The Rudolf Steiner Archive

If you, honored attendees, consider the ideas that Theosophy seeks to awaken about the actual spirit world, the so-called devachan world, to be somewhat improbable, then it may be retorted that it is certainly not new and certainly not strange when the theosophist points to this higher world that exists outside of our sensory world. Today, in order to delve a little deeper into the world of Devachan, I would like to begin my talk with the words of a German thinker who is well known to all of you, who had a great influence on his time, who knew how to speak of higher worlds not only in a dreamy way, but who, through the power and fire of his words, was able to intervene in the events of his present at the time: I am referring to Johann Gottlieb Fichte. We all know the power that he drew from the supersensible world, which made his words flow in rousing speeches with which he inspired the youth of his time to take part in the events that were necessary at that time. We know the “Speeches to the German Nation,” which are an act that does not belong to a dream-like world, but to immediate reality. When Johann Gottlieb Fichte gave the introductory lectures to the science of teaching in Berlin, he began this most mature fruit of his research and reflection before his students with the following sentence:

“This doctrine presupposes a completely new inner sense by which a new world is given that is not at all present for the ordinary person. This is not to be understood as some kind of exaggeration, rhetorical phrase that is only said to demand a lot, with the quiet hope that less may be granted – but it is to be understood literally, as it is said.”

Fichte introduces this view of the supersensible world — that is, at a time when no one had yet thought of founding a theosophical society — with the words that one is dealing with the manifestations of a sensory organ that is not present in the ordinary human being. He then continues:

But quite new conditions would arise if a blind person were to receive sight through an operation. The comparison is correct with regard to higher vision. What is not expressed in Fichte's words is that every human being actually has this tool and only needs to develop it. Only good will is needed to receive the spiritual world revealed. Every spiritual blind person can be made to see. This must be emphasized so that it becomes clear that the spiritual world is accessible to anyone who wants to seek it out. The messages that are given about it are only intended to hint at what is to be given later.

The first step is to get a description of the spiritual world. As theosophists know, there is a way to gain insight into this world through description. We are not dealing with a world that lies in some other place in the cosmos, but with a world that surrounds us everywhere, that is present everywhere around us. This spiritual world is present at every point in our world. When we speak of the spiritual world or Devachan, we are not wandering into another world, but unlocking our organs, reaching a different state. One could object that such a state is something extraordinary in man, that one cannot imagine it and that nothing similar can be demonstrated in a person's life. That is not correct; the rest of life flows quietly by without such a radical change occurring. But in fact a transition such as that which transforms the man of sense perception into the seer takes place once in the life of every human being, only we are unaware of it. Everyone sitting here has already gone through a similar radical revolution of consciousness at some time in their life. We must only reckon life not from the moment of seeing the outer world, but from the first state of the germ in the mother's womb. If we look at the human being from the first state in the mother's body, then such a change has taken place for everyone. The state of consciousness of the human germ, its perceptive faculty, is quite different from that of the later human being. Anyone who is able to observe this knows what important things happen to a person in the first months of existence before birth, and knows that the human being's faculty of perception has already changed radically [at birth]. The germ has a perceptive faculty that is essentially different from the perceptive faculty of the human being who sees the light of day and has an awake consciousness. The human germ perceives in a way that we call astral perception. The human germ therefore has an astral perception. Only later does the outer, waking consciousness develop. From the astral life to the waking consciousness, the human being develops. A similar change, something like a new birth, is the opening of the so-called devachanic sense, which is granted to the seer so that he may perceive a new world. The human germ perceives the dark currents in the astral world. It perceives the feelings that prevail in its environment. You can see this in the influences of the existing conditions on the embryo in the mother's womb. This change, this transformation of the germ's astral consciousness into an awakened, sensory consciousness, occurs in every human being at some point.

Thus it is the world in which we live that is revealed to us in this new state of consciousness. What we perceive in this world is initially incomprehensible to us; we are led step by step to perception in this devachan or spiritual world. Our perception in devachan is the same as when a child's senses open in the first days of life. A world presents itself to us, which reveals itself in glittering colors that are at first incomprehensible to us, and in sequences of the most varied tones. At first, one does not know how to interpret these colors and tones, which do not belong to our physical world and which differ essentially from the colors and tones of our physical world, until one has become acquainted with their meaning and context in this spiritual world. The one who enters this world, left to himself, often does not know what to do. It sometimes happens that the devachanic sense is suddenly opened in a person; such a person then drifts helplessly in this world of spiritual existence. Only the one who is led into this world by a person who was already a seer in a former life and who can methodically introduce him to this spiritual world learns to understand the meaning of these phenomena. He then learns to structure the succession of sounds and colors and to combine them, just as we combine consonants and vowels to form a meaningful word. The sounds and colors of the spiritual world appear to us like vowels and consonants, and when we learn what the vowels and what the consonants mean, we have the opportunity to learn to spell and read. We learn that a certain type of being that lives here in the spiritual world communicates through this language of color and sound. This is the training offered to the chela, the disciple, who has to enter these higher worlds to become partakers of these higher truths. We then learn to know that it is not a random combination, a random arrangement of the appearance of colors, sounds and forms, but that what appears to us is the expression of spiritual entities whose language this is. When we have learned to know and read the letters, a whole new world opens up to us.

I have indicated that a lower world than the Devachan world is incorporated into our physical world, which becomes known to us first, that is the astral world. For the student, it sometimes merges with the Devachan world. In the beginning, one cannot distinguish exactly what belongs to the astral world and what belongs to the Devachan world. Only gradually does one learn to distinguish them. Today I would like to give an example of how one can learn to distinguish between what is astral and what belongs to the devachan world, the spiritual world, which is our true home.

