is in order, that he feels little urgency to direct his inner being toward the outer world, is little inclined to develop a strong will. The more inwardly comfortable he feels, the more harmony will he create between the inner and outer. When this is the case, when it is even carried to excess, we have to do with a phlegmatic person.

In a melancholic we have seen that the physical body, that is, the densest member of the human being, rules the others. A man must be master of his physical body, as he must be master of a machine if he wishes to use it. But when this densest part rules, the person always feels that he is not master of it, that he cannot manage it. For the physical body is the instrument which he should rule completely through his higher members. But now this physical body has dominion and sets up opposition to the others. In this case the person is not able to use his instrument perfectly, so that the other principles experience repression because of it, and disharmony exists between the physical body and the other members. This is the way the hardened physical system appears when it is in excess. The person is not able to bring about flexibility where it should exist. The inner man has no power over his physical system; he feels inner obstacles. They show themselves through the fact that the person is compelled to direct his strength upon these inner obstacles. What cannot be overcome is what causes sorrow and pain; and these make it impossible for the individual to look out upon his contemporary world in an unprejudiced way. This constraint becomes a source of inner grief, which is felt as pain and listlessness, as a sad mood. It is very easy to feel that life is filled with pain and sorrow. Certain thoughts and ideas begin to be enduring; the person becomes gloomy, melancholic. There is a constant arising of pain. This mood is caused by nothing else than that the physical body sets up opposition to the inner ease of the etheric body, to the mobility of the astral body, and to the ego's certainty of its goal.

And if we thus comprehend the nature of the temperaments through sound knowledge, many a thing in life will become clear to us; but it will also become possible to handle in a practical way what we otherwise could not do. Look at much which directly confronts us in life! What we see there as the mixture of the four members of human nature meets us clearly and significantly in the outer picture. We need only observe how the temperament comes to expression externally.

Let us, for instance, take the choleric person, who has a strong firm center in his inner being. If the ego predominates, the person will assert himself against all outer oppositions; he wants to be in evidence. This ego is the restrainer. Those pictures are consciousness-pictures. The physical body is formed according to its etheric body, the etheric body according to its astral body. This astral body would fashion man, so to speak, in the most varied way. But because growth is opposed by the ego in its blood forces, the balance is maintained between abundance and variety of growth. So when there is a surplus of ego, growth can be retarded. It positively retards the growth of the other members; it does not allow the astral body and the etheric body their full rights. In the choleric temperament you are able to recognize clearly in the outer growth, in all that confronts us outwardly, the expression of what is inwardly active, the actual deep inner force-nature of the man, of the complete ego. Choleric persons appear as a rule as if growth had been retarded. You can find in life example after example; for instance, from spiritual history the philosopher, Johann Gottlieb Fichte, the German choleric. Even in external appearance he is recognizable as such, since in his outer form he gave the impression of being retarded in growth. Thereby he reveals clearly that the other members of his being have been held back by the excess of ego. Not the astral body with its forming capacity is the predominant member, but the ego rules, the restrainer, the limiter of the formative forces. Hence we see as a rule in those who are preeminently men of strong will, where the ego restrains the free formative force of the astral body, a small compact figure. Take another classical example of the choleric: Napoleon, the “little General,” who remained so small because the ego held back the other members of his being. There you have the type of the retarded growth of the choleric. There you can see how this force of the ego works out of the spirit, so that the innermost being is manifest in the outer form. Observe the physiognomy of the choleric! Take in comparison the phlegmatic person! How indefinite are his features; how little reason you have to say that such a form of forehead is suited to the choleric. In one organ it is shown especially clearly whether the astral body or the ego works formatively, that is in the eye, in the steady, assured aspect of the eye of the choleric. As a rule we see how this strongly-kindled inner light, which turns everything luminously inward, sometimes is expressed in a black, a coal-black eye, because, according to a certain law, the choleric does not permit the astral body to color that very thing which his ego-force draws inward, that which is colored in another person. Observe such an individual in his whole bearing. One who is experienced can almost tell from the rear view whether a certain person is a choleric. The firm walk proclaims the choleric, so to speak. Even in the step we see the expression of strong ego-force. In the choleric child we already notice the firm tread; when he walks on the ground, he not only sets his foot on it, but he treads as if he wanted to go a little bit farther, into the ground.

The complete human individual is a copy of this innermost being, which declares itself to us in such a way. But naturally, it is not a question of my maintaining that the choleric person is short and the sanguine tall. We may compare the form of a person only with his own growth. It depends upon the relation of the growth to the entire form.

Notice the sanguine person! Observe what a strange glance even the sanguine child has; it quickly lights upon something, but just as quickly turns to something else; it is a merry glance; an inner joy and gaiety shine in it; in it is expressed what comes from the depths of the human nature, from the mobile astral body, which predominates in the sanguine person. In its mobile inner life this astral body will work upon the members; and it will also make the person's external appearance as flexible as possible. Indeed, we are able to recognize the entire outer physiognomy, the permanent form and also the gestures, as the expression of the mobile, volatile, fluidic astral body. The astral body has the tendency to fashion, to form. The inner reveals itself outwardly; hence the sanguine person is slender and supple. Even in the slender form, the bony structure; we see the inner mobility of the astral body in the whole person. It comes to expression for example in the slim muscles. It is also to be seen in his external expression. Even one who is not clairvoyant can recognize from the rear whether a person is of sanguine or choleric temperament; and to be able to do this one need not be a spiritual scientist. In a sanguine person we have an elastic and springing walk. In the hopping, dancing walk of the sanguine child we see the expression of the mobile astral body. The sanguine temperament manifests itself especially strongly in childhood. See how the formative tendency is expressed there; and even more delicate attributes are to be found in the outer form. If in the choleric person we have sharply-cut facial features, in the sanguine they are mobile, expressive, changeable. And likewise there appears in the sanguine child a certain inner possibility to alter his countenance. Even to the color of the eyes we could confirm the expression of the sanguine person. The inwardness of the ego-nature, the self-sufficient inwardness of the choleric, meets us in his black eye. Look at the sanguine person in whom the ego-nature is not so deep-rooted, in whom the astral body pours forth all its mobility—there the blue eye is predominant. These blue eyes are closely connected with the individual's invisible inner light, the light of the astral body.

Thus many attributes could be pointed out which reveal the temperament in the external appearance. Through the four-membered human nature we learn to understand clearly this soul riddle of the temperaments. And indeed, a knowledge of the four temperaments, springing from a profound perception of human nature, has been handed down to us from ancient times. If we thus understand human nature, and know that the external is only the expression of the spiritual, then we learn to understand man in his relation even to the externalities, to understand him in his whole process of becoming; and we learn to recognize what we must do concerning ourself and the child with regard to temperament. In education especially notice must be taken of the kind of temperament that tends to develop in the child. For life's wisdom, as for pedagogy, an actual living knowledge of the nature of the temperaments is indispensable, and both would profit infinitely from it.

And now let us go further. Again we see how the phlegmatic temperament also is brought to expression in the outer form. In this temperament there predominates the activity of the etheric body, which has its physical expression in the glandular system and its soul expression in a feeling of ease, in inner balance. If in such a person everything is not only normally in order within, but if, beyond this normality, these inner formative forces of ease are especially active, then their products are added to the human body; it becomes corpulent, it expands. In the largeness of the body, in the development of the fatty parts, we see that which the inner formative forces of the etheric body are especially working on. The inner sense of ease of the phlegmatic person meets us in all that. And who would not recognize in this lack of reciprocal action between the inner and the outer the cause of the ofttimes slovenly, dragging gait of the phlegmatic person, whose step will often not adapt itself to the ground; he does not step properly, so to speak; does not put himself in relation to things. That he has little control over the forms of his inner being you can observe in the whole man. The phlegmatic temperament confronts one in the immobile, indifferent countenance, even in the peculiarly dull, colorless appearance of the eye. While the eye of the choleric is fiery and sparkling, we can recognize in that of the phlegmatic the expression of the etheric body, focused only upon inner ease.

The melancholic is one who cannot completely attain mastery over the physical instrument, one to whom the physical instrument offers resistance, one who cannot cope with the use of this instrument. Look at the melancholic, how he generally has a drooping head, has not the force in himself to stiffen his neck. The bowed head shows that the inner forces which adjust the head perpendicularly are never able to unfold freely. The glance is downward, the eye sad, unlike the black gleam of the choleric eye. We see in the peculiar appearance of the eye that the physical instrument makes difficulties for him. The walk, to be sure, is measured, firm, but not like the walk of the choleric, the firm tread of the choleric; it has a certain kind of dragging firmness.

All this can be only indicated here; but the life of the human being will be much, much more understandable to us if we work in this way, if we see the spirit activating the forms in such a way that the external part of the individual can become an expression of his inner being. So you see how significantly spiritual science can contribute to the solution of this riddle; but only if you face the whole reality, to which the spiritual also belongs, and do not stop merely with the physical reality, can this knowledge be practically applied in life. Therefore only from spiritual science can this knowledge flow in such a way as to benefit the whole of humanity as well as the individual.

Now if we know all that, we can also learn to apply it. Particularly it must be of interest to learn how we can handle the temperaments pedagogically in childhood. For in education the kind of temperament must be very carefully observed; with children it is especially important to be able to guide and direct the developing temperament. But later also it is still important, for anyone in self-education. For the person who wishes to train himself it is invaluable that he observe what is expressed in his temperament.

I have pointed out to you here the fundamental types, but naturally in life they do not often appear thus pure. Each person has only the fundamental tone of a temperament, besides which he has something of the others. Napoleon, for example, had in him much of the phlegmatic temperament, although he was a choleric. If we would govern life practically, it is important to be able to allow that which expresses itself physically to work upon our soul.

How important this is we can see best of all if we consider that the temperaments can degenerate, that what may appear to us as one-sidedness can also degenerate. What would the world be without the temperaments—if people had only one temperament? The most tiresome place you could imagine! The world would be dreary without the temperaments, not only in the physical, but also in the higher sense. All variety, beauty, and all the richness of life are possible only through the temperaments. Do we not see how everything great in life can be brought about just through the one-sidedness of the temperaments, but also how these can degenerate in their one-sidedness? Are we not troubled about the child because we see that the choleric temperament can degenerate to malice, the sanguine to fickleness, the melancholic to gloom, etc.?

In the question of education in particular, and also in self-education, will not the knowledge and estimation of the temperaments be of essential value to the educator? We must not be misled into depreciating the value of the temperament because it is a one-sided characteristic. In education the important thing is not to equalize the temperaments, to level them, but to bring them into the right track. We must clearly understand that the temperament leads to one-sidedness, that the most radical phase of the melancholic temperament is madness; of the phlegmatic, imbecility; of the sanguine, insanity; of the choleric, all those explosions of diseased human nature which result in frenzy, and so forth. Much beautiful variety results from the temperaments, because opposites attract each other; nevertheless, the deification of the one-sidedness of temperament very easily causes harm between birth and death. In each temperament there exists a small and a great danger of degeneracy. With the choleric person there is the danger that in youth his ego will be determined by his irascibility, by his lack of self-control. That is the small danger. The great danger is the folly which wishes to pursue, from the impulse of his ego, some kind of individual goal. In the sanguine temperament the small danger is that the person will lapse into fickleness. The great danger is that the rising and falling tide of sensations may result in insanity. The small danger for the phlegmatic is lack of interest in the outer world; the great danger is stupidity or idiocy. The small danger in the melancholic is gloominess, the possibility that he may not be able to extricate himself from what rises up within him. The great danger is madness.

When we contemplate all that, we shall see that a tremendously significant task in practical life lies in the directing and guiding of the temperaments. It is important for the educator to be able to say to himself: What will you do, for example, in the case of a sanguine child? Here one must try to learn from the knowledge of the entire nature of the sanguine temperament how to proceed. If other points of view must be considered concerning the education of the child, it is also necessary that temperament, as a subject in itself, be taken into account. But in order to guide the temperaments the principle to be observed is that we must always reckon with what is there and not with what is not there.

We have a child of sanguine temperament before us, which could easily degenerate into fickleness, lack of interest in important things, and, instead, become quickly interested in other things. The sanguine child is the quickly comprehending, but also the quickly forgetting child, whose interest it is difficult to hold upon anything whatever, just because interest in one subject is quickly lost and passes over to another. This can grow into the most frightful one-sidedness, and it is possible to notice the danger if we look into the depths of human nature. In the case of such a child a material-minded person will immediately come forward with a prescription and say: If you have a sanguine child to bring up, you must bring it into reciprocal activity with other children. But a person who thinks realistically in the right sense says: If you begin with the sanguine child by working upon forces which it does not at all possess, you will accomplish nothing with it. You could exert your powers ever so seriously to develop the other members of human nature, but these simply do not predominate in this child. If a child has a sanguine temperament, we cannot help him along in development by trying to beat interests into him; we cannot pound in something different from what his sanguine temperament is. We should not ask, What does the child lack? What are we to beat into him? But we should ask, What as a rule does a sanguine child possess? And that is what we must reckon with. Then we shall say to ourselves: We do not alter these characteristics by trying to induce any sort of opposite quality in this child. With regard to these things which are rooted in the innermost nature of man we must take into consideration that we can only bend them. Thus we shall not be building upon what the child does not possess, but upon what he does possess. We shall build exactly upon that sanguine nature, upon that mobility of the astral body, and not try to beat into him what belongs to another member of human nature. With a sanguine child who has become one-sided we must just appeal to his sanguine temperament.