The human being as he presents himself to us in the physical world is only part of the human being. In truth, for the one who can see, the human being is a being that has many other sides to his existence than those that appear to the physical eye. I am talking about what is known as the human aura. The human aura is something that essentially belongs to the whole person. I have described part of this human aura in the introduction to the eighth issue of Lucifer. It is something that appears to the seer just as the ordinary physical form appears to the human being's sensory eye. The physical form is only the middle part of the human being, which, so to speak, rests in an oval-shaped cloud of mist. This cloud of mist, the aura, belongs to the human spiritual body just as much as to the physical human being. It is much larger than the physical body, on average perhaps twice as long and three to four times as wide. What appears to the seer's eye as a continuation of the physical body are light formations and color formations of the most diverse kinds. This aura of the human being, this body of light, does not appear in indeterminate clouds, more or less structured in colors, but as a kind of mirror image, as an imprint of what is going on inside the person. A person's passions, instincts and drives are expressed in this aura; everything that we call inner life is expressed in it. Contemporary physics should actually find it most comprehensible that we speak of this, for what does the physicist say? There are oscillating movements of the ether; this oscillating movement transforms what is outside into color. It is the same with our inner world. Within us are urges, instincts, and passions that emanate from every person standing before us. Just as this appears before us as color, so too do perception, sensation, and feeling appear to us, transformed through the spiritual eye, as a colorful aura.

Just as the physical world appears to the physical eye as color, so the spiritual world appears to the spiritual eye in a wonderful blaze of color, only on a higher plane. This shows an immense mobility of color. We see the human being surrounded by an oval body of light in which he floats, and which does not appear to be at rest, but as if flowing, streaming, radiating and losing itself at a certain distance from the human being. In the devachan realm, which appears to be in constant motion, the person has a basic color within them. The person's lasting mood and lasting character traits are revealed in the aura by a lasting color tint, formed by clouds that flow through it in waves. We see how wavy currents run through the aura from bottom to top, flashing through it like lightning, and how the aura is suffused with beautiful blue-red, brown-red and blue colors. We see the most diverse and varied colors, which change according to the different occasions. Go to church and observe the auras of the devotees. You will find completely different color tones than in a gathering in which political passions or human selfishness prevail. You will see the moods of the soul that daily needs bring radiating in forms of brick-red and carmine color, sometimes having a darker color nuance. And if you go to a church and observe the worshippers, you will see the colors blue, indigo, violet and pink. And if you examine the aura of a person who lives in the world of thought, contemplatively pondering scientific problems, you will see the thought forms shining within his aura, reflecting the thought that is not touched by any passion.

When we learn what is shown in the aura, we read, on the one hand, what moods and temperaments live in a person and what takes place in their consciousness; on the other hand, we see all ideas, from the most mundane to the highest, most spiritual, to the feelings of divine worship and the most sublime compassion, reflected in the aura. At first we can probe nothing, but we gradually learn and notice that there are two distinctly different entities in the aura. First, there are cloud-like formations with indefinite outlines that stream in more from the periphery of the skin. We learn to distinguish these cloud-like formations from the appearances that emanate more from the heart, chest and head and have a radiant character. These radiations always emanate from an inner center. So we learn to distinguish the cloud-like formations from those that have a radiant character. The cloudy formations, ranging from brown to dark orange, come from the physical body, from the lower nature of the person, from the passions and drives. In this way, we distinguish the spiritual part of the aura from the lower, astral part. We learn to understand the most common colors. The aura of today's Europeans usually has green colors that often fade into yellow. This green represents the actual intellectual part, the conscious part; it thus expresses the basic mood of the soul life of today's Europeans. When a person is in a trance, you will notice that all green tones disappear from the aura. So anyone who understands how to perceive the aura will not have a difficult time distinguishing between a fraud and someone who is truly in a trance. Likewise, a doctor experimenting with hypnosis in a clinic – we consider this to be somewhat improper, but it does happen sometimes – could very precisely distinguish whether the test subject is deceiving him or whether they are truly in a state of trance or hypnosis, if he can observe the disappearance of the green color in the aura. The shades of green also disappear in the aura of a person who is fainting, and they always disappear in the aura of a sleeping person.

The ability to see the astral aura is the first to develop in the seer. The seer perceives this manifestation of the person relatively soon and learns to distinguish the astral aura from the mental aura. The radiant aura is from the world of Devachan; it is spirit and belongs to that which goes with the person beyond death. It is that which comes from the true spiritual home. What fades from brownish to greenish, to greenish tones, belongs to the transitory; man sheds it with the physical shell or in Kamaloka, in order to then enter the actual spiritual world. This is a higher kind of perception, a higher kind of spiritual sense, when the devachan sense opens up to us. The devachanic world differs quite significantly from the physical world. The physical world is immobile and dead, while the devachanic world is characterized by a complexity and ease of movement without parallel. It is a world that is always moving within itself, and is in a state of perpetual activity.

Now the disciple, who strives for higher development, must learn to find his way in this devachan world. When we perceive in the physical world, things remain as they are, and our perception is based on things. The table and the chair remain still; they do not conform to our perceptions, but our perceptions must conform to the table and the chair. This is not the case in the spiritual world. In Devachan there are no such still things; and therefore, there is an enormous responsibility on the one who consciously enters Devachan. We must be clear about the fact that every thought that flashes through our brain is a real, actual process in the Devachan world. The thought in the external physical world is only a shadow of reality compared to the thought in Devachan. The real thought does not live in our brain. It is not a shadow, a reflex image that appears in our consciousness, but it is an entity that lives in Devachan. In truth, our thoughts are entities that belong to the spiritual world. When you think a thought, you bring about a change in the devachan world. To make this clear, I would like to show you by way of example what happens in the devachan world when you think a thought. Those who have access to the devachanic sense do not just see silhouettes of thoughts, but see the essence of the thoughts as a real object. Imagine harboring some thought or other, a thought that relates to another person. The thought becomes visible to the seer; the thought radiates out like a wave of light emanating from a source of light; and just as the flame radiates light in all directions, so the thinking entity of the person radiates in all directions. And just as light spreads in the physical world, so do the rays of thought spread in the world of Devachan, so that we can indeed see how thoughts radiate from every human being. Therefore you will also understand that the Christ is depicted with a corona of rays. This is not some fantastic thing, but corresponds to a higher perception.

When thoughts radiate, they are first in space and spread out in space, just as light radiates and spreads out in space. Let us take a particular thought. If this thought is conceived in such a way that it is directed only at you, that it concerns only you, then it radiates in that way. But if it refers to another person, then in Devachan it takes on the appearance of light falling on an object and being reflected back from it; and just as an object appears illuminated by light, so the person concerned appears illuminated by the world of thought. When someone radiates a thought that relates to another person – let us assume, for example, the wish that the other person may become healthy – then we can see this thought radiating, just as we see light spreading in all directions. But this thought, which relates to a specific person, does not just flow through the devachan realm, but seeks to be realized in the person's immediate environment. This thought then flows to the person to whom it relates. These are processes that you can perceive in the devachan world. You can perceive how exalted thoughts of man are caught in the devachan space and form a kind of floral structure, beautiful geometric figures that do not exist in the earthly realm. Although it may seem fantastic, all this is true reality for those who can observe in Devachan. Those who learn to move in Devachan learn to consciously send out their thoughts and to become aware of the harvest they will reap through these thoughts. They learn that every thought in Devachan is a fact, and they strive to produce only favorable effects with their thoughts. The uninitiated person sends his thoughts blindly into Devachan, while the initiate learns to give form to his thoughts. This is what gradually becomes clear to the student.

I would like to draw your attention to something in particular. Last time I mentioned that there are two departments in Devachan, so to speak. First, there is the lower division, the Rupa-Devachan, which is the world of the devachanic continent, the devachanic sea and the devachanic atmosphere; these are basically permeated through and through with sensation. Then I described the Akasha fabric, the pure etheric fabric of Devachan. These are all the lower regions of Devachan. Then there are the three higher regions of Arupa-Devachan. In these higher regions, the highest spiritual beings reside: the Dhyani-Chohans, the planetary spirits, and so on. These high spiritual beings also include those we know as Mahatmas, as the spiritual leaders of humanity. These have reached such a high level of development that they can teach the rest of humanity and transmit to it the great truths of existence. For the person who has access to the devachanic sense and is able to observe in the devachan, communication with these advanced human brothers is also possible. He learns to understand the language in which they communicate with each other, and he also learns to speak to them. It is then up to him to translate the messages he has received into everyday language. Such teachings, translated into everyday language, are what we proclaim as theosophical truths. Originally coming from highly developed human brothers and sisters, flowing down from the highest spiritual worlds, these teachings were transmitted to us by a few suitable personalities. But since we have learned to “read”, we understand the eternal secrets of world existence. To be able to translate them into the ordinary language of everyday life, we must learn to look up to these high minds, to the masters, whom we call Mahatmas in Theosophy.

It is of particular interest to observe how the chela relates to these masters in the devachan world. I have already described how thought works in the devachan, how it radiates out to fulfill its destiny. This is not the case, or at least not in the same way, with the thoughts that the chela reverently sends up to the masters or mahatmas to ask them for insights into deeper truths. The thought that the chela sends up to the spiritual guides still takes a very special path that differs from that of the other thoughts. It is as if this thought did not fully flow up to the goal to which it is directed. This thought, this call for information about the higher worlds, first flows into the area that I have described as the Akashic field. Then the thought returns to the disciple, not as it ascended, but enriched, permeated and glowing with what emanates from the Master. This is the reason why it is always emphasized that the Master is the higher self of man. In a certain sense, our own thoughts speak to us again when we enter into contact with these highly developed human spirits. Nothing alien should be brought into us; the Masters do not want to make us into slaves, not even into slaves in spirit. The masters therefore send us not their thoughts, but our own, so that we may recognize that it is the substance that we ourselves have emanated. These are individual experiences of someone who is able to move as an embodiment between birth and death within Devachan, whose sense of Devachan is already here in the physicality, who can lift the spirit out of the shell of physicality.

In the realm of devachan, we also find a large number of lower beings who are regular inhabitants there: these are the temporarily disembodied, those who are between two embodiments. Between two embodiments, people spend a long time in devachan.

If today I have described the experiences that someone in the body can undergo in devachan, then next time I would like to describe what someone who is disincarnate in devachan goes through, that is, the course of the stay in devachan between two lives. This will complement the picture considerably; and if you then add this picture to today's, you will have the opportunity to grasp this world of Devachan more clearly. You will understand some of what initiates say without it being expressed in ordinary daily use or in our literature as what it actually is. Initiates only ever spoke in hints until well into the 19th century. The allusions were always comprehensible to those whose minds had been opened. For those who know the world of causes, the words of an initiate who is not usually taken as such – Goethe – will be understood correctly. Goethe himself said that he had included many secrets in the second part of his Faust that only the initiate can understand. And in mystically clear language, he pointed out what the earthly, the sensually perceptible, is for him: that it points to a higher world, of which it is an expression. If we understand this correctly, then we will know that Goethe, as an initiate, drew higher knowledge from the supersensible world, and then we will understand what he wanted to say with the words:

All that is
transient is but a parable;
The inadequate
here comes to pass;
The ineffable
here is done.

The Theosophical movement seeks to describe, little by little, what many have considered “ineffable”.

Today we will concern ourselves with three important ideas connected with parts of human nature. These may be said to form guiding threads through the entire world. They are as follows: Activity or Movement; Wisdom, which is also called Word, and thirdly Will. When we speak of activity we usually mean something very general. The esotericist however sees in activity the foundation of the whole universe as it surrounds us. The original form of the universe is for the esotericist a product of activity. What is seemingly completed is really a stage of continuous activity, a point in continuity. The whole world is in ceaseless activity. In reality this activity is Karma.

When speaking about man, we speak of his astral body as being Karma, as being activity. Actually the astral body is that part of the human being which is closest to him. What man experiences, so that he differentiates between well being and misfortune, happiness and sorrow, emanates from his astral body. Love, passion, joy, pain, ideals, duty, are bound up with the astral body. When one speaks of joy and sorrow, desires, wishes, etc., one is speaking of the astral body. Man continually experiences the astral body, but the seer perceives its form. This astral body is in continuous transformation. At first it is undifferentiated, so long as man has not yet worked upon it. In our time however man works upon it constantly. When he distinguishes between what is allowed and what is forbidden, he works into it out of his ego. Since the middle of the Lemurian Age until the middle of the Sixth Root-Race man works upon his astral body.

Why does man work upon it? He works upon his astral body because, in the sphere of activity, every single activity calls forth a counter effect. If we rub our hand on a tabletop it becomes hot. The warmth is the counter effect of our activity. Thus each activity calls forth another. Through the fact that certain animals migrated to the dark caves of Kentucky they no longer needed their eyesight but only sensitive organs of touch, in order to find their way about. The result was that the blood withdrew from their eyes and they became blind. This was the result of their activity, of their migration into the caves of Kentucky.⁷

The human astral body is in continual activity. Its life consists in this. In a narrower sense this activity is called human karma. What I do today has its expression in the astral body. If I give somebody a blow, that is activity and calls forth a counter blow. This is balance restoring justice—karma. Every action calls forth its counter action. With this must be considered the concept of cause and effect. In karma there is always something needing to be brought into balance; something further is always demanded.