If we wish to have the right relation with this child, we must take special notice of something. For from the first it becomes evident to the expert that if the child is ever so sanguine, there is still something or other in which he is interested, that there is one interest, one genuine interest for each sanguine child. It will generally be easy to arouse interest in this or that subject, but it will quickly be lost again. There is one interest, however, which can be enduring even for the sanguine child. Experience shows this; only it must be discovered. And that which is found to hold a special interest must be kept in mind. And whatever it is that the child does not pass by with fickle interest we must try to bring before him as a special fact, so that his temperament extends to something which is not a matter of indifference to him. Whatever he delights in, we must try to place in a special light; the child must learn to use his sanguineness. We can work in such a way that we begin first of all with the one thing that can always be found, with the forces which the child has. He will not be able to become lastingly interested in anything through punishment and remonstrance. For things, subjects, events, he will not easily show anything but a passing, changeable interest; but for one personality, especially suited to a sanguine child—experience will show this—there will be a permanent, continuous interest, even though the child is ever so fickle. If only we are the right personality, or if we are able to bring him into association with the right personality, the interest will appear. It is only necessary to search in the right way. Only by the indirect way of love for one personality, is it possible for interest to appear in the sanguine child. But if that interest, love for one person, is kindled in him, then through this love straightway a miracle happens. This love can cure a child's one-sided temperament. More than any other temperament, the sanguine child needs love for one personality. Everything must be done to awaken love in such a child. Love is the magic word. All education of the sanguine child must take this indirect path of attachment to a certain personality. Therefore parents and teachers must heed the fact that an enduring interest in things cannot be awakened by drumming it into the sanguine child, but they must see to it that this interest is won by the roundabout way of attachment to a personality. The child must develop this personal attachment; one must make himself lovable to the child; that is one's duty to the sanguine child. It is the responsibility of the teacher that such a child shall learn to love the personality.

We can still further build up the education upon the child's sanguine nature itself. The sanguine nature reveals itself, you know, in the inability to find any interest which is lasting. We must observe what is there. We must see that all kinds of things are brought into the environment of the child in which he has shown more than the ordinary interest. We should keep the sanguine child busy at regular intervals with such subjects as warrant a passing interest, concerning which he is permitted to be sanguine, so to speak, subjects not worthy of sustained interest. These things must be permitted to affect the sanguine nature, permitted to work upon the child; then they must be removed so that he will desire them again, and they may again be given to him. We must cause these things to work upon the child as the objects of the ordinary world work upon the temperament. In other words, it is important to seek out for a sanguine child those objects toward which he is permitted to be sanguine.

If we thus appeal to what exists rather than to something which does not exist, we shall see—and practical experience will prove it—that as matter of fact the sanguine force, if it becomes one-sided, actually permits itself to be captured by serious subjects. That is attained as by an indirect path. It is good if the temperament is developed in the right way during childhood, but often the adult himself has to take his education in hand later in life. As long, indeed, as the temperaments are held in normal bounds, they represent that which makes life beautiful, varied, and great. How dull would life be if all people were alike with regard to temperament. But in order to equalize a one-sidedness of temperament, a man must often take his self-education in hand in later life. Here again one should not insist upon pounding into oneself, as it were, a lasting interest in any sort of thing; but he must say to himself: According to my nature I am sanguine; I will now seek subjects in life which my interest may pass over quickly, in which it is right that the interest should not be lasting, and I will just occupy myself with that in which I may with complete justification lose interest in the very next moment.

Let us suppose that a parent should fear that in his child the choleric temperament would express itself in a one-sided way. The same treatment cannot be prescribed as for the sanguine child; the choleric will not be able easily to acquire love for a personality. He must be reached through something else in the influence of person upon person. But in the case of the choleric child also there is an indirect way by which the development may always be guided. What will guide the education here with certainty is: Respect and esteem for an authority. For the choleric child one must be thoroughly worthy of esteem and respect in the highest sense of the word. Here it is not a question of making oneself loved through the personal qualities, as with the sanguine child, but the important thing is that the choleric child shall always have the belief that the teacher understands the matter in hand. The latter must show that he is well informed about the things that take place in the child's environment; he must not show a weak point. He must endeavor never to let the choleric child notice that he might be unable to give information or advice concerning what is to be done. The teacher must see to it that he holds the firm reins of authority in his hands, and never betray the fact that he is perhaps at his wits' end. The child must always keep the belief that the teacher knows. Otherwise he has lost the game. If love for the personality is the magic word for the sanguine child, then respect and esteem for the worth of a person is the magic word for the choleric.

If we have a choleric child to train we must see to it before everything else that this child shall unfold, bring to development, his strong inner forces. It is necessary to acquaint him with what may present difficulties in the outer life. For the choleric child who threatens to degenerate into one-sidedness, it is especially necessary to introduce into the education that which is difficult to overcome, so as to call attention to the difficulties of life by producing serious obstacles for the child. Especially must such things be put in his way as will present opposition to him. Oppositions, difficulties, must be placed in the path of the choleric child. The effort must be put forth not to make life altogether easy for him. Hindrances must be created so that the choleric temperament is not repressed, but is obliged to come to expression through the very fact that certain difficulties are presented which the child must overcome. The teacher must not beat out, educate out, so to speak, a child's choleric temperament, but he must put before him just those things upon which he must use his strength, things in connection with which the choleric temperament is justified. The choleric child must of inner necessity learn to battle with the objective world. The teacher will therefore seek to arrange the environment in such a way that this choleric temperament can work itself out in overcoming obstacles; and it will be especially good if these obstacles pertain to little things, to trifles; if the child is made to do something on which he must expend tremendous strength, so that the choleric temperament is strongly expressed, but actually the facts are victorious, the strength employed is frittered away. In this way the child gains respect for the power of facts which oppose what is expressed in the choleric temperament.

Here again there is another indirect way in which the choleric temperament can be trained. Here it is necessary first of all to awaken reverence, the feeling of awe, to approach the child in such a way as actually to arouse such respect, by showing him that we can overcome difficulties which he himself cannot yet overcome; reverence, esteem, particularly for what the teacher can accomplish, for his ability to overcome objective difficulties. That is the proper means: Respect for the ability of the teacher is the way by which the choleric child in particular may be reached in education.

It is also very difficult to manage the melancholic child. What must we do if we fear the threatened one-sidedness of the melancholic temperament of the child, since we cannot cram in what he does not possess? We must reckon with the fact that it is just repressions and resistance that he has power within himself to cling to. If we wish to turn this peculiarity of his temperament in the right direction, we must divert this force from subjective to objective activity. Here it is of very special importance that we do not build upon the possibility, let us say, of being able to talk him out of his grief and pain, or otherwise educate them out of him; for the child has the tendency to this excessive reserve because the physical instrument presents hindrances. We must particularly build upon what is there, we must cultivate what exists. With the melancholic child it will be especially necessary for the teacher to attach great importance to showing him that there is suffering in the world. If we wish to approach this child as a teacher, we must find here also the point of contact. The melancholic child is capable of suffering, of moroseness; these qualities exist in him and we cannot flog them out, but we can divert them.

For this temperament too there is one important point: Above all we must show the melancholic child how people can suffer. We must cause him to experience justifiable pain and suffering in external life, in order that he may come to know that there are things concerning which he can experience pain. That is the important thing. If you try to entertain him, you drive him back into his own corner. Whatever you do, you must not think you have to entertain such a child, to try to cheer him up. You should not divert him; in that way you harden the gloominess, the inner pain. If you take him where he can find pleasure, he will only become more and more shut up within himself. It is always good if you try to cure the young melancholic, not by giving him gay companionship, but by causing him to experience justifiable pain. Divert his attention from himself by showing him that sorrow exists. He must see that there are things in life which cause suffering. Although it must not be carried too far, the important point is to arouse pain in connection with external things in order to divert him.

The melancholic child is not easy to guide; but here again there is a magic means. As with the sanguine child the magic word is love for a personality, with the choleric, esteem and respect for the worth of the teacher, so with the melancholic child the important thing is for the teachers to be personalities who in some way have been tried by life, who act and speak from a life of trial. The child must feel that the teacher has really experienced suffering. Bring to his attention in all the manifold occurrences of life the trials of your own destiny. Most fortunate is the melancholic child who can grow up beside a person who has much to give because of his own hard experiences; in such a case soul works upon soul in the most fortunate way. If therefore at the side of the melancholic child there stands a person who, in contrast to the child's merely subjective, sorrowful tendencies, knows how to tell in a legitimate way of pain and suffering that the outer world has brought him, then such a child is aroused by this shared experience, this sympathy with justified pain. A person who can show in the tone and feeling of his narration that he has been tried by destiny, is a blessing to such a melancholic child.

Even in arranging the melancholic child's environment, so to speak, we should not leave his predispositions unconsidered. Hence, it is even advantageous if—strange as it may sound—we build up for the child actual hindrances, obstructions, so that he can experience legitimate suffering and pain with regard to certain things. It is the best education for such a child if the existing tendency to subjective suffering and grief can be diverted by being directed to outer hindrances and obstructions. Then the child, the soul of the child, will gradually take a different direction.

In self-education also we can again use this method: we must always allow the existing tendencies, the forces present in us, to work themselves out, and not artificially repress them. If the choleric temperament, for example, expresses itself so strongly in us that it is a hindrance, we must permit this existing inner force to work itself out by seeking those things upon which we can in a certain sense shatter our force, dissipate our forces, preferably upon insignificant, unimportant things. If on the other hand we are melancholic, we shall do well to seek out justifiable pain and suffering in external life, in order that we may have opportunity to work out our melancholy in the external world; then we shall set ourselves right.

Let us pass on to the phlegmatic temperament. With the phlegmatic child it will be very difficult for us if his education presents us with the task of conducting ourselves in an appropriate way toward him. It is difficult to gain any influence over a phlegmatic person. But there is one way in which an indirect approach may be made. Here again it would be wrong, very wrong indeed, if we insisted upon shaking up a person so inwardly at ease, if we thought we could pound in some kind of interests then and there. Again we must take account of what he has.

There is something in each case which will hold the attention of the phlegmatic person, especially the phlegmatic child. If only through wise education we build up around him what he needs, we shall be able to accomplish much. It is necessary for the phlegmatic child to have much association with other children. If it is good for the others also to have playmates, it is especially so for the phlegmatic. He must have playmates with the most varied interests. There is nothing to appeal to in the phlegmatic child. He will not interest himself easily in objects and events. One must therefore bring this child into association with children of like age. He can be trained through the sharing of the interests—as many as possible—of other personalities. If he is indifferent to his environment, his interest can be kindled by the effect upon him of the interests of his playmates. Only by means of that peculiar suggestive effect, only through the interests of others, is it possible to arouse his interest. An awakening of the interest of the phlegmatic child will result through the incidental experiencing of the interest of others, the sharing of the interests of his playmates, just as sympathy, sharing of the experience of another human destiny, is effective for the melancholic. Once more: To be stimulated by the interest of others is the correct means of education for the phlegmatic. As the sanguine child must have attachment for one personality, so must the phlegmatic child have friendship, association with as many children as possible of his own age. That is the only way the slumbering force in him can be aroused. Things as such do not affect the phlegmatic. With a subject connected with the tasks of school and home you will not be able to interest the little phlegmatic; but indirectly, by way of the interests of other souls of similar age you can bring it about. If things are reflected in this way in others, these interests are reflected in the soul of the phlegmatic child.

Then also we should particularly see to it that we surround him with things and cause events to occur near him concerning which apathy is appropriate. One must direct the apathy to the right objects, those toward which one may rightly be phlegmatic. In this way quite wonderful things can sometimes be accomplished in the young child. But also one's self-education may be taken in hand in the same way in later life, if it is noticed that apathy tends to express itself in a one-sided way; that is, by trying to observe people and their interests. One thing more can also be done, so long as we are still in a position to employ intelligence and reason at all: we can seek out the very subjects and events which are of the greatest indifference to us, toward which it is justifiable for us to be phlegmatic.

We have now seen again how, in the methods of education based upon spiritual science, we build upon what one has and not upon what is lacking.

So we may say that it is best for the sanguine child if he may grow up guided by a firm hand, if some one can show him externally aspects of character through which he is able to develop personal love. Love for a personality is the best remedy for the sanguine child. Not merely love, but respect and esteem for what a personality can accomplish is the best for the choleric child. A melancholic child may be considered fortunate if he can grow up beside some one who has a bitter destiny. In the corresponding contrast produced by the new insight, by the sympathy which arises for the person of authority, and in the sharing of the justifiably painful destiny,—in this consists what the melancholic needs. They develop well if they can indulge less in attachment to a personality, less in respect and esteem for the accomplishment of a personality, but can reach out in sympathy with suffering and justifiably painful destinies. The phlegmatic is reached best if we produce in him an inclination towards the interests of other personalities, if he can be stirred by the interests of others.

The sanguine should be able to develop love and attachment for one personality.

The choleric should be able to develop esteem and respect for the accomplishments of the personality.

The melancholic should be able to develop a heartfelt sympathy with another's destiny.

The phlegmatic child should be led to the sharing of the interests of others.

Thus do we see in these principles of education how spiritual science goes right into the practical questions of life; and when we come to speak about the intimate aspects of life, spiritual science shows just in these very things how it works in practice, shows here its eminently practical side. Infinitely much could we possess of the art of living, if we would adopt this realistic knowledge of spiritual science. When it is a case of mastering life, we must listen for life's secrets, and these lie behind the sense perceptible. Only real spiritual science can explain such a thing as the human temperaments, and so thoroughly fathom them that we are able to make this spiritual science serve as a benefit and actual blessing of life, whether in youth or in age.

We can also take self-education in hand here; for when it is a question of self-education, the temperaments can be particularly useful to us. We become aware with our intellect that our sanguineness is playing us all kinds of tricks, and threatens to degenerate to an unstable way of life; we hurry from subject to subject. This condition can be countered if only we go about it in the right way. The sanguine person will not, however, reach his goal by saying to himself: You have a sanguine temperament and you must break yourself of it. The intellect applied directly is often a hindrance in this realm. On the other hand, used indirectly it can accomplish much. Here the intellect is the weakest soul-force of all. In presence of the stronger soul-forces, such as the temperaments, the intellect can do very little; it can work only indirectly. If some one exhorts himself ever so often: “For once now hold fast to one thing”—then the sanguine temperament will again and again play him bad tricks. He can reckon only with a force which he has. Behind the intellect there must be other forces. Can a sanguine person count upon anything at all but his sanguine temperament? And in self-education too it is necessary to try to do also what the intellect can do directly. A man must reckon with his sanguineness; self-exhortations are fruitless. The important thing is to show sanguineness in the right place. One must try to have no interest in certain things in which he is interested. We can with the intellect provide experiences for which the brief interest of the sanguine person is justified. Let him try to place himself artificially in such situations; to put in his way as much as possible what is of no interest to him. If then we bring about such situations in ever such small matters, concerning which a brief interest is warranted, it will call forth what is necessary. Then it will be noticed, if only one works at it long enough, that this temperament develops the force to change itself.