The second guiding thread in human nature and in the universe is wisdom. Just as karma has something needing to be balanced, wisdom has something of rest, of equilibrium. It is therefore also called rhythm. All wisdom, according to its form, is rhythm. In the astral body there may perhaps be much sympathy, then there is much green in the aura. This green was once called forth as complementary colour.

Originally, instead of the green, there was red, a selfish instinct. That has been changed into green through activity, karma. In wisdom, in rhythm, everything is completed, balanced. In man everything rhythmical, filled with wisdom, is in the etheric body. The etheric body is therefore that in man which represents wisdom. In the etheric body repose, rhythm holds sway.

The physical body actually represents the will. Will, in contrast to absolute rest, is the creative element, that which is productive. Thus we have the following ascent: firstly karma, activity, what needs to be balanced; secondly wisdom, what has been brought to rest; thirdly will, such an overabundance of life that it can sacrifice itself. Thus activity, wisdom, will, are the three stages in which all being flows.

Let us study from this point of view the human being as he stands before us. In the first place man has his physical body. As he is at the present time, he has no influence at all upon his physical body. What man physically is and does is brought about from outside by creative forces. He cannot himself regulate the movement of the molecules of his brain; neither of himself can he control the circulation of the blood. In other words, the physical body is produced independently of man and is also sustained for him by other forces. It is as it were only lent to him. Man is incarnated into a physical body produced for him by other forces. The etheric body too is in a certain respect produced for him by other powers. On the other hand, the astral body is formed partly by other powers, partly by man himself. That part of the astral body which is formed by man himself becomes his karma. What he himself has worked into it must have a karmic effect. This is the undying, the non-transient in him. The physical body has come about through the karma of other beings; but that part of man's astral body in which he has worked since the Lemurian Age, that is his karma. Only when man through his work has transformed the whole of his astral body, has he reached the stage of freedom. Then the whole of his astral body is transmuted from within. He is then entirely the result of his own activity, of his karma.

If we select some particular stage of development we always find a part of man's astral body which is his own work. That, however, which is the result of his own work lives also in the etheric body and the physical body. In the physical body lives what man has made out of himself, through the physical body it lives in the physical world. He would be unable to form concepts about the physical world if he did not work in it through his organs. What man experiences in his astral body he builds into himself. In what he observes in the physical world his three sheaths are active. When for instance he sees a rose, all three sheaths are engaged. To begin with he perceives red. In this the physical body is engaged. In a camera obscura the rose makes the same impression. Secondly, the rose is conceived in the etheric body as a living idea. Thirdly, the rose gives pleasure to the person and in this the astral body is engaged. These are the three stages of human observation. Here the innermost part of man works through the three bodies into the external world. What man takes in from the outer world, he takes in through these three bodies.

Desire underlies all those things involving human activity or karma. Man would have no reason to be active if he had no desires. He has however the desire to take part in the world surrounding him. This is why we also call his astral body his body of desires.

An inner connection exists between man's activity and his organs. He needs his organs both for the lowest and the highest impulses. He also needs them in art. When someone has once and for all absorbed everything from the world, he has no further use for his organs. Between birth and death man accustoms himself to perceive the world through his organs. After death what he is thus accustomed to must slowly be put aside. If he still wishes to make use of his organs to perceive the world, then he finds himself in the condition which is called Kamaloka. It is a condition in which there is still desire to perceive through the organs, which however are no longer there. If after death a person could say that he had no further desire to use his organs, Kamaloka would no longer exist for him. In Devachan everything which man formerly perceived around him with his organs, is there perceived from within—without organs.

Karma, man's activity through the astral body, is something which has not reached a state of balance. When however the activity gradually comes into a state of balance, equilibrium is brought about. If one strikes a pendulum it gradually reaches a state of balance. Every activity which has not reached a state of balance finally comes to rest. Irregularities which are few in number can be observed, but when they are extremely numerous they balance each other. By means of an instrument, for instance, one can observe the irregularities caused in a town by electric trams. In a small town, where the trams are fewer the instrument continually shows strong oscillations, but in a big town, where the movement is greater and more frequent, the instrument is much quieter, because the many irregularities equalise themselves. So it is also in Devachan with each single irregularity.

In Devachan man looks into himself. He observes what he has taken in. He must observe this for as long as is needed for it to reach a rhythmical condition.

A stroke calls forth a counterstroke; but only through many intermediate happenings does the counterstroke return. The effect however persists during the intervening period. The inter-relationship between stroke and counterstroke is worked over in Devachan and transformed into wisdom. What has been worked over and transformed into wisdom is metamorphosed in man into rhythm in contradistinction to activity. What has been changed into rhythm passes over into the etheric body. After Devachan one has become wiser and better because in Devachan all experiences have been worked over. That part of the astral body, which as vibrations has been worked into the etheric body, is immortal. When a man dies that part of the astral body is preserved which he has worked over and transformed, also the very small part of the etheric body which has been worked through; the remaining part of the etheric body is dissolved in the cosmic ether. In so far as this very small part has been worked through, to that degree is his etheric body immortal. Hence when he returns he again finds this small part of the etheric body. What needs to be added to bring about completion determines the duration of his sojourn in Devachan.

When a human being has progressed so far that he has transformed his entire etheric body, Devachan is no longer necessary. This is the case with the occult pupil who has perfected his development and who has transformed his etheric body so that it remains intact after death and has no need to pass through Devachan. This is called the renunciation of Devachan. It is permissible to allow someone to work on one's etheric body when one is certain that he no longer brings anything of evil into the rest of the world; otherwise he would work his harmful instincts into it. Under hypnosis it can happen that the one hypnotised works into the world the harmful instincts of the hypnotist. In the case of normal people the physical body prevents the etheric body from being dragged and drawn hither and thither. When however the physical body is in a state of lethargy it is possible for the etheric body to be worked into. If one person hypnotises another and works harmful instincts into him, these also remain with him after death. Many of the practices of black magicians consisted in their creating willing servants by this means. It is the rule of white magicians to allow nobody to have his etheric body worked into unless by someone whose instincts have passed through catharsis. In the etheric body rest and wisdom prevail. When something bad enters into it, this element of evil comes to rest and therefore endures.

Before the human being as pupil is led to that point at which of his own choice he can work on his etheric body, he must at least, to a certain extent be able to evaluate karma in order to achieve self-knowledge. Meditation therefore should not be undertaken without continual self-knowledge, self-observation. By this means, at the right moment man will behold the Guardian of the Threshold:⁸ the karma which he has still to pay back. When one reaches this stage under normal conditions it merely signifies the recognition of his still existing karma. If I begin to work into my etheric body, I must make it my aim to balance my still remaining karma. It can happen that the Guardian of the Threshold appears in an abnormal way. This happens when a person is so strongly attracted to one particular life between birth and death, that because of the very slight degree of inner activity he cannot remain long enough in Devachan. If someone has accustomed himself to be too outward looking, he has nothing to see within. He then soon comes back into physical life. His desires remain present, the short Devachan is soon over, and when he returns, the collective form of his earlier desires still exists in Kamaloka; he comes up against this also. He incarnates. The old is then mingled with his new astral body. This is his previous karma, the Guardian of the Threshold. He then has his earlier karma continually before him. This is a specific form of the Double.

Many of the popes of the notorious papal age, as for example Alexander VI, have had such a Double in their next incarnation. There are people, and at present this is not infrequent, who have their previous lower nature continually beside them. That is a special kind of insanity. It will become ever stronger and more threatening, because materialistic life becomes ever more widespread. Many people who now yield themselves up completely to materialistic life will in their next incarnation have the abnormal form of the Guardian of the Threshold at their side. If now the influence of spirituality were not to be very strongly exercised, a kind of epidemic seeing of the Guardian of the Threshold would arise as the result of the materialistic civilisation. Of this the neurotic tendency of our century is the precursor. It is a kind of losing oneself in the periphery. All the neurotics of today will be harassed by the Guardian of the Threshold in their next incarnation. They will be pursued by the difficulties of a too early incarnation, a sort of cosmic premature birth. What we have to strive for in Theosophy is a sufficiently long time in Devachan, in order to avoid too early incarnations.

From this aspect we must consider the entrance of Christ into world history. Previously, anyone who wished to achieve a life in Christ had to enter into a Mystery school. There a state of lethargy was induced in the physical body and only through the purified priesthood could there be added to the astral body what was still needed for its purification. This constituted initiation.

But through the coming of Christ into the world, it came about that a man who felt himself drawn to Christ could receive from him something which could take the place of this old form of initiation. It is always possible that someone through union with Christ can preserve his astral body in so purified a condition that he is able to work into his etheric body without doing harm to the world. When one bears this in mind the expression ‘vicarious atonement through death’ receives a quite other significance. This is what is meant by the atoning death of Christ. Before this, death in the Mysteries had to be suffered by everyone who wished to obtain purification. Now the One suffered for all, so that through the world-historic initiation a substitute has been created for the old form of initiation. Through Christianity much that is of a communal nature has been brought about, which previously was not communal. The active power of this substitution is expressed in the fact that through inner vision, through true mysticism, community with Christ is possible. This has also been embodied in language. The first Christian initiate in Europe, Ulfilas, himself embodied it in the German language, in that man found the ‘Ich’ within it. Other languages expressed this relationship through a special form of the verb, in Latin for instance the word ‘amo’, but the German language adds to it the Ich. ‘Ich’ is J. Ch. = Jesus Christ. It was with intention that this was introduced into the German language. It is the initiates who have created language. Just as in Sanskrit the AUM expresses the Trinity, so we have the sign ICH to express the inmost being of man. By this means a central point was created whereby the tumultuous emotions of the world can be transformed into rhythm. Rhythm must be instilled into them through the Ich. This centre point is literally the Christ.

All western nations have developed activity, passionate desires. An impulse must come from the East in order to bring into, them a more tranquil condition. There is already a precursor of this in Tolstoi's book, ‘On Doing Nothing’.⁹ In the activity of the West we find chaos in many spheres. This is continually on the increase. The spirituality of the East should bring a central point into the chaos of the West. What throughout long periods of time had its function as karma, passes over into wisdom. Wisdom is the daughter of karma. All karma finds its compensation in wisdom. An initiate who has reached a certain stage of development is called a Sun Hero, because his inner being has become rhythmical. His life is an image of the sun which in its rhythmical course traverses the heavens.

The word ‘Aum’ is the breath. The breath is related to the word as the Holy Spirit is to Christ, as the Atma is to the I.

• 7 . Often quoted by Rudolf Steiner. See: Darwin, Origin of Species, Chapter 5.
• 8 . See: Knowledge of the Higher Worlds and the Third Mystery Play.
• 9 . Published 1893. A detailed description of Tolstoi's ideas in contrast to Western ideas is to be found in Rudolf Steiner's lecture 3.11.1904. Theosophy and Tolstoy. (Typescript).

• TIAOAIT: Words to the spirit and love from “The Portal of Initiation” by R. Steiner, with a musical prelude by Leopold van der Pals
• “What art thou doing, wind...” by C. F. Meyer
• Planetary Dance by Rudolf Steiner with musical accompaniment by Leopold van der Pals
• “Divine Meal” by C. F. Meyer with musical accompaniment by Leopold van der Pals “Noch einmal” by C. F. Meyer with musical accompaniment by Leopold van der Pals
• ““The Seasons” by Hans Reinhart
• “On the Sistine Madonna” by Friedrich Hebbel
• Hallelujah
• From the “Choir of Basic Instincts” (4th Choir) by Fercher v. Steinwand
• “The Son of the Muses” J. W. v. Goethe with musical prelude by Leopold van der Pals
• “Lonely” (crows) by Friedrich Nietzsche with musical accompaniment by Leopold van der Pals
• Musical prelude “Fateful Question” by Leopold van der Pals
• “Night Song” by Friedrich Hebbel
• “The End of All Things” by Hans Reinhart
• Elegiac prelude with music by Leopold van der Pals Satirical prelude with music by Leopold van der Pals “Km. 21” by Christian Morgenstern
• “Bim-Bam-Bum” by Christian Morgenstern
• “Fried flounder” by Paul Scheerbart with musical prelude by Leopold van der Pals
• “The Aesthetic Weasel” by Christian Morgenstern, a cheerful prelude with music by Jan Stuten, “Rose of Sharon” J. W. v. Goethe
• “The Dance” by Friedrich Schiller with musical accompaniment by Max Schuurman

Dear attendees!