The choleric can likewise cure himself in a particular way, if we consider the matter from the point of view of spiritual science. For the choleric temperament it is good to choose such subjects, to bring about through the intellect such conditions as are not changed if we rage, conditions in which we reduce ourselves ad absurdum by our raging. When the choleric notices that his fuming inner being wishes to express itself, he must try to find as many things as possible which require little force to be overcome; he must try to bring about easily superable outer facts, and must always try to bring his force to expression in the strongest way upon insignificant events and facts. If he thus seeks out insignificant things which offer him no resistance, then he will bring his one-sided choleric temperament again into the right course.

If it is noticed that melancholia is producing one-sidedness, one must try directly to create for himself legitimate outer obstacles, and then will to examine these legitimate outer obstacles in their entire aspect, so that what one possesses of pain and the capacity for suffering is diverted to outer objects. The intellect can accomplish this. Thus the melancholic temperament must not pass by the pain and suffering of life, but must actually seek them, must experience sympathy, in order that his pain may be diverted to the right objects and events.

If we are phlegmatic, have no interests, then it is good for us to occupy ourselves as much as possible with quite uninteresting things, to surround ourselves with many sources of ennui, so that we are thoroughly bored. Then we shall completely cure ourselves of our apathy, completely break ourselves of it. The phlegmatic person therefore does well to decide with his intellect that he must take interest in a certain thing, that he must search for things which are really only worthy to be ignored. He must seek occupations in which apathy is justified, in which he can work out his apathy. In this way he conquers it, even when it threatens to degenerate into one-sidedness.

Thus we reckon with what is there and not with what is lacking. Those however who call themselves realists believe, for example, that the best thing for a melancholic is to produce conditions that are opposed to his temperament. But anyone who actually thinks realistically will appeal to what is already in him.

So you see spiritual science does not divert us from reality and from actual life; but it will illuminate every step of the way to the truth; and it can also guide us everywhere in life to take reality into consideration. For those people are deluded who think they can stick to external sense appearance. We must go deeper if we wish to enter into this reality; and we shall acquire an understanding for the variety of life if we engage in such considerations.

Our sense for the practical will become more and more individual if we are not impelled to apply a general prescription: namely, you must not drive out fickleness with seriousness, but see what kind of characteristics the person has which are to be stimulated. If then man is life's greatest riddle, and if we have hope that this riddle will be solved for us, we must turn to this spiritual science, which alone can solve it for us. Not only is man in general a riddle to us, but each single person who confronts us in life, each new individuality, presents a new riddle, which of course we cannot fathom by considering it with the intellect. We must penetrate to the individuality. And here too we can allow spiritual science to work out of the innermost center of our being; we can make spiritual science the greatest impulse of life. So long as it remains only theory, it is worthless. It must be applied in the life of the human being. The way to this goal is possible, but it is long. It becomes illuminated for us if it leads to reality. Then we become aware that our views are transformed. Knowledge is transformed. It is prejudice to believe that knowledge must remain abstract; on the contrary, when it enters the spiritual realm it permeates our whole life's work; our entire life becomes permeated by it. Then we face life in such a way that we have discernment for the individuality, which enters even into feeling and sensation and expresses itself in these, and which possesses great reverence and esteem. Patterns are easy to recognize; and to wish to govern life according to patterns is easy; but life does not permit itself to be treated as a pattern. Only insight will suffice, insight which is transformed into a feeling one must have toward the individuality of man, toward the individuality in the whole of life. Then will our conscientious spiritual knowledge flow into our feeling, so to speak, in such a way that we shall be able to estimate correctly the riddle which confronts us in each separate human being.

How do we solve the riddle which each individual presents to us? We solve it by approaching each person in such a way that harmony results between him and us. If we thus permeate ourselves with life's wisdom, we shall be able to solve the fundamental riddle of life which is the individual man. It is not solved by setting up abstract ideas and concepts. The general human riddle can be solved in pictures; this individual riddle, however, is not to be solved by this setting up of abstract ideas and concepts; but rather must we approach each individual person in such a way that we bring to him direct understanding.

That is possible, however, only when we know what lies in the depths of the soul. Spiritual science is something which slowly and gradually pours itself into our entire soul so that it renders the soul receptive not only to the large relations but also to the finer details. In spiritual science it is a fact that, when one soul approaches another, and this other requires love, love is given. If it requires something else, that will be given. Thus by means of such true life wisdom we create social foundations, and that means at each moment to solve a riddle. Anthroposophy works not by means of preaching, exhortation, harping on morals, but by creating a social basis on which one man is able to understand another.

Spiritual science is thus the sub-soil of life, and love is the blossom and fruit of such a life, stimulated by spiritual science. Therefore spiritual science may claim that it is establishing something which will provide a base for the most beautiful goal of the mission of man: genuine, true, human love. In our sympathy, in our love, in the manner in which we approach the individual human being, in our conduct, we should learn the art of living through spiritual science. If we would permit life and love to stream into feeling and sensibility, human life would be a beautiful expression of the fruit of this spiritual science.

We learn to know the individual human being in every respect when we perceive him in the light of spiritual science. We learn to perceive even the child in this way; we learn little by little to respect, to value, in the child the peculiarity, the enigmatic quality of the individuality, and we learn also how we must treat this individual in life, because spiritual science gives to us, so to speak, not merely general, theoretical directions, but it guides us in our relation to the individual in the solving of the riddles which are there to be solved: namely, to love him as we must love him if we not merely fathom him with the mind, but let him work upon us completely, let our spiritual scientific insight give wings to our feelings, our love. That is the only proper soil which can yield true, fruitful, genuine human love; and this is the basis from which we discover what we have to seek as the innermost essential kernel in each individual. And if we permeate ourselves thus with spiritual knowledge, our social life will be regulated in such a way that each single person, when he approaches any other in esteem and respect and understanding of the riddle “man,” will learn how to find and to regulate his relation to the individual. Only one who lives in abstractions as a matter of course can speak from prosaic concepts, but he who strives for genuine knowledge will find it, and will find the way to other people; he will find the solution of the riddle of the other person in his own attitude, in his own conduct.

Thus we solve the individual riddle according as we relate ourselves to others. We find the essential being of another only with a view of life which comes from the spirit. Spiritual science must be a life-practice, a spiritual life-factor, entirely practical, entirely living, and not vague theory.

This is knowledge which can work into all the fibers of man's being, which can rule each single act in life. Thus only does spiritual science become the true art of living—and that could be particularly shown in the consideration of those intimate peculiarities of man, the temperaments. Thus the finest relation is engendered between man and man when we look a person in the face and understand not only how to fathom the riddle, but how to love, that is, to let love flow from individuality to individuality. Spiritual science needs no theoretical proofs; life brings the proofs. Spiritual science knows that something can be said “for” and “against” everything, but the true proofs are those which life brings; and only step by step can life show the truth of what we think when we consider the human being in the light of spiritual-scientific knowledge; for this truth exists as a harmonious, life-inspired insight which penetrates into the deepest mysteries of life.

Our present age, inartistic as it is, shows little awareness of the fact that recitation stands midway between speaking, or reading, which are not artistic, and artistically developed singing. In many circles there is a feeling that really anyone can recite – and this, of course, is not unconnected with the fact that in these same circles everyone flatters himself that he can also write poetry. It would not so easily enter anyone's head that someone could be a musician, or a painter, without having previously undergone any sort of artistic training. When we consider current views on the art of recitation, we are obliged to admit that, just as in people's ideas about the real nature of poetry, there is also a certain lack of clarity as to the nature of the art of recitation. As to how this art of recitation must use its instrument – the human voice in connection with the human organism – even for this there is no clear understanding. This is undoubtedly connected with the fundamental absence, in our present age, of any earnest feeling for the true nature of poetry. There is no doubt that poetry stands in a relationship with the whole being of man quite different to that of ordinary prose, of whatever kind this may be; everything that man must recognize as that higher world to which he belongs with the soul and spiritual parts of his being poetry must also stand in a certain connection with all this. Along with the lack of clarity which gradually invaded ideas concerning man's relationship with the super-sensible world, there also came about another partial lack of clarity, concerning man's relationship with that world which is expressed in the art of poetry. I should like to draw attention to two facts – things which resound to us from ancient times, though from quite different peoples, with quite differently evolved characters.

One fact, though one which today is passed over so lightly, is something to which Homer, the great writer of Greek epic, draws our attention at the beginning of both his poems: namely, that what he wished to convey to the world as his poetry did not come from himself.

‘Sing, O Muse, of the anger of Peleus' son Achilles ...’

It is not Homer, but the Muse who is singing. Our age can no longer take this seriously – for the understanding that lies hidden behind the opening of the Homeric poem had, in fact, already been extinguished by the eighteenth century, with its intellectual conceptions. When Klopstock began his Messiah, he did indeed look at the beginning of the Homeric poems; but in this respect he lived entirely in abstract ideas, intellectualistic ideas, and these could only lead him to say: the Greeks still believed in gods, in the Muses – modern man can replace this only by his own immortal soul. Thus, Klopstock begins with the words:

‘Sing, immortal soul, of sinful man's redemption.’

Now this opening of the Messiah, for anyone who can see into these things, is a document of the very greatest significance. And in the nineteenth century, too, all feeling had been completely lost for what Homer meant to convey – that when I reveal myself in poetry, it is really something higher that is revealed in me: my “I” withdraws, my ego withdraws, so that other powers make use of my speech-organism; divine-spiritual powers make use of this speech-organism in order to reveal themselves. One must, therefore, regard what Homer placed at the opening of his two poetic creations as something worthy of more serious consideration than is usually accorded to such things today.

It is remarkable how something similar, and yet quite different, resounds to us from a certain period in the development of Central Europe, a period to which the Nibelungenlied points – although it was not written down until a later date. This begins in a manner similar to, yet quite different from Homer:

‘To us in olden maeren is many a marvel told’

“In olden maeren” – what are maeren, for those who still have a living feeling and perception for such things? I cannot go into all this in detail, but I need only allude to the real meaning of this expression, maer – Nachtmar (nightmare): for this same expression is used to describe certain dreams which are caused by being oppressed, as it were, by an Alp – by a nightmare. In this nightmare, this Alp, we have the last atavistic traces of what is indicated in the Nibelungenlied, when it says: “To us in olden maeren is many a marvel told…”; something is here related which does not come out of normal day-time ego-consciousness, but from a kind of perception which proceeds in the manner of the consciousness we possess in an especially vivid dream such as the nightmare, the maeren. Here again our attention is directed not to ordinary consciousness, but to something which is revealed, through ordinary consciousness, from super-sensible spheres. Homer says: “Sing, O Muse, of the anger of Peleus' son Achilles ...”; and the Nibelungenlied says: “To us in olden maeren is many a marvel told.” What is referred to in the first instance? To that which is, in reality, brought forth by the Muse, when she makes use of the human organism, begins to speak through the human organism, to vibrate musically; our attention is directed to something musical which permeates the human being, and which speaks from greater depths than are reached by his ordinary consciousness. And when the Nibelungenlied says: “To us in olden maeren is many a marvel told …” – it is something which permeates human consciousness as a perception similar to seeing, as something like visual perception, to which we are referred. The Nibelungenlied indicates something plastic and formative, something imaginative; in the Homeric epic we are given something musical. Both, however, from different sides, show us what wells up in poetry from the profounder depths of human nature, something which takes hold of the human being and finds utterance through him. One must have a feeling for this, if one is to experience the way in which true declamation gives expression in poetry, and takes hold of the human instrument of speech – though, as we shall see later, this involves the entire human organism.

The manner, the whole way in which a human being is built up is an outcome of the forces of the spiritual world. And again, the whole manner in which a human being is able to bring his organism into movement when he declaims or recites poetry – this, too, must be the result of a spiritual force holding sway in the human organism. One must learn to trace this working of the spirit in the human organism when the art of poetry is expressed through recitation or declamation. Declamation then becomes what the human organism can be, when it is tuned in the most various ways. In order to gain a practical, artistic realization of these things in some detail, we would now like to show you what must live in declamation when something more of the nature of folk-poetry, or folk-song, is taken into consideration; we shall then proceed to something which is more definitely art – poetry. We hope to show you how fundamentally different the effect of declamation must be, depending on whether it sounds forth from those depths of human nature from which earnestness, or tragedy, resound; or whether it comes from those surface realms of the human organization from which gaiety, satire and humour emanate. Only when we have learned to apprehend these things quite concretely today will I permit myself to give certain intimations of the connection between poetry and recitation and declamation. From these, we will then show how there results an exact method of educating oneself in artistic recitation and declamation.

We will ask Frau Dr. Steiner to declaim a poem of Goethe: a folk-poem in its whole tone and mood – Goethe's “Heidenröslein”.

HEIDENRÖSLEIN

Sah ein Knab' ein Röslein stehn,

Röslein auf der Heiden,

War so jung und morgenschön,

Lief er schnell, es nah zu sehn,

Sah's mit vielen Freuden.

Röslein, Röslein, Röslein rot,

Röslein auf der Heiden.

Knabe sprach: Ich breche dich

Röslein auf der Heiden,

Röslein sprach: Ich steche dich,

Dass du ewig denkst an mich,

Und ich will's nicht leiden.

Röslein, Röslein, Röslein rot,

Röslein auf der Heiden.