Allow me to say a few words about our eurythmy and eurythmic performance. This will seem all the more justified since you are being asked to turn your attention not to something complete and perfect in itself, but to an artistic endeavor with which, in the opinion of those who carry it out, a goal has not yet been reached, but for the time being only something is willed, perhaps I could even say: with which an attempt is being made to will something. It is obvious that what we are presenting here as a eurythmic art is drawn in parallel with many similar contemporary endeavors, endeavors in the arts of movement, the arts of dance, and the like. And it must be said that much is being achieved in these fields at present, and to an extraordinary degree of perfection. But if you were to think that we want to compete with these neighboring arts, then you would misunderstand our intentions. That is not the point; the point is to develop a special new art form, which, however, as far as we have come with it, is only at its beginning.

The basis of this endeavor is basically in the same direction as our other endeavors: the continuation of what is inherent in Goethe's conception of the world and of art. And here, in particular, it is a very specific area in which we are trying to develop Goethe's conception of art in a way that can correspond to more modern artistic views and feelings.

Goethe, who perhaps more than any other has grasped the essence of art, once said, “Art is a revelation of certain laws of nature that could never be revealed without its activity”. Goethe was able to see in artistic design and creation something akin to a revelation of secret natural laws, of such natural laws that cannot be revealed by the sober, dry, scientific mind, because it is precisely this mind that, through its comprehensive view of the world, has received a deep insight precisely into nature and its mysterious entities. I would just like to say that one receives a small glimpse of this vast, comprehensive Goethean view of nature when one allows Goethe's significant treatise, which is indeed characteristic of a view of nature, to take effect on one , the treatise on the becoming and weaving of the plant organism, from which Goethe's view and thoughts on the becoming and weaving of the living in the world in general then radiate.

I can only briefly mention how Goethe sees that each individual part of a living being is, in a mysterious way, like an expression of the whole living being and, in turn, like an expression of every other individual part. Goethe observes the developing plant, leaf by leaf, up to the flower and the fruit. He is of the opinion that what we admire as a colored petal is only a transformation of the green leaf, and that even the finer flower organs, which in their external shape are very unlike an ordinary green leaf, are only a transformation of this green leaf. There is metamorphosis everywhere in nature. The formation of living things is based on the fact that metamorphosis is everywhere. And so every single link, every single leaf, is an expression of the whole. Goethe sees a whole plant in the individual leaf, in the individual petal, in the individual stamen. But this can be applied to all living things, especially to the archetype of all living things, to human form and to human movement, to human living activity itself. And that is precisely what should be expressed in this eurythmic art. The mysterious laws of nature of the human being itself should be expressed.

That is the idea. But the idea is not the main thing. The main thing is that an attempt has been made to really dissolve and implement this Goethean view of the weaving and essence of the organism in artistic perception. Man speaks by revealing the language of sounds and tones to his surroundings; he speaks with a single member of his organic form, with the larynx; he sings with the larynx and with the neighboring organs. Just as the individual leaf is an entire plant, so, in a sense, what the larynx and neighboring organs are, the foundations of human speech, is the whole human being. And again, the whole human being can only be understood as a complicated metamorphosis of the larynx.

This attempt has been made to bring the whole human being into such movement and into such positions that, as through the larynx, speaking and singing is done in sound, so in the visible through the whole human being, speaking and musicality is brought to bear. This does not mean that the movements that are made should be interpreted in some kind of crazy way; but only that, as in the case of the musical art itself, where everything proceeds according to law and yet everything is felt elementarily - the movements of the eurythmic art, like musical harmony and melody themselves, are felt in their inner lawfulness, without going back to the just mentioned, then the artistic of this eurythmic will arise.

What lives in the human soul, as it is otherwise expressed through the organ of human speech, through the larynx, should be expressed through the whole human being, through his movements, through his postures. The whole human being should, so to speak, develop before the spectator as a larynx.

But human speech contains not only that which is otherwise expressed in sounds and sequences of sounds, but the whole of the human soul is expressed - feeling, inner warmth, sensation, mood and so on, and so on. That is why our eurythmic art also strives to visibly represent everything that comes to expression through the medium of language.

We are therefore dealing with a movement art in general, with movements of the individual human being, but also with movements of groups, with movements of groups that have to express moods, sensations, warmth that glow and permeate language. Everything that, so to speak, expresses the proximity of the larynx is in turn expressed through our group positions and movements. Rhyme and rhythm, by which the poetic and artistic in language is achieved, are sought to be achieved through these movements of groups, through the mutual positions of the dancing people and so on.

What characterizes this eurythmic art, esteemed attendees, and distinguishes it from all neighboring arts, is that it does not seek the momentary gesture, the momentary pantomime. Just as in music, in its inner laws, nothing is sought as an instantaneous expression - then it would be musical painting - so in the eurythmic art, conscious mimicry is not striven for through instantaneous gesture. It is not that which lives momentarily in the soul that is expressed through a momentary gesture or a momentary pantomime, as it is in neighboring arts. Rather, it is the case that the whole is based on an inner lawfulness, just as in music itself. So that, when two eurythmists present the same thing, their differences will be no greater than when two pianists play the same Beethoven sonata according to their own subjective understanding. The difference will not be greater. Everything is objectified. And where you will still see that a pantomime, a mimic, that gestures of the moment occur, there the matter is still imperfect, there we will still have to overcome many a thing – precisely in order to do justice to our views.

This way, one can actually hear the spoken word or the music on the one hand, and on the other hand, this poetry, this music is translated into human [movements] and into movements of groups of people. So that what is expressed in these movements, in these positions, should have as direct an effect as the vibration of the air, the movement of the air, which also emerges as a real movement from the human larynx.

So we turn our attention to the sounds we hear and not to the movement that remains invisible. With our artistic movements, with our eurythmy, we want to see in space what people, as it were, do not see in space because they only turn their ear to how something is spoken and cannot turn any organ to what develops in the larynx as a continuation of the larynx's own movement in air vibrations, in rhythms, in harmony and so on.