Und der wilde Knabe brach

's Röslein auf der Heiden;

Röslein wehrte sich und stach,

Half ihm doch kein Weh und Ach,

Musst' es eben leiden.

Röslein, Röslein, Röslein rot,

Röslein auf der Heiden.

Johann Wolfgang von Goethe.

[Comparable in English in many respects is:

MY HEART'S IN THE HIGHLANDS

My heart's in the Highlands, my heart is not here;

My heart's in the Highlands a-chasing the deer;

Chasing the wild deer, and following the roe;

My heart's in the Highlands, wherever I go. –

Farewell to the Highlands, farewell to the North;

The birth-place of Valour, the country of Worth:

Wherever I wander, wherever I rove,

The hills of the Highlandsfor ever I love. –

Farewell to the mountains high cover'd with snow;

Farewell to the straths and green valleys below:

Farewell to the forests and wild-hanging woods;

Farewell to the torrents and loud-pouring floods. –

My heart's in the Highlands, my heart is not here;

My heart's in the Highlandsa-chasing the deer:

Chasing the wild deer, and following the roe;

My heart's in the Highlands, wherever I go. –

Robert Burns (1759-1796.]

We will now ask Frau Dr. Steiner to recite to us “Erlkönigstochter”, which gives opportunity for a quite special style in the rendering of folk-poems.

Herr Oluf reitet spät und weit,

Zu bieten auf seine Hochzeitleut':

Da tanzten die Elfen auf grünen Land,

Erlkönigs Tochter reicht ihm die Hand.

‘Willkommen, Herr Oluf, was eilst von hier?

Tritt her in den Reihen und tanz mit mir.’ –

‘Ich darf nicht tanzen, nicht tanzen ich mag,

Frühmorgen ist mein Hochzeittag.’ –

‘Hör’ an, Herr Oluf, tritt tanzen mit mir,

Zwei güldne Sporen schenk' ich dir;

Ein Hemd von Seide, so weiss und fein,

Meine Mutter bleicht's im Mondenschein.’ –

‘Ich darf nicht tanzen, nicht tanzen ich mag,

Frühmorgen ist mein Hochzeittag.’ –

‘Hör’ an, Herr Oluf, tritt tanzen mit mir,

Einen Haufen Goldes schenk' ich dir.’ –

‘Einen Haufen Goldes nahm’ ich wohl;

Doch tanzen ich nicht darf, noch soll.’

‘Und willt, Herr Oluf, nicht tanzen mit mir,

Soll Seuch' und Krankheit folgen dir.’ –

Sie tät einen Schlag ihm auf sein Herz,

Noch nimmer fühlt er solchen Schmerz.

Sie hob ihn bleichend auf sein Pferd:

‘Reit heim zu deinem Bräutlein wert.’

Und als er kam vor Hauses Tiir,

Seine Mutter zitternd stand dafür.

‘Hör’ an, mein Sohn, sag’ an mir gleich,

Wie ist dein' Farbe blass und bleich?’ –

‘Und sollt’ sie nicht sein blass und bleich?

Ich traf in Erlenkönigs Reich.’ –

‘Hört an, mein Sohn, so lieb und traut,

Was soll ich nun sagen deiner Braut?’ –

‘Sagt ihr, ich sei im Wald zur Stund’,

Zu proben da mein Pferd und Hund.’ –

Frühmorgen als es Tag kaum war,

Da kam die Braut mit der Hochzeitschar.

Sie schenkten Met, sie schenkten Wein.

‘Wo ist Herr Oluf, der Bräutigam mein?’ –

‘Herr Oluf, er ritt in Wald zur Stund’,

Er probt allda sein Pferd und Hund.’ –

Die Braut hub auf den Scharlach rot,

Da lag Herr Oluf, und er war tot.

Johann Gottfried Herder (1744-1803).

[Comparable in style in English is:

LA BELLE DAME SANS MERCI

O, what can ail thee, knight-at-arms,

Alone and palely loitering?

The sedge has wither'd from the Lake,

And no birds sing.

O, what can ail thee, knight-at-arms,

So haggard and so woe-begone?

The squirrel's granary is full,

And the harvest's done.

I see a lily on thy brow,

With anguish moist and fever dew;

And on thy cheeks a fading rose

Fast withereth too.

I met a lady in the meads,

Full beautiful – a faery's child,

Her hair was long, her foot was light,

And her eyes were wild.

I made a garland for her head,

And bracelets too, and fragrant zone;

She look'd at me as she did love,

And made sweet moan.

I set her on my pacing steed,

And nothing else saw all day long;

For sidelong would she bend, and sing

A faery's song.

She found me roots of relish sweet,

And honey wild, and manna dew,

And sure in language strange she said –

‘I love thee true’.

She took me to her elf in grot,

And there she wept and sigh'd full sore,

And there I shut her wild wild eyes

With kisses four.

And there she lulled me asleep

And there I dream'd – Ah! woe betide!

The latest dream I ever dream'd

On the cold hill side.

I saw pale kings and princes too,

Pale warriors, death-pale were they all;

Who cried – ‘La Belle Dame sans Merci

Hath thee in thrall!’

I saw their starved lips in the gloam,

With horrid darning gaped wide,

And I awoke and found me here,

On the cold hill's side.

And this is why I sojourn here

Alone and palely loitering,

Though the sedge has wither'd from the lake,

And no birds sing.

John Keats (1795-1821).]

Now we will present Goethe's two poems “Olympos” and “Charon”, where we shall find an opportunity to demonstrate recitation or declamation as the case may be. In the Poem “Olympos”, which is drawn more from the pictorial element, we have the art of declamation; while the more metrical “Charon” is drawn more from the musical element.

OLYMPOS

Der Olympos, der Kissavos,

Die zwei Berge haderten;

Da entgegnend sprach Olympos

Also zu dem Kissavos:

‘Nicht erhebe dich, Kissave,

Turken – du Getretener.

Bin ich doch der Greis Olympos,

Den die ganze Welt vernahm.

Zwei und sechzig Gipfel zähl ich

Und zweitausend Quellen klar,

Jeder Brunn hat seinen Wimpel,

Seinen Kämpfer jeder Zweig.

Auf den höchsten Gipfel hat sich

Mir ein Adler aufgesetzt,

Fasst in seinen mächt'gen Klauen

Eines Helden blutend Haupt.’

‘Sage, Haupt! wie ist's ergangen?

Fielest du verbrecherisch?’ –

Speise, Vogel, meine Jugend,

Meine Mannheit speise nur!

Ellenlänger wächst dein Flügel,

Deine Klauen spannenlang.

Bei Louron, in Xeromeron

Lebt' ich in dem Kriegerstand,

So in Chasia, auf'm Olympos

Kämpft’ ich bis ins zwölfte Jahr.

Sechzig Agas, ich erschlug sie,

Ihr Gefild verbrannt’ ich dann;

Die ich sonst noch niederstreckte,

Türken, Albaneser auch,

Sind zu viele, gar zu viele,

Dass ich sie nicht Ahlen mag;

Nun ist meine Reihe kommen,

Im Gefechte fiel ich brav.

CHARON

Die Bergeshöhn, warum so schwarz?

Woher die Wolkenwoge?

Ist es der Sturm, der droben kämpft,

Der Regen, Gipfel peitschend?

Nicht ist's der Sturm, der droben kämpft,

Nicht Regen, Gipfel peitschend;

Nein, Charon ist's, er saust einher,

Entführet die Verblichnen;

Die Jungen treibt er vor sich hin,

Schleppt hinter sich die Alten;

Die Jüngsten aber, Säuglinge,

In Reih' gehenkt am Sattel.

Da riefen ihm die Greise zu,

Die Junglinge, sie knieten:

‘O Charon, halt! halt am Geheg,

Halt an beim kühlen Brunnen!

Die Alten da erquicken sich,

Die Jugend schleudert Steine,

Die Knaben zart zerstreuen sich

Und pflücken bunte Blümchen.’

Nicht am Gehege halt’ ich still,

Ich halte nicht am Brunnen;

Zu schöpfen kommen Weiber an,

Erkennen ihre Kinder,

Die Männer auch erkennen sie,

Das Trennen wird unmöglich.

Johann Wolfgang von Goethe.

[A similar contrast is presented within the work of Donne, between the vivid, declamatory style of “The Sunne Rising” and the more sustained, metrical “Elegie: His Picture”:

THE SUNNE RISING

Busie old foole, unruly Sunne,

Why dost thou thus,

Through windowes, and through curtaines call on us?

Must to thy motions lovers seasons run?

Sawcy pedantique wretch, goe chide

Late schoole boyes, and sowre prentices,

Goe tell Court-huntsmen, that the King will ride,

Call countrey ants to harvest offices;

Love, all alike, no season knowes, nor clyme,

Nor houres, dayes, moneths, which are the rags of time.

Thy beames, so reverend and strong

Why shouldst thou thinke?

I could eclipse and cloud them with a winke,

But that I would not lose her sight so long:

If her eyes have not blinded thine,

Looke, and to morrow late, tell mee,

Whether both the ‘India's of spice and Myne

Be where thou leftst them, or lie here with mee.

Aske for those Kings whom thou saw'st yesterday,

And thou shalt heare, All here in one bed lay.

She'is all States, and all Princes, I,

Nothing else is.

Princes doe but play us; compar'd to this,

All honor^'s mimique; All wealth alchimie.

Thou sunne art halfe as happy’as wee,

In that the world's contracted thus;

Thine age askes ease, and since thy duties bee

To warme the world, that's done in warming us.

Shine here to us, and thou art every where;

This bed thy center is, these walls, thy spheare.

ELEGIE: HIS PICTURE

Here take my Picture; though I bid farewell,

Thine, in my heart, where my soule dwels, shall dwell.

‘Tis like me now, but I dead, 'twill be more

When wee are shadowes both, than 'twas before.

When weather-beaten I come backe; my hand,

Perhaps with rude oares torne, or Sun beams tann'd,

My face and brest of hairecloth, and my head

With cares rash sodaine stormes, being o'rspread,

My body'a sack of bones, broken within,

And powders blew staines scatter'd on my skinne;

If rivall fooles taxe thee to 'have lov'd a man,

So foule, and course, as, Oh, I may seeme then,

This shall say what I was: and thou shalt say,

Doe his hurts reach mee? doth my worth decay?

Or doe they reach judging minde, that hee

Should now love lesse, what hee did love to see?

That which in him was faire and delicate,

Was but the milke, which in loves childish state

Did nurse it: who now is growne strong enough

To feed on that, which to disused tasts seemes tough.

John Donne (1573-1631).]

We will now pass on to a more highly-wrought verse-form – the sonnet; and sonnets by Hebbel and Novalis will now be recited.

DIE SPRACHE

Als höchstes Wunder, das der Geist vollbrachte,

Preist ich die Sprache, die er, sonst verloren

In tiefste Einsamkeit, aus sich geboren,

Weil sie allein die andern möglich machte.

Ja, wenn ich sie in Grund und Zweck betrachte,

So hat nur sie den schweren Fluch beschworen,

Dem er, zum dumpfen Einzelsein erkoren,

Erlegen wäre, eh' er noch erwachte.

Denn ist das unerforschte Eins und Alles

In nie begrifftnem Selbstzersplitt‘rungsdrange

Zu einer Welt von Punkten gleich zerstoben:

So wird durch sie, die jedes Wesenballes

Geheimstes Sein erscheinen lässt im Klange,

Die Trennung vollig wieder aufgehoben!

Friedrich Hebbel (1813-1863).

ZUEIGNUNG

I

Du hast in mir den edeln Trieb erregt,

Tief ins Gemüt der weiten Welt zu schauen;

Mit deiner Hand ergriff mich ein Vertrauen,

Das sicher mich durch alle Stürme trägt.

Mit Ahnungen hast du das Kind gepflegt,

Und zogst mit ihm durch fabelhafte Auen;

Hast als das Urbild zartgesinnter Frauen,

Des Jünglings Herz zum höchsten Schwung bewegt.

Was fesselt mich an irdische Beschwerden?

Ist nicht mein Herz und Leben ewig dein?

Und schirmt mich deine Liebe nicht auf Erden?

Ich darf fier dich der edlen Kunst mich weiten;

Denn du, Geliebte, willst die Muse werden, –

Und stiller Schutzgeist meiner Dichtung sein.

II

In ewigen Verwandlungen begrusst

Uns des Gesangs geheime Macht hienieden,

Dort segnet sie das Land als ew'ger Frieden,

Indes sie hier als Jugend uns umfliesst.

Sie ist's, die Licht in unsre Augen giesst,

Die uns den Sinn für jede Kunst beschieden,

Und die das Herz der Frohen und der Müden

In trunkner Andacht wunderbar geniesst.

An ihrem vollen Busen trank ich Leben:

Ich ward durch sie zu allem, was ich bin,

Und durfte froh mein Angesicht erheben.

Noch schlummerte mein allerhöchster Sinn;

Da sah ich sie als Engel zu mir schweben,

Und flog, erwacht, in ihrem Arm dahin.

Novalis (1772-1801).

[The following three poems show some characteristics of the English sonnet:

ON THE GRASSHOPPER AND CRICKET

The poetry of earth is never dead:

When all the birds are faint with the hot sun,

And hide in cooling trees, a voice will run

From hedge to hedge about the new-mown mead;

That is the Grasshopper's – he takes the lead

In summer luxury, – he has never done

With his delights; for when tired out with fun

He rests at ease beneath some pleasant weed.

The poetry of earth is ceasing never:

On a lone winter evening, when the frost

Has wrought a silence, from the stove there shrills

The Cricket's song, in warmth increasing ever,

And seems to one in drowsiness half lost,

The Grasshopper's among some grassy hills.

John Keats

SONNET

O Nightingale, that on yon bloomy Spray

Warbl'st at Eve, when all the Woods are still,

Thou with fresh hope the Lovers heart dost fill,

While the jolly hours lead on propitious May,

Thy liquid notes that close the eye of Day,

First heard before the shallow Cuckoo's bill,

Portend success in love; O if Jove's will

Have linkt that amorous power to thy soft lay,

Now timely sing, ere the rude Bird of Hate

Foretell my hopeless doom in som Grove ny:

As thou from year to year hast sung too late

For my relief; yet hadst no reason why:

Whether the Muse or Love call thee his mate,

Both them I serve, and of their train am I.