This is the fundamental idea of our eurythmic art. In this, we are of course still at the beginning of our endeavors, and I ask you to take this fully into account. You will find something imperfect presented, but something that should be a beginning for further development in this direction. And if you have the kindness and goodwill to look at what can still be imperfectly presented today, in this imperfection, then your attention will certainly give us further impulses for perfecting this art, which wants to take its place among other arts.

In any case, however, we would like more and more people to feel that the forms of artistic expression have not yet been finalized. The essential nature of the style of eurythmy art will be seen particularly clearly if we go back to Goethe's healthy view, which he expresses in the words: Style is based on the deepest foundations of knowledge, on the essence of things, insofar as we are allowed to present this essence of things in visible and tangible forms. And it is Goethe himself who ultimately relates everything that can be represented in art to what can be perceived by the human being himself. In his beautiful book about Winckelmann, Goethe seeks to express the essence of art by saying: The whole world is reflected in man; in man the most secret laws of nature are revealed, and precisely by representing them in and through himself, he represents a summit of the essence and becoming of all things. Goethe says: Man, by rising to the summit of nature, becomes perfect in himself and in turn produces a summit himself. He tries to have within himself all the perfections that are otherwise spread out over individual things in nature; he tries to unite order and harmony within himself, in order to ultimately rise to the production of a work of art.

An attempt, but as already mentioned, an attempt that will seek its perfection, that is what we want to offer you today at the beginning. Turn your attention to this attempt, as it is just beginning. For we are convinced, dear ladies and gentlemen: in what is now still in its early stages lie the seeds of something more perfect, regardless of whether this perfection will be achieved by ourselves or whether others will continue what we have begun in this direction of art. It appears to those who are connected with this particular branch of art as a basis of the deepest conviction: Either we ourselves or others after us will find a way out of the small beginnings, out of the imperfections that can still be seen, to a branch of art that truly leads to the depths of human existence and its possibilities, and that can be placed alongside other branches of art.

It is, of course, only possible to give aphoristic indications here of what will have to be communicated in detail as time goes on, if your connection with the movement at the Goetheanum is to be continued in any real way.

It must be emphasized, above all, that in the very nature of things, one cannot heal in opposition to karma. The fundamental attitude of the physician must be that no healing is possible if it runs counter to karma. In his will-to-heal, the physician's attitude must, from the very outset, tend in two directions. First of all, there must be the unconquerable will that karma be fulfilled. The physician needs this above all for himself, for as you have heard, in a sense, he loses, so far as he himself is concerned, the effect of what he uses for his patients. It can, of course, be transformed so that it will also be effective for him, but all you need to know, in the first place, is what I have already said on this subject. The physician, too, is naturally subject to karma so far as his own health and illness are concerned. But when the proper attitude is present, when therapeutic knowledge penetrates deeply into the human soul, it can be said that the consciousness of karma becomes more and more an actual revelation of karma.

Karma has its two sides. You must regard karma in such a way that you relate your destiny to the earthly life immediately preceding the present one. Karma, in this aspect, is the expression of what the previously earthly lives have brought. But you have also to think of karma in the fifth or sixth subsequent earthly life, in the fifth or sixth life following the present one. Then you will have the results of what is happening now. If you carry this thought to its conclusion, you will realize that karma, too, is in the becoming, that what is happening now adds one thing or another to karma. It can also be said that here and there our deeds may give a turn to karma. Nobody who understands karma can ever be a fatalist.

The one direction of the physician's attitude is, therefore, towards karma. This leads to a sense of security and sureness in life, gives a firm standpoint. The other direction, however, is this; that the will-to-heal must always be present. This will must never, under any circumstances, weaken. It must be at work in therapy all the time, so that it can be truly said that everything possible is being done, even when one is of the opinion that the patient is incurable. You must suppress this opinion and do everything possible about healing. I merely indicate this, aphoristically.

What we have to do today is to deepen, in the esoteric sense, those things that may result in the awakening of soul forces in medical study. The content of the esoteric teaching must assume a particular form, must become a special activity, for the physician. The physician will not be able to content himself with looking at things as they are looked at in ordinary life. This is just what ordinary science does. Science does not call upon forces of soul which are not applied in ordinary life; on the contrary, science throws all its weight upon the side of not calling upon such forces. But the ordinary, current view of life does not enable us to know that some substance or process in the world contains healing forces. The healing forces are only revealed by things when we approach them with certain awakened powers of soul. It will be for you, step by step, to awaken these powers of soul in order that things may speak to you in such a way that in your work as physicians you are able to help human beings by their means. What is of importance is that what I have said to you about the attitude of the physician shall be infinitely deepened in your souls.

I will take a simple subject, to begin with, and treat it in the way in which it ought to be treated in medical study. It will seem aphoristic here, but when there is time, it will be developed.

Think of the form that is revealed to you in the bony skull. We can take this bony skull and draw it. Look at its form and contrast this form with what is revealed to you by a long bone—let us say the thigh bone. These bones are not quite on their own, for manifold physical forces play around the bony skull; equally manifold forces play around the long bones. But the reality of a long bone will only be revealed to you if you study it in connection with the whole universe.

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Just think of a long bone. Its forces are such that they pass through its length, and when the human being assumes his true earthly posture, they actually go down to the central point of the earth. But that is not the essential. The essential thing about a long bone is that it introduces these forces into the connection that exists between the central point of the earth and the moon. Therefore whatever is placed in the body like the long bone of the thigh or the bone of the upper arm, or a muscle lying in a similar position, is really inserted into the forces which connect the earth with the moon. You can picture it like this. Here you have the earth. (See diagram below.)

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Forces stream up to the moon from the earth and these forces include everything that is involved, let us say, in the position in which the thigh is when the human being is standing or walking.