John Milton (1608-1674).

SONNET

\

My galy charged with forgetfulnes

Thorrough sharpe sees in wynter nyghtes doeth pas

Twene Rock and Rock; and eke myn ennemy, Alas,

That is my lorde, sterith with cruelnes;

And every owre a thought in redines,

As tho that deth were light in suche a case.

An endles wynd doeth tere the sayll apase

\

Of forced sightes and trusty ferefulnes.

A rayn of teris, a clowde of derk disdain,

\

Hath done the wered cordes great hinderaunce;

\

Wrethed with errour and eke with ignoraunce.

The starres be hid that led me to this pain;

\

Drowned is reason that should me consort,

And I remain dispering of the port.

Sir Thomas Wyatt (1503-1542).]

And now, in order to show how another, the very opposite mood must be drawn from quite different realms of the human organization when this serves as the instrument for poetry and declamation, we will end with something humorous and satirical – choosing a poem by Christian Morgenstern.

ST. EXPEDITUS

Einem Kloster, voll von Nonnen,

waren Menschen wohlgesonnen.

Und sie schickten, gute Christen,

ihm nach Rom die schönsten Kisten:

Äpfel, Birnen, Kuchen, Socken,

eine Spieluhr, kleine Glocken,

Gartenwerkzeug, Schuhe, Schürzen...

Aussen aber stand: Nicht stürzen!

Oder: Vorsicht! oder welche

wiesen schwarzgemalte Kelche.

Und auf jeder Kiste stand ‘Espedito’, kurzerhand.

Unsre Nonnen, die nicht wussten,

wem sie dafür danken mussten,

denn das Gut kam anonym,

dankten vorderhand nur IHM,

rieten aber doch ohn’ Ende

nach dem Sender solcher Spende.

Plötzlich rief die Schwester Pia

eines Morgens: Santa mia!

Nicht von Juden, nicht von Christen

Stammen diese Wunderkisten –

Expeditus, o Geschwister,

heisst er und ein Heiliger ist er!

Und sie fielen auf die Kniee.

Und der Heilige sprach: Siehe!

Endlich habt ihr mich erkannt.

Und nun malt mich an die Wand!

Und sie liessen einen kommen,

einen Maler, einen frommen.

Und es malte der Artiste

Expeditum mit der Kiste. –

Und der Kult gewann an Breite.

Jeder, der beschenkt ward, weihte

kleine Tafeln ihm und Kerzen.

Kurz, er war in aller Herzen.

II

Da auf einmal, neunzehnhundert-

fünf, vernimmt die Welt verwundert,

dass die Kirche diesen Mann

fürder nicht mehr dulden kann.

Grausam schallt von Rom es her:

Expeditus ist nicht mehr:

Und da seine lieben Nonnen

längst dem Erdental entronnen,

steht er da und sieht sich um –

und die ganze delt bleibt stumm.

Ich allein hier hoch im Norden

fühle mich von seinem Orden,

und mein Ketzergriffel schreibt:

Sanctus Expeditus – bleibt.

Und weil jenes nichts mehr gilt,

male ich hier neu sein Bild: –

Expeditum, den Gesandten,

grüss’ ich hier, den Unbekannten

Expeditum, ihn, den Heiligen,

mit den Assen, den viel eiligen,

mit den milden, weissen Haaren

und dem fröhlichen Gebaren,

mit den Augen braun, voll Güte,

und mit einer grossen Düte,

die den uberraschten Kindern

strebt ihr spärlich Los zu lindern.

Einen güldnen Heiligenschein

geb’ ich ihm noch obendrein

den sein Lacheln um ihn breitet,

wenn er durch die Lande schreitet.

Und um ihn in Engeiswonnen

stell’ ich seine treuen Nonnen:

Mägdlein aus Italiens Auen,

himmlisch lieblich anzuschauen.

Eine aber macht, fürwahr,

eine lange Nase gar.

Just ins ‘Bronzne Tor’ hinein

spannt sie ihr klein Fingerlein.

Oben aber aus dem Himmel

quillt der Heiligen Gewimmel,

und holdselig singt Maria:

Santo Espedito - sia!

Christian Morgenstern (1871-1914).

[An excerpt from “The Rape of the Lock” shows the great English satirist in a comparatively rare mood of good humoured and friendly mocking. It comes from Canto II:

But now secure the painted vessel glides,

The sun-beams trembling on the floating tides;

While melting music steals upon the sky,

And soften'd sounds along the waters die;

Smooth flow the waves, the Zephyrs gently play,

Belinda smil'd, and all the world was gay.

All but the Sylph – with careful thoughts opprest,

Th' impending woe sat heavy on his breast.

He summons strait his Denizens of air;

The lucid squadrons round the sails repair:

Soft o'er the shrouds aerial whispers breathe,

That seem'd but Zephyrs to the train beneath.

Some to the sun their insect-wings unfold,

Waft on the breeze, or sink in clouds of gold;

Transparent forms, too fine for mortal sight,

Their fluid bodies half dissolv'd in light.

Loose to the wind their airy garments flew,

Thin glitt'ring textures of the filmy dew,

Dipt in the richest tincture of the skies,

Where light disports in ever-mingling dyes,

While ev'ry beam new transient colours flings,

Colours that change whene'er they wave their wings.

Amid the circle, on the gilded mast,

Superior by the head, was Ariel plac'd;

His purple pinions op'ning to the sun,

He rais'd his azure wand, and thus begun.

Ye Sylphs and Sylphids, to your chief give ear,

Fays, Fairies, Genii, Elves, and Daemons hear!

Ye know the spheres and various tasks assign'd

By laws eternal to th' aerial kind.

Some in the fields of purest Aether play,

And bask and whiten in the blaze of day.

Some guide the course of wand'ring orbs on high,

Or roll the planets thro' the boundless sky.

Some less refin'd, beneath the moon's pale light

Pursue the stars that shoot athwart the night,

Or suck the mists in grosser air below,

Or dip their pinions in the painted bowl

Or brew fierce tempests on the wintry main,

Or o'er the glebe distil the kindly rain.

Others on earth o'er human race preside,

Watch all their ways, and all their actions guide:

Of these the chief the care of Nations own,

And guard with Arms divine the British Throne.

Our humbler province is to tend the Fair,

Not a less pleasing, tho' less glorious care;

To save the powder from too rude a gale,

Nor let th' imprison'd essences exhale;

To draw fresh colours from the vernal Flow'rs;

To steal from rainbows e'er they drop in show'rs

A brighter wash; to curl their waving hairs,

Assist their blushes, and inspire their airs;

Nay oft, in dreams, invention we bestow,

To change a Flounce, or add a Furbelow.

This day, black Omens threat the brightest fair

That e'er deserv'd a watchful spirit's care;

Some dire disaster, or by force, or slight;

But what, or where, the fates have wrapt in night.

Alexander Pope (1688-1744)]

Now the art of recitation must undoubtedly follow the poetry. Recitation introduces the human element into poetry, for the human organization itself furnishes the instrument of artistic expression. How this instrument is used in singing and in recitation – that is something which has indeed been much investigated: we have already taken the opportunity here of pointing out, in response to certain questions, how many methods (one method after another!) exist in our present age, to singing and recitation. For in a certain sense we have entirely lost the deeper, inner relationship between poetic utterance or expression and the human organization. I will take as_. a starting-point next today something apparently quite physiological – and next time, after our detour through physiology, we shall be able to show you what poetry, as expressed in recitation and declamation, really demands.

Let us look first at something which has been frequently mentioned during the lectures of the last few days: the human rhythmic system. The human being is organized into the system of nerves and senses – the instrument for the thought-world, for the world of sense-representations, and so on; the rhythmic system – the instrument for the development of the feeling world, and for all that is mirrored from the feeling-world and plays into the world of mental representations; and the metabolic system – through which the will pulsates, and in which the will finds its actual physical instrument. [Note 4]

First, let us look at the rhythmic system. In this rhythmic system, two rhythms interpenetrate each other in a remarkable way. In the first place, we have the breathing-rhythm. This is essentially regular – though everything living is different in this respect, and it varies from individual to individual – so that in the case of healthy people, we are able to observe 16-19 breaths per minute. Secondly, we have the pulse-rhythm, directly connected with the heart. Naturally, when we take into account that in this rhythm we are dealing with functions of a living being, again we cannot cite any pedantic number; but, generally speaking, we may say that the number of pulse-beats per minute, in a healthy human organism, is approximately 72. Hence we can say that the number of pulse-beats is about four times the number of respirations. We can thus represent the course of the breath in the human organism, and how while we take one breath, the pulse intervenes four times. Now let us devote our minds for a moment to this interaction of the pulse-rhythm and the rhythm of the breath to this inner, living piano (if I may so express myself) where we experience the pulse rhythm as it strikes into the course of the breathing-rhythm. Let us picture the following: one breath inhaled and exhaled; and a second inhaled and exhaled; and, striking into this, the rhythm of the heart. Let us picture this in such a way that we can see that in the pulse-rhythm, which is essentially connected with the metabolism, which touches on the metabolic system, the will strikes, as it were, upwards; thus we have the will-pulses striking into the feeling-manifestations of the breath-rhythm. And let us suppose that we articulate these will-pulses, in such a way that we follow the will-pulses in the words, inwardly articulating the words to ourselves. Thus we have, for instance: long, short, short; long, short, short; long, short, short – one breath-stream; then we make a pause, a kind of caesura, we hold back; then, accompanying the next drawing of the breath, we have the heart-rhythm striking into it: long, short, short; long, short, short; long, short, short.

¾ È È ¾ È È ¾ È È || ¾ È È ¾ È È ¾ È È ||

Then, when we allow two breaths to be accompanied by the corresponding pulse-beats, and between them we make a pause, a pause for breath – we have the hexameter. [Note 5] We can ask: what is the origin of this ancient Greek verse metre? It originated from the harmony between blood-circulation and breathing. The Greek wished to turn his speech inward, so that, having suppressed his “I”, he orientated the words according to the pulse-beats, allowing these to play upon the stream of breath. Thus he brought his whole inner organization, his rhythmic organization, to expression in his speech: it was the harmony between heart-rhythm and breath-rhythm that resounded in his speech. To the Greek, this was more musical – as if it resounded up from the will, resounded up from the pulse-beats into the rhythm of the breath.

You know that what remained as the last, atavistic remnant of the old clairvoyant images – the Alp, the nightmare – found expression in pictures, and is connected with the breathing-process: and there is still a connection between the pathological form of the Alpdruck and breathing.

Now let us assume – for me it is more than an assumption – that in those primaeval times when his experience was more closely connected with the internal processes, man went out more with the breath; the movement was more from above downwards. And then he put into one breath:

¤ ¤ ¤

‘To us in olden maeren'

Again, three high-tones: three times the perception of how the pulse beats into the breathing, and how this brings to expression an experience that is more visual, finding expression in the light and shade of the language, in the high and low tones. In the Greek we have something metrical long, short, short; long, short, short; long, short, short; whereas in the Nordic verses we have something with more declamatory impetus – high-tone and low-tone:

¤ ¤ ¤ ¤ ¤ ¤

‘To us in olden maeren is many a marvel told

¤ ¤ ¤ ¤ ¤ ¤

Of praise-deserving heroes, of labours manifold ...'

It is the interaction of the breathing-rhythm and the rhythm of the heart, the rhythm of the pulse. Just as the Greek experienced a musical element and expressed this in metre, so the Nordic man experienced a pictorial element, which he expressed in the light and shade of the words, in the high-tones and low-tones. But there was always the knowledge that one was submerged in a state of consciousness where the “I” yielded itself up to the divine-spiritual being which reveals itself through the human organism – which forms this human organism so that it may be played upon as an instrument through the pulsation of the heart, through the breathing-process, through the stream of exhaled and inhaled breath:

È ¾ È ¾ È ¾ È || ¾ È ¾ È ¾

You know that many breathing-techniques have been discovered, and much thought given to methods of treating the human body to facilitate correct singing or recitation. It is much more to the point, however, to penetrate the real mysteries of poetry and recitation and declamation: for both of these will proceed from the actual, sensible-super-sensible perception of the harmony between the pulse, which is connected with the heart, and the breathing-process. As we shall see next time, each single verse-form, each single poetic form including rhyme, alliteration, and assonance, may be understood when we start from a living perception of the human organism, and what it does when it employs speech artistically. This is why it was quite justified when people who understood such things spoke, more or less figuratively, of poetry as a language of the gods: for this language of the gods does not speak the mysteries of the transient human “I”; it speaks in human consciousness, speaks musically and plastically the cosmic mysteries – it speaks when the super-sensible worlds play, through the human heart, upon the human breath.

It is through declamation and recitation that the art of poetry is accorded its true value. So I shall allow myself – not, however, out of allegiance to any abstract principle or any wish to claim that a world-view which springs from the needs of our time must cast its reforming light in some way or other over everything – I shall allow myself on quite other grounds to say a little about recitation and declamation from the vantage-point of the life- and world-conception represented at this Congress. We shall only recapture an inner, a genuine soul-understanding of poetry when we are in a position to find our way to the real homeland of poetic art. And this real homeland of poetic art is in fact the spiritual world – though it is not that intellectual, that conceptual or ideational factor in the spiritual world particularly cultivated in our own time. For this more than anything else has a paralysing effect on poetry.

We shall see most clearly what is meant by this when we are reminded that one of the most significant products of this art resounds to us out of the revolutions of time along with a particular avowal on the part of its creator, or perhaps creators. The Homeric epics invariably begin with the words “Sing, O Muse...” Nowadays we are only too inclined to treat such a phrase as more or less a cliché. But when it was first coined it was no cliché – it was an inner experience of the soul: whoever it was that conceived the poem out of the spirit, whence this phrase was also drawn, knew how he was immersed through his poetic faculty in a region of human existence and experience different to that in which we stand in immediatesense-perception, or when our power of intellect takes hold conceptually of sense-impressions. The poet knew that his inner being was seized by an objective spiritual force. That human consciousness has indeed undergone a change in this respect in the course of evolution has, I would say, been documented historically.

When Klopstock, drawing upon the German spiritual life, wished to sing of the great deed of the Messiah, as Homer had sung the past events of Hellas, he did not say “Sing, O Muse...”, but “Sing, immortal soul, of sinful man’s redemption.” Here something of greater intensity is indicated, something connected directly with the human and its self-reliance. Here man has come to himself in his individual personality.

Yet we can add: if the mode of consciousness which lives in our modern world of ideas and observations were the sole criterion, we should lose poetry and art altogether. All the same, it is necessary that here, too, what was suitable for mankind at one time should now assume other forms. But these new forms can only arise if the way into the spiritual world is rediscovered; for such a path alone makes it possible for the human “I” to be laid hold of again by the spiritual world – not as in former times, in an unconscious, dreamy fashion, but in accordance with the needs of the present day: in full consciousness. That this need not be bound up with a crippling of imaginative activity – this is not generally recognized today. It will come to be understood, however, as the world and life-conception put forward here gains more and more ground. If we enter into the spiritual world with circumspection – in full consciousness and with a developed feeling of personality – it will exert no crippling effect on our direct perception or on the vital participation in things and beings so necessary to poetry and art in general. If, however, we abstract ourselves from things in ideas, standing aside from them in purely intellectual concepts, our knowledge will yield nothing that can become a direct artistic creation. But if we plunge down into what pervades the world as a vibrant spiritual essence we will find again, along this spiritual path what poetry and art as a whole were fundamentally seeking all along.

From such a spiritual approach the poet will have before his soul what recitation and declamation must re-create for his audience. The poet must submerge himself in the element of speech. This experience of submersion was still to be found among the Greeks, and even in earlier forms of Central European spiritual life, such as the Germanic. In primaeval ages of humanity, if one wished to receive the divine-spiritual and bring it to expression as it spoke in the soul, one dived down not only into the element of speech, but also into what flowed within speech, like the waves of the sea – into the breath. And in earlier times, when the ancient spiritual life was still valued above science, art or religion in isolation, in the period when that spiritual life came into being, poetry, too, was not isolated. It grew isolated at the stage when the felt vitality of the breath (as manifestation of the efficacy of man’s innermost will) was taken up into more exalted regions of organic life: into the element of speech.

In due course today we have arrived at the element of thought. And from the thought-element we can experience only a sort of “upthrust” of the breath. What held sway in ancient times in Central Europe in the form of an unconscious feeling whenever man felt the poetic urge was the pulsating of the blood. Taking hold with the will, this formed the breathstream from within, into tone; whereas when the man of Greek or Graeco-Roman times waxed poetic he lived more in what flowed from the breathing-rhythm in the way of a picture or conception, and in what musically formed the sound, tone and line through metre, number and syllable.

Goethe’s whole being, his essential soul-nature, was born from the spirit of Central Europe. The writings of his youth derived their imaginative, pictorial form from an experience, an instinctive feeling of how human breathing pushes up, through the will-pulsating waves of the blood, into the formation of tone and sound – and so into the expressivity of the human soul. In this way he attained the qualities we admire so much in his youth, even when he appears to be speaking in prose. We have the prose-poems of Goethe’s youth, like the marvellous Hymn to Nature, where the ruling principle is that where we feel the language permeated by a kind of breathing which pulsates on the waves of the blood. It was from some such sense that the young Goethe initially composed his Iphigeneia. In this composition we feel how something from the Nibelungenlied, or the Gudrunlied, still lives and weaves in the prose, welling up and working in its high and low intonations. It calls attention to the upward thrust of the will into what comes to be man’s head-experience. This rhythm, thrown upward into configurations of thought, is what we can admire in the poems of Goethe’s youth, including the first version of his Iphigeneia.

But Goethe longed to get away to Italy. A time came when he could no longer come to terms with himself without undertaking a journey to Italy, which he did in the ’eighties. What was it that he longed for in his innermost being at that time? He longed to enter more deeply into human individuality – to enter into the whole human being with what lived in the high and low tones, creating in speech-formation an effect like the forms of a Gothic cathedral. He wanted to blend this with the even-measured flow he was seeking and believed was accessible only in the south, in Italy, in the wake of what had lived in Greek culture. Out of this, stemming from his feeling for such art as was still to be seen, came an understanding of Greek art He understood that the Greeks created their art in accordance with the same laws that govern the productions of nature; and of this he believed himself to have uncovered the clue. He believed, too, that he had traced these laws in speech-formation. He brought speech into a deeper connection with the breath. Then, in Rome, he refashioned his Iphigeneia accordingly. We must distinguish sharply between the northern Iphigeneia as first conceived and what came about when he refashioned it in Rome – even though the difference between the original and the Roman verse-Iphigeneia is really quite slight. It turned it into a poem that no longer lives simply in high and low tones; it became a work where in quite a different way – and not in any trivial sense, but as regards the whole of its speech-formation - the psychical experience of the blood-rhythm, the circulation with its deeper rhythm, plays over into the tranquil metre of the breathing-rhythm and the element of thought. In this way, what represented a declamatory form in the Nordic Iphigeneia is transformed in the Roman version into recitation.

By juxtaposing the one Iphigeneia with the other in this way, we can clearly discern the difference between declamation and recitation. Recitation leads us more deeply into human nature, and creates, too, more from its depths, seizing upon the whole blood-circulation as well as the breathing. But because in declamation the will (as it surges in the depths) is caught up into the highest part of man’s spiritual and soul-being, into the breath, it appears to us as the more forceful – living as it does in high and low tones. It does not only engage the flow of rhyme and verse, but evokes something which goes out into the world – perhaps even with a certain belligerence – as alliteration. In this there is a beauty that is peculiar to the north.

We do not wish today to give theoretical explanations, but to make known what should be present in an artistic sensibility. We will therefore firstly present the declamatory, in Goethe’s Nordic Iphigeneia; and then contrastingly the recitative, in the Roman composition. [Note 25]

[The magnificent language of the Authorized Version puts it on a different level to any other translation in English. There can be no doubt of its own high literary qualities, and it furnishes us with fine examples of poetry for declamation, as in this version of the ninetieth Psalm:

Lord, thou hast bene our dwelling place in all generations.

Before the mountaines were brought forth,

or ever thou hadst formed the earth and the world:

even from everlasting to everlasting thou art God.

Thou turnest man to destruction: and sayest,

Returne yee children of men.

For a thousand yeeres in thy sight

are but as yesterday when it is past:

and as a watch in the night.

Thou carriest them away as with a flood, they are as a sleepe:

in the morning they are like grasse which groweth up.

In the morning it flourisheth, and groweth up:

in the evening it is cut downe, and withereth.

For we are consumed by thine anger:

and by thy wrath are we troubled.

Thou hast set our iniquities before thee:

our secret sinnes in the light of thy countenance.

For all our dayes are passed away in thy wrath:

we spend our yeeres as a tale that is told.

The dayes of our yeeres are three-score yeeres and ten,

and if by reason of strength they be fourescore yeeres,

yet is their strength labour and sorrow:

for it is soone cut off, and we flie away.

Who knoweth the power of thine anger?

even according to thy feare, so is thy wrath.

So teach us to number our daies: that wee may

apply our hearts unto wisedome.

Returne (O LORD) how long?

and let it repent thee concerning thy servants.

O satisfie us early with thy mercie:

that we may rejoyce, and be glad all our dayes.

Make us glad according to the dayes wherein thou hast afflicted us:

and the yeeres wherein we have seene evil.

Let thy worke appeare unto thy servants:

and thy glory unto their children.

And let the beautie of the LORD our God be upon us,

and establish thou the worke of our hands upon us:

yea, the work of our hands establish thou it.

Metrical translations of the Psalms are numerous; but many of them have no aims beyond fitting the verses to a tune. The version begun by Sir Philip Sidney and completed by his sister, the Countess of Pembroke, however, brought all the literary resources of the classical tradition in Renaissance poetry to bear on the problem of making an authentically poetic translation. The result is that the ninetieth Psalm is here drastically transformed into a recitative vein:

DOMINE REFUGIUM

Thou’our refuge, thou our dwelling,

O Lord, hast byn from time to time:

Long er Mountaines, proudly swelling,

Above the lowly dales did clime:

Long er the Earth, embowl’d by thee,

Bare the forme it now doth beare:

Yea, thou art God for ever, free

From all touch of age and yeare.

O, but man by thee created,

As he at first of earth arose,

When thy word his end hath dated,

In equall state to earth he goes.

Thou saist, and saying makst it soe:

Be noe more, O Adams heyre;

From whence ye came, dispatch to goe,

Dust againe, as dust you were.

Graunt a thousand yeares be spared

To mortall men of life and light:

What is that to thee compared?

One day, one quarter of a night.

When death upon them storm-like falls,

Like unto a dreame they grow:

Which goes and comes as fancy calls,

Nought in substance all in show.

As the hearb that early groweth,

Which leaved greene and flowred faire

Ev’ning change with ruine moweth,

And laies to roast in withering aire:

Soe in thy wrath we fade away,

With thy fury overthrowne

When thou in sight our faultes dost lay,

Looking on our synns unknown.

Therefore in thy angry fuming,

Our life of daies his measure spends:

All our yeares in death consuming,

Right like a sound that, sounded, ends.

Our daies of life make seaventy yeares,

Eighty, if one stronger be:

Whose cropp is laboures, dollors, feares,

Then away in poast we flee.

Yet who notes thy angry power

As he should feare, soe fearing thee?

Make us count each vitall hower

Make thou us wise, we wise shall be.

Turne Lord: shall these things thus goe still?

Lett thy servantes peace obtaine:

Us with thy joyfull bounty fill,

Endlesse joyes in us shall raigne.

Glad us now, as erst we greeved:

Send yeares of good for yeares of ill:

When thy hand hath us releeved,

Show us and ours thy glory still.

Both them and us, not one exempt,

With thy beauty beautify:

Supply with aid what we attempt,

Our attempts with aid supply.

Mary Herbert, Countess of Pembroke (1561-1621).]

Goethe followed up his incursion into the new poetic sphere of his remodelled Iphigeneia with works like his “Achilleis”, from which a passage will now be recited. Here in Goethe we find something that shows us how poetry springs from the whole man, how it should emerge from the whole man and take shape as recitation and declamation.

I might seem, at first glance, to be propounding a mechanical interpretation of reciting and declaiming, if I were to point to something in the nature of man as the origin of recitation and declamation: this something is to be found, however, precisely along the spiritual path.

As an art, poetry has the task of enlarging again what prose has atomized and contracted into the single word. The harmony of sounds, the melodious flow of sound in the picture-formation of speech, of mundane speech, is in this way “canopied over,” as we might say, by a second, spiritual speech. The prose-speaker clothes in words those thoughts he wants to convey, along with whatever of individual experience he can. The poet draws back from such rhetoric, to a much more profoundly inward human experience. [Note 26] He reverts to a level at which (as I have already indicated) the rhythms of breathing and the circulatory system become perceptible, as they vibrate through the language of poetry. We shall only get to the bottom of rhyme, metre, the pictorial and the melodic in speech, by comprehending human nature spiritually, even down to the physical. We have, then, as one pole of the rhythmical in man, the breathing; and as the other pole, circulation. In the interaction of breathing and circulation is expressed something which is first given, in its simplest ratio, when we attend to the resonance of breathing and circulation in the flow of human speech. In breathing, we draw a particular number of breaths every minute – between sixteen and eighteen. And over the same period we have, an average, about four times as many pulse‑beats. Circulation and breathing interact, so that the circulation plays into the breath, and the breath in turn weaves into the circulation its slower rhythm. It is an apprehension of such an harmonious interchange between pulse-beat and breathing that echoes on in speech. Formed and transformed in various ways, it produces the after-effect of a pictorial or a musical speech-formation, which is then brought to expression by the poet.

I said – and the point has actually been raised – that the fundamental law of poetry, the interaction of breathing and circulation that I have elicited from human morphology might be considered mechanical and materialistic. But the spiritual life that holds sway and works in the world can only be grasped if we trace that life right into its material formations; only if the life of man’s spirit and soul is pursued to those depths where it lives out its expression in corporeal functions. These bodily workings will then act as a firm wall to hurl back, like an echo, what derives from the laws of a profounder spirituality – a spirituality of direct experience pouring itself out into speech.

Goethe sensed how in earlier stages of human culture man stood in a deeper relation, as it were, to his own nature. He too sought to enter into an earlier epoch’s feeling for poetic forms and revivify them. It is actually of deep significance that at the highest point in the development of German poetry, Goethe pointed away from the crude, prosaic stress popularly taken for recitation and declamation, to a special kind of what can be called – and deservingly – a real speech-formation. To rehearse the iambics of his Iphigeneia, Goethe stood in front of the actors with his baton. He knew that what had to be revealed was, above all, the imagery he wanted to incorporate, while the prose-content was there merely as a ladder by which to scale the heights of the full, spiritual sense – the sound and the picture-quality of speech that must evolve from it. We must pierce through the given prose-content of a poem into the truly poetic. Schiller’s experience in his best creations, of an initially indefinable melody, a musicality onto which he then threaded the prose-content, was not a personal peculiarity. As regards the words, some of Schiller’s poems could even have had a different content to the one they currently possess. In a true poet there is everywhere, in the background of the rhetorical speech, a quality that must simply be felt. And only when it does justice to the musical in speech-formation will true poetry stand revealed.

If we turn to what is often taught today as recitation and declamation, it is with a keen sense of something having, in these uncultured times, gone amiss. The voice itself is strengthened, and great value is attached to technical adjustment of the organism: this is because no-one is any longer able to live in a direct relationship with recitation and declamation (not to mention singing), and we transfer to material tampering with the body what should be experienced on a quite different plane. The important thing in teaching recitation and declamation is that the pupil should on no account be made to do anything but live with speech-formation as such and the soul-resonance of living with speech-formation, in such a way as to bring him to listen properly. For anyone who is capable of listening correctly to what may come over in poetry, the appropriate breathing, proper disposition of the body, etc., will come about of their own accord – as a response to proper listening. It is important to let the pupil live in the actual element of declamation and recitation, and leave all the rest to him. He must become absorbed in the objective realities of tone, in “musical pictoriality” and in authentically poetic formations. In this way alone, paradoxical as it may sound, can we get the pupil to develop an ear for what he hears declaimed to him and thereby sensitivity to what moves spiritually over the waves of sound he hears. Only when he experiences something in his surroundings, we might say, and not in himself – and even though to begin with this experience is illusory, it must be cultivated – only then will he be able to refer back to himself what he feels vibrant in the world around him. It is only through the recital of certain aesthetically fashioned word-sequences, which have a special relation to human morphology, that we ought to learn breath-control or anything else connected with the adjusting of the voice. In this way we shall best meet the requirements of Goethe’s artistic perception and the sensitivity we value so greatly.

By way of illustration – not of any theory, but of the foregoing remarks there will now be recited a passage from Goethe’s “Achilleis”. [Note 27]

[Since the hexameter in its true, classical form can only occasionally be reproduced successfully in English, C. Day Lewis performed the service of devising a metre which sounds convincingly like it. He used it to evoke the heroic and epic associations of classical poetry in relating, for example, an episode from the Spanish Civil War in “The Nabara”. This extract is from “Phase One”:

Freedom is more than a word, more than the base coinage

Of statesmen, the tyrant’s dishonoured cheque, or the dreamer’s mad

Inflated currency. She is mortal, we know, and made

In the image of simple men who have no taste for carnage

But sooner kill and are killed than see that image betrayed.

Mortal she is, yet rising always refreshed from her ashes:

She is bound to earth, yet she flies as high as a passage bird

To home wherever man’s heart with seasonal warmth is stirred:

Innocent is her touch as the dawn’s, but still it unleashes

The ravisher shades of envy. Freedom is more than a word.

I see man’s heart two-edged, keen both for death and creation.

As a sculptor rejoices, stabbing and mutilating the stone

Into a shapelier life, and the two joys make one –

So man is wrought in his hour of agony and elation

To efface the flesh to reveal the crying need of his bone.

Burning the issue was beyond their mild forecasting

For those I tell of – men used to the tolerable joy and hurt

Of simple lives: they coveted never an epic part;

But history’s hand was upon them and hewed an everlasting

Image of freedom out of their rude and stubborn heart.

C. Day Lewis (1904-1972)

An earlier solution to the problem was a rather more radical departure from the hexameter for a five-foot line, and the blank-verse pentameter remains the natural epic metre in English. Milton employed it in recreating many of the features of classical epic in Paradise Lost, as may be illustrated from the following passage (Book VI, 189-214):

So saying, a noble stroke he lifted high,

Which hung not, but so swift with tempest fell

On the proud Crest of Satan, that no sight,

Nor motion of swift thought, less could his Shield

Such ruin intercept: ten paces huge

He back recoild; the tenth on bended knee

His massie Spear upstayd; as if on Earth

Winds under ground or waters forcing way

Sidelong, had push’t a Mountain from his seat

Half sunk with all his Pines. Amazement seiz’d

The Rebel Thrones, but greater rage to see

Thus foil’d their mightiest, ours joy find, and shout,

Presage of Victorie and fierce desire

Of Battel: whereat Michaël bid sound

Th’ Arch-angel trumpet; through the vast of Heav’n

It sounded, and the faithful Armies rung

Hosanna to the Highest: nor stood at gaze

The adverse Legions, nor less hideous join’d

The horrid shock: now storming furie rose,

And clamor such as heard in Heav’n till now

Was never, Arms on Armour clashing bray’d

Horrible discord, and the madding Wheeles

Of brazen Chariots rag’d; dire was the noise

Of conflict; over head the dismal hiss

Of fiery Darts in flaming vollies flew,

And flying vaulted either Host with fire.

John Milton.]

And now, to illustrate declamation, Goethe’s “Hymnus an die Natur” (abridged, as occasion demanded, for a Eurythmy performance).

Natur! Wir sind von ihr umgeben und umschlungen –

unvermögend aus ihr herauszutreten, und unvermögend,

tiefer in sie hinein zu kommen. Ungebeten und ungewarnt

nimmt sie uns in den Kreislauf ihres Tanzes auf

und treibt sich mit uns fort, bis wir ermüdet sind

und ihrem Arm entfallen.

Sie schafft ewig neue Gestalten; alles ist neu, und

doch immer das Alte. Sie baut immer und zerstört

immer.

Sie lebt in lauter Kindern; und die Mutter, wo ist

sie? – Sie ist die einzige Künstlerin; sie spielt ein

Schauspiel; es ist ein ewiges Leben, Werden und

Bewegen in ihr. Sie verwandelt sich ewig, und ist

kein Moment Stillestehen in ihr.

Ihr Tritt ist gemessen, ihre Ausnahmen selten, ihre

Gesetze unwandelbar. Gedacht hat sie und sinnt beständig.

Die Menschen sind alle in ihr, und sie in allen.

Auch das Unnatürlichste ist Natur, auch die plumpste

Philisterei hat etwas von ihrem Genie.

Sie liebt sich selber; sie freut sich an der Illusion.

Ihre Kinder sind ohne Zahl.

Sie spritzt ihre Geschöpfe aus dem Nichts hervor.

Leben ist ihre schönste Erfindung, und der Tod – ihr

Kunstgriff, viel Leben zu haben.

Sie hüllt den Menschen in Dumpfheit ein und spornt

ihn ewig zum Lichte. Man gehorcht ihren Gesetzen,

auch wenn man ihnen widerstrebt; man wirkt mit ihr,

auch wenn man gegen sie wirken will.

Sie macht alles, was sie gibt, zur Wohltat.

Sie hat keine Sprache noch Rede, aber sie schafft

Zungen und Herzen, durch die sie fühlt und spricht.

Ihre Krone ist die Liebe.

Sie macht Klüfte zwischen allen Wesen, und alles will

sie verschlingen. Sie hat alles isoliert, um alles

zusammenzuziehen.

Sie ist alles. Sie belohnt sich selbst und bestraft

sich selbst, erfreut und quält sich selbst. Vergangenheit

und Zukunft kennt sie nicht. Gegenwart ist ihr Ewigkeit.

Sie ist gütig, sie ist weise und still.

Sie ist ganz, und doch immer unvollendet.

Jedem erscheint sie in einer eignen Gestalt. Sie

verbirgt sich in tausend Namen und ist immer dieselbe.

Sie hat mich hereingestellt, sie wird mich auch

herausführen. Ich vertraue mich ihr. Alles hat

sie gesprochen. Alles ist ihre Schuld, alles ist

ihr Verdienst!

[Perhaps the nearest parallel in English is the unrestricted and freely expansive rhythm of Blake. He celebrates not Nature, but the spirits (the Sons of Los) in Nature in these extracts from his Milton pl. 27,66 – 28,12; pl. 31, 4 – 22:

Thou seest the Constellations in the deep & wondrous Night:

They rise in order and continue their immortal courses

Upon the mountains & in vales with harp & heavenly song,

With flute & clarion, with cups & measures fill’d with foaming wine.

Glitt’ring the streams reflect the Vision of beatitude,

And the calm Ocean joys beneath & smooths his awful waves:

These are the Sons of Los, & these the Labourers of the Vintage.

Thou seest the gorgeous clothed Flies that dance & sport in summer

Upon the sunny brooks & meadows: every one the dance

Knows in its intricate mazes of delight artful to weave:

Each one to sound his instruments of music in the dance,

To touch each other & recede, to cross & change & return:

These are the Children of Los; thou seest the Trees on mountains,

The wind blows heavy, loud they thunder thro’ the darksom sky,

Uttering prophecies & speaking instructive words to the sons

Of men: These are the Sons of Los: These are the Visions of Eternity,

But we see only as it were the hem of their garments

When with our vegetable eyes we view these wondrous Visions.

The Sky is an immortal Tent built by the Sons of Los:

And every Space that a Man views around his dwelling-place

Standing on his own roof or in his garden on a mount

Of twenty-five cubits in height, such space is his Universe:

And on its verge the Sun rises & sets, the Clouds bow

To meet the flat Earth &the Sea in such an order’d Space:

The Starry heavens reach no further, but here bend and set

On all sides, & the two Poles turn on their valves of gold;

And if he move his dwelling-place, his heavens also move

Where’er he goes, & all his neighbourhood bewail his loss.

Such are the Spaces called Earth & such its dimension.

As to that false appearance which appears to the reasoner

As of a Globe rolling thro’ Voidness, it is a delusion of Ulro.

The Microscope knows not of this nor the Telescope: they alter

The ratio of the Spectator’s Organs, but leave Objects untouch’d.

For every Space larger than a red Globule of Man’s blood

Is visionary, and is created by the Hammer of Los:

And every Space smaller than a Globule of Man’s blood opens

Into Eternity of which this vegetable Earth is but a shadow.

William Blake.]

And now we will adduce some examples of the lyric – to be precise, from two poets, both Austrian: Robert Hamerling and Anastasius Grün.

The lyric diverges from epic and dramatic poetry in that, as far as speech-formation is concerned, its aesthetic quality must be experienced directly. In a way, all lyric strives to obliterate the immediate content of consciousness – at any rate to some degree. It would restore to man’s being a sense of universal participation. One might say that in lyric there is always a damping down of conscious experience. With a poet like Hamerling, a once widely influential poet who compared with then is now largely forgotten, we can indeed observe how personal experience passes over into a lyrical experience. Here we have a personality whose soul wants to share inwardly with every fibre of its being in the entire life of the world. He wants to share in the life of colour that meets him from the world. And thus the unconscious elements of human life come to play a part in him. We can still see the after-effects of this colourful experience in him when he tries to give it shape by casting it in antique forms. Particularly in Hamerling’s lyric poetry we can feel the true Austro-German lyricism. He is in a sense perhaps the most representative of Austro-German poets. The German spoken in Austria, deriving as it does from several dialects to become the common parlance and also the so-called “literary language” of Austrian poetry – this language has something which marks it off from the other forms of German language, fine discriminations which are of special interest to poetry and speech-formation. Compared with other varieties of German we might say that Austrian German has a subdued quality: yet in this quality there lingers a delicate sense of humour; this language became that of Austrian poetry. This soft humorous sound and intimate soul-quality that comes across in Austrian speech is not readily found in other forms of German – except possibly dialects. And here we have something which brings us, so to speak, close to antiquity.

It is at any rate remarkable that so outstanding a poet as Joseph Misson should have resorted to Austrian dialect for his “Da Naz, a niederösterreichischer Bauerbui geht in d’Fremd”, and that he arrived at a type of hexameter in which he felt artistically at home. We might add that the idealism of thought natural to someone who lives with Austrian German imparts an idealistic tinge to all the German inner feeling in this little piece of Central Europe.

We encounter this even in the formation of speech in Hamerling’s lyrics, which convey the feeling as if on the wings of a bird, while continually catching the bird again in powerfully moulded forms. This is really possible only with the soft humour of Austrian German. If we recapture this in declamation by taking what lives in Hamerling’s lyrical poetry and allow it to be heard elsewhere, it strikes a German from a different region as being cornpletely German and yet he feels what is German in the language to have been idealized. This is what gives Hamerling’s lyricism its nobility and what makes his verve and colour genuinely artistic as well as spontaneous.

How differently this appears in our other poet, Anastasius Grün! In accordance with the unique character of the Austrian disposition, he had a real feeling for what ought to mediate between East and West – for the mutual understanding of people all over the earth. The mood of 1848 finds expression most nobly and beautifully in Anastasius Grün’s poem Schutt – and in other of his poems too. It is this prologue to Schutt that will be recited. So, on the one hand we have, in Hamerling, a poet who really created more for declamation, yet found for it a metrical form and in Anastasius Grün a poet who takes over a recitative principle straight from the language. We would now like to demonstrate this in a poem by Anastasius Grün which, from its contents, might be entitled “West und Ost”; and in two poems by Robert Hamerling: “Nächtliche Regung” and “Vor einer Genziane”.

WEST UND OST

Prolog zu ‘Schutt’

Aug’ in Auge lächelnd schlangen

Arm in Arm einst West und Ost;

Zwillingspaar, das liebumfangen

Noch in einer Wiege kost’!

Ahriman ersah’s, der Schlimme,

Ihn erbaut der Anblick nicht,

Schwingt den Zauberstab im Grimme,

Draus manch roter Blitzstrahl bricht.

Wirft als Riesenschlang’ ins Bette,

Ringelnd, bäumend, zwischen sie

Jener Berg’ urew’ge Kette,

Die nie bricht und endet nie.

Lässt der Lüfte Vorhang rollend

Undurchdringlich niederziehn,

Spannt des Meers Sahara grollend

Endlos zwischen beiden hin.

Doch Ormuzd, der Milde, Gute,

Lächlend ob dem schlechten Schwank,

Winkt mit seiner Zauberrute,

Sternefunkelnd, goldesblank.

Sieh, auf Taubenfitt’chen, fächelnd,

Von der fernsten Luft geküsst,

Schifft die Liebe, kundig lächelnd;

Wie sich Ost and Westen grüsst!

Blütenduft und Tau und Segen

Saugt im Osten Menschengeist,

Steigt als Wolke, die als Regen

Mild auf Westens Flur dann fleusst!

Und die Brücke hat gezogen,

Die vom Ost zum West sich schwingt,

Phantasie als Regenbogen,

Der die Berge überspringt.

Durch die weiten Meereswüsten,

Steuernd, wie ein Silberschwan,

Zwischen Osts und Westens Küsten

Wogt des Lieds melod’scher Kahn.

Anastasius Grün (1806-1876).

[The poem that follows demonstrates the English sense of delicacy and restraint, and the subtle humour to which the language was in its own way particularly suited – perhaps especially around Marvell’s time:

ON A DROP OF DEW

See how the Orient Dew,

Shed from the Bosom of the Morn

Into the blowing Roses,

Yet careless of its Mansion new;

For the clear Region where ’twas born

Round in its self incloses:

And in its little Globes Extent,

Frames as it can its native Element.

How it the purple flow’r does slight,

Scarce touching where it lyes,

But gazing back upon the Skies,

Shines with a mournful Light;

Like its own Tear,

Because so long divided from the Sphear.

Restless it roules and unsecure,

Trembling lest it grow impure;

Till the warm Sun pitty it’s Pain,

And to the Skies exhales it back again.

So the Soul, that Drop, that Ray

Of the clear Fountain of Eternal Day,

Could it within the humane flow’r be seen,

Remembring still its former height,

Shuns the sweat leaves and blossoms green;

And, recollecting its own Light,

Does, in its pure and circling thoughts, express

The greater Heaven in an Heaven less.

In how coy a Figure wound,

Every way it turns away;

So the World excluding round,

Yet receiving in the Day.

Dark beneath, but bright above:

Here disdaining, there in Love.

How loose and easie hence to go:

How girt and ready to ascend.

Moving but on a point below,

It all about does upwards bend.

Such did the Manna’s sacred Dew destil;

White, and intire, though congeal’d and chill.

Congeal’d on Earth: but does, dissolving, run

Into the Glories of th’ Almighty Sun.

Andrew Marvell (1621-1678).]

NÄCHTLICHE REGUNG

Horch, der Tanne Wipfel

Schlummertrunken bebt,

Wie von Geisterschwingen

Rauschend überschwebt.

Göttliches Orakel

In der Krone saust,

Doch die Tanne selber

Weiss nicht, was sie braust.

Mir auch durch die Seele

Leise Melodien,

Unbegriffne Schauer,

Allgewaltig ziehn:

Ist es Freudemahnung

Oder Schmerzgebot?

Sich allein verständlich

Spricht in uns der Gott.

VOR EINER GENZIANE

Die schönste der Genzianen fand ich

Einsam erblüht tief unten in kühler Waldschlucht.

O wie sie durchs Föhrengestrüpp

Heraufschimmerte mit den blauen, prächtigen Glocken:

Gewohnten Waldespfad

Komm’ ich nun Tag um Tag

Gewandelt und steige hinab in die Schlucht

Und blicke der schönen Blume tief ins Aug’...

Schöne Blume, was schwankst du doch

Vor mir in unbewegten Lüften so scheu,

So ängstlich?

Ist denn ein Menschenaue nicht wert

Zu blicken in ein Blumenantlitz?

Trübt Menschenmundes Hauch

Den heiligen Gottesfrieden dir,

In dem du atmest?

Ach, immer wohl drückt Schuld,

Drückt nagende Selbstanklage

Die sterbliche Brust und du, Blume, du wiegst

In himmlischer Lebensunschuld

Die wunderbaren Kronen:

Doch blicke nicht allzu vorwurfsvoll mich an!

Sieh, hab’ ich doch Eines voraus vor dir:

Ich habe gelebt:

Ich habe gestrebt, ich habe gerungen,

Ich habe geweint,

Ich habe geliebt, ich habe gehasst,

Ich habe gehofft, ich habe geschaudert;

Der Stachel der Qual, des Entzückens hat

In meinem Fleische gewühlt;

Alle Schauer des Lebens und des Todes sind

Durch meine Sinne geflutet,

Ich habe mit Engelchören gespielt, ich habe

Gerungen mit Dämonen.

Du ruhst, ein träumendes Kind,

Am Mantelsaum des Höchsten, ich aber;

Ich habe mich emporgekämpft

Zu seinem Herzen,

Ich habe gezernt an seinen Schleiern,

Ich habe ihn beim Namen gerufen,

Emporgeklettert

Bin ich auf einer Leiter von Seufzern,

Und hab’ ihm ins Ohr gerufen: ‘Erbarmung!’

O Blume, heilig bist du,

Selig und rein;

Doch heiligt, was er berührt, nicht auch

Der zündende Schicksalsblitz?

O, blicke nicht allzu vorwurfsvoll mich an,

Du stille Träumerin;

Ich habe gelebt, ich habe gelitten!

Robert Hamerling (1830-1889).

[Something of the same fusion of lyric flight and precision of form can be felt in the following poem:

THE MORNING-WATCH

O Joyes! Infinite sweetnes! with what flowres,

And shoots of glory, my soul breakes, and buds!

All the long houres

Of night, and Rest

Through the still shrouds

Of Sleep, and Clouds,

This Dew fell on my Breast;

O how it Blouds,

And Spirits all my Earth! heark! In what Rings,

And Hymning Circulations the quick world

Awakes, and sings;

The rising winds,

‘And falling springs,

Birds, beasts, all things

Adore him in their kinds.

Thus all is hurl’d

In sacred Hymnes, and Order, The great Chime

And Symphony of nature. Prayer is

The world in tune,

A spirit-voyce,

And vocall joyes

Whose Eccho is heav’ns blisse.

O let me climbe

When I lye down! The Pious soul by night

Is like a clouded starre, whose beames though said

To shed their light

Under some Cloud

Yet are above,

And shine, and move

Beyond that mistie shrowd

So in my Bed

That Curtain’d grave, though sleep, like ashes, hide

My lamp, and life, both shall in thee abide.

Henry Vaughan (1621-1695).]

And to close, we shall introduce part of the Seventh Scene from my Mystery Play, The Portal of Initiation.

One is in a unique position when trying to give poetic form to the life of the super-sensible. For, to begin with, one seems to be withdrawing far from the solid ground of external reality. One is thus exposed to the additional danger, that anyone not readily familiar and quick with spiritual matters takes our intention to be allegorical or symbolic. Neither symbol nor allegory has any place in the aesthetic viewpoint arising from the sort of perception we advocate here. It is assuredly no more the abstractions of symbolism than it is a straw-stuffed allegory that we attempt, but a living portrayal of perceptions actually more distinct than our ordinary sense-perceptions, because apprehended by the soul directly, unmediated by bodily organs. Only for someone unable to rouse these perceptions to life in himself do they seem abstract or hollow. I hope to limit my remarks on this subject to a few words, for it does not do to dwell over much on one’s own accomplishments. These Mystery Plays concern the spiritual and soul development of Johannes Thomasius, who is to be brought little by little to a direct super-sensible experience of the spiritual world. This has to a certain extent been achieved when once he has succeeded in overcoming a range of inner obstacles, and made various advances. There then comes a moment at which he finds, in what has hitherto been known to him as the external world of the senses and the intellect (which infiltrates the senses only as the thinnest and most abstract spirituality), he comes upon a pervading activity of concrete spiritual beings and concrete spiritual events. The occurrences in a human soul who reaches this stage of initiation are complex. Everything so far experienced in light or sound, or in the other elements of the external world, figures for the higher mode of experience in a different guise. It is actually like a transformation in which the world is experienced as a drawing together and struggling up of the soul-forces of thinking, feeling and willing to another form of existence. As to how these soul-forces share in such a transformation of man, and how this participation stands in intimate relation to the entire cosmos – that is what is presented in the scene from the Mystery Drama.

One of the characters – Maria – who has raised her life up into the spiritual, describes first how those forces come together which are to inspire the soul’s individual forces. Philia, Astrid and Luna are seen as the powers of the soul which hold sway in real, living people, and play a part in inspiring the man Johannes Thomasius. What the human soul may come to be, out of the whole world, out of the totality of the world what it can become in the moment that true understanding of spiritual life arises there: that is the subject of this representation. While one apparently withdraws in such a representation more than ever from the ground of reality, yet (as who should know better than their creator?) the characters formed in this way actually stand before the soul no less concretely than any external thing. Many people, of course, will not be drawn into such matters: they call everything allegorical that leads beyond sense-perception. In defence, Hamerling asked in his Ahasver: Can anyone help me out of this predicament – that Nero stands here and symbolizes cruelty? We introduce symbolism only to the extent that reality itself is a kind of symbol. It is exactly when we come to shape spiritual forms that we feel how every detail, down to the minuter shades, has been directly experienced. And we perceive a spiritual entity of this kind not in concepts, but in words, in nuances of sound. No-one, I believe, could create out of the energies of the spirit and attain to that degree of life who cannot himself enter vitally into language. He may then employ the spirit of language, with its wonderful inner wisdom, its wonderful formation of feeling and its impulses of will, to that end – so as to grasp things in their particularity. If he cannot put to use those unconscious spiritual pulsations which proceed from everyday life, he will not be able to avail himself of the language to present the spiritual world. We need not grow less poetic because our presentations take us into the spiritual world. For there we enter the native country of poetry and art.

All poetry has originated from the soul and spirit. Since, therefore, man finds himself confronted by the spiritual essences of things, the lyric flight, the epic power and the dramatic form that live in him can never be lost. These cannot be destroyed if the art of poetry returns, as to its own proper home, to the realm of the spirit.

From The Soul’s Probation, Scene 2: [Note 28]

MARIA: Ihr, meine Schwestern, die ich

In Wesenstiefen finde,

Wenn meine Seele sich erweitet,

Und in die Weltenfernen

Sich selbst geleitet,

Entbindet mir die Seherkräfte

Aus Aetherhöhen,

Und führet sie auf Erdenpfade;

Dass ich im Zeitensein

Mich selbst ergründe,

Und die Richtung mir geben kann

Aus alten Lebensweisen

Zu neuen Willenskreisen.

PHILIA: Ich will erfüllen mich

Mit strebendem Seelenlicht

Aus Herzenstiefen;

Ich will eratmen mir

Belebende Willensmacht

Aus Geistestrieben;

Dass du, geliebte Schwester,

In alten Lebenskreisen

Das Licht erfühlen kannst.

ASTRID: Ich will verweben

Sich fühlende Eigenheit

Mit ergebenem Liebewillen;

Ich will entbinden

Die keimenden Willensmächte

Aus Wunschesfesseln

Und dir das lähmende Sehnen

Verwandeln in findendes Geistesfühlen;

Dass du, geliebte Schwester,

In fernen Erdenpfaden

Dich selbst ergriinden kannst.

LUNA: Ich will berufen entsagende Herzensmächte,

Und will erfestigen tragende Seelenruhe;

Sie sollen sich vermählen

Und kraftendes Geistesleuchten

Aus Seelengründen heben;

Sie sollen sich durchdringen,

Und lauschendem Geistgehör

Die Erdenfernen zwingen;

Dass du, geliebte Schwester,

In weitem Zeitensein

Die Lebensspuren finden kannst.

MARIA (after a pause):

Wenn ich mich entreissen kann

Verwirrendem Selbstgefühl,

Und mich euch geben darf:

Dass ihr mein Seelensein

Mir spiegelt aus Weltenfernen:

Vermag ich zu lösen mich

Aus diesem Lebenskreise

Und kann ergründen mich

In andrer Daseinsweise.

(a longer pause and then the following)

In euch, ihr Schwestern, schau’ ich Geisteswesen,

Die Seelen aus dem Weltenall beleben.

Ihr könnt die Kräfte, die in Ewigkeiten keimen

Im Menschen selbst zur Reife bringen.

Durch meiner Seele Tore dürft’ ich oft

Den Weg in eure Reiche finden,

Und Erdendaseins Urgestalten

Mit Seelenaugen schauen.

Bedürftig bin ich eurer Hilfe jetzt,

Da mir obliegt, den Weg zu finden

Von meiner gegenwärtigen Erdenfahrt

In langvergangne Menschheitstage.

Entbindet mir das Seelensein vom Selbstgefühl

In seinem Zeitenleben.

Erschliesset mir den Pflichtenkreis

Aus meiner Vorzeit Lebensbahnen.

From The Soul’s Probation, Scene 2:

MARIA: You, my sisters,

I find when in the depths of being

my soul, expanding, guides itself

into the reaches of the universe.

Release for me the powers of seeing

out of etheric heights

and lead them down to earthly paths

so that I may explore and find myself

in course of time

and give direction to myself

to change old ways of life

into new spheres of will.

PHILIA: I will imbue myself

with striving light of soul

out of the heart’s own depths;

I will breathe in

enlivening power of will

out of the spirit’s urging;

that you, beloved sister,

within old spheres of life

may feel and sense the light.

ASTRID: I will weave into one

a selfhood’s feeling of itself

with love’s forebearing will;

I will release

the burgeoning powers of will

from fetters of desire,

transform your languid yearning

to certainty of spirit sensing;

that you, beloved sister,

on paths of earth far distant

explore and find your Self.

LUNA: I will call forth renouncing strength of heart

and will confirm enduring soul-repose.

These shall unite and raise

empowering spirit light

out of the depths of soul;

they shall pervade each other

and shall subdue far distances of earth

to the listening spirit ear;

that you, beloved sister,

in time’s wide ranges

may find the traces of your life.

MARIA (after a pause):

When I can tear myself away

from the bewildering sense of Self

and give myself to you

so that you reflect to me my soul

from world-wide distances:

then I can free myself

out of this sphere of life

and can explore and find myself

in other states of being.

(a long pause, then the following)

In you, my sisters, I see spirit beings

that quicken souls out of the cosmos’ life.

You bring to full maturity in man himself

the forces germinating in eternities.

Through portals of my soul I often

could find my way into your realm

and could behold with inner eyes

the archetypes of earth existence.

I now must ask your help:

it has become my duty

to find the way that leads

from present life on earth

to long past ages of mankind.

Release my soul-life from its sense of self

in time-enclosed existence.

Open for me the sphere of duty, brought

from my life journey in ancient days.

Trans. R. and H. Pusch.