On the other hand, everything that has a position like that of the skull-covering is membered into the Saturn movement. In the skull there are the rotatory forces which belong to Saturn. So that we can say: The human being is formed from below upwards through the connection between earth and moon. He is rounded off, finished off, by the rotatory forces of Saturn. But these two kinds of forces are counter to each other. In the forces which are contained in the connection between earth and moon there lies everything that gives the human being his plastic form, everything that builds him, plastically. One might say: There is a secret sculptor in these forces; whereas the other forces give rise to a perpetual process of demolition, in which the substances which build up the human being plastically are again disintegrated or dispersed. When you cut a nail, you with your scissors are in the Saturn forces; when you eat, this takes you into the realm of the forces working between earth and moon. All these latter forces are up-building forces. All the other forces pulverize the human being. In this interaction between pulverization and plastic up-building live the soul of man and the spirit of man. Therein they manifest themselves.

All that is connected with the etheric body of man both in the outer world and within man himself is connected with these peripheric forces. Silver is connected, in a certain respect, with the forces of up-building. So that when you notice in a human being that the up-building forces are being overpowered by the forces of demolition, you can as a rule correct this by means of some medicament derived from silver. But if you notice that the up-building forces are rampant, that they are maintaining the human being too strongly within his form, hindering as it were the process of pulverization, you will have recourse to the remedies that come from Saturn, from lead. When we know how the human being is built up, we begin to see how we must act.

What we have to do is find our way into this kind of perception. You see, my dear friends, the true world, the world of the spirit, has always been said, and rightly said, to lie on yonder side of a threshold. The human being lives on this side of a threshold. He has to pass over this threshold in order to attain true knowledge, true insight into the constitution of the world. Speaking generally, it is dangerous for the human being to cross this threshold without preparation. For if he carries with him into the spiritual world on yonder side of the threshold his ordinary sense-perception, permeated with thoughts as in ordinary life, he calls forth illusion, downright illusion before his spiritual eyes, because he then judges things on yonder side of the threshold just as he does here, in the physical world. Therefore there stands at the threshold that spiritual being from whom we learn that quite different concepts are necessary when we cross the threshold, that illusions paralyze our life if we pass over into the spiritual world with the ordinary concepts derived from the world of the senses. This Guardian of the Threshold warns us that we must first acquire the ideas that are needed in the spiritual world. People as a rule do not believe that the concepts which correspond to facts in the spiritual world are so very different from those which are suitable in the physical world. In the physical world, for example, the part is always smaller than the whole. This is an axiom. But it is not so in the spiritual world. There, the part is always greater than the whole.

We understand this from an example drawn from the being of man. If we think of a force which the human being has within him when, for instance, he is building up his body out of mineral matter and then think of the nexus of forces which one part of him contains, then, in the face of the cosmos, that which forms the organ—which is the part—is essentially greater than the whole human being. It is not easy at once to visualize the maxim that the part is greater than the whole because you are accustomed to the sense-world; but in face of the super-sensible world it is absolutely true. We must attain to the insight that in the spiritual world the part can be greater than the whole. Our laws of mechanics and physics do not hold for the super-sensible world, rather precisely the opposite. Here, in the material world, a straight line is the shortest distance between two points. In the spiritual world, it is the longest, because there, if we go in the straight direction, we have the most obstacles to overcome. Every other direction is shorter, there, than the straight one.

We must be absolutely clear that if we want to enter the spiritual world, ideas and concepts are needed that are quite contrary to what is a matter of course in the physical world. Courage is required so that we shall not enter into the spiritual world in confusion. We must have courage enough to pass over the spiritual threshold, over the abyss. If we cross over to the spiritual world, if we pass the Guardian of the Threshold and reach the spiritual world yonder in the soul and spirit, in astral body and ego, consciously, then all is well. But if we do not pass through this experience in the ego and astral body, illusion arises and when this illusion shoots back upon the human being, illness is the result. Whenever a man is ill, he really has the Guardian of the Threshold within him, but in a kind of demonic counterpart.

There again I come to the demonic element of which I already had to speak. When we look at a human being with ordinary perception, all his members are intermixed. On the one side there is the ego and the astral body of the man; on the other side there is the etheric body and the physical body. All seems to be intermixed when we look at him with ordinary sight. And what is essential above all is to learn to distinguish what is of the soul in a human being from what is of the body. When the soul is in the body, and you are looking at a human being, the soul does not appear as it really is. Indeed and in truth the soul is light. You must learn more and more to realize that the human soul, when we behold it in its absence from the body, is light. It belongs to what surrounds us as the etheric elements—it belongs to the light. The human soul belongs entirely to the realm of light. We see it rightly when we see it within light.

On the other hand, the body belongs to heaviness. I have shown how heaviness is overcome, how the brain becomes much lighter than its external weight. But the physical body, in the form in which we perceive it, belongs to heaviness. Just as through chemical analysis you get hydrogen and oxygen out of water, so, if you want to behold man in his true being, you must member him into the soul with its power of radiance and the body with its might of heaviness. These two realities—the soul with its power of radiance, and the body with its might of heaviness—are interwoven in confusion when they are looked at with physical eyes. And because they are thus interwoven in confusion, we cannot see in the body, or in the human being as a whole, the essential nature of the illness. By so adjusting your soul that you can observe the human being in such a way that you see how the nature of the illness is revealed, then, gradually, when you look at lead, or silver, you will realize what healing forces are contained in these substances.

But you must take your medical life in tremendous earnestness. You must take the meditative life with such strength into your soul that through this meditative life you grasp the world differently. And that is why I want to give you now words which, if they are added to the others (see Lecture Four) and truly meditated upon, will bring you into the same relation with particular substances which these substances themselves have to the healthy and the sick human being. You must let the words, which I am now going to write on the board, awaken your souls to the realization that what you see of the human being in ordinary life is not the reality. When you vitalize your souls with what lies in these words, then you will perceive the truth, the true reality of the human being.

What I have said up to now will help you, in a general way, to understand the human being in his relation to the cosmos. Today I should like to give you something that will help you to meditative knowledge of, say, a tiny piece of gold. I hammer it into a thin leaf and when I look through it I see green. In its green appearance it awakens, not from mere vague analogy, the same inner experience as green meadows, the green plant covering of the earth; it does indeed awaken this experience if I look at the gold leaf with deeper forces of soul. If then I really steep myself, with all my forces of soul, in the tiny, shimmering piece of gold, the opposite power of soul is awakened. Then, as well as the green shimmering gold—as I look now towards it and now away from it—a whole world comes to me, a whole world shimmers towards me in a kind of pale bluish-red light. And in that moment I know that the whole world is present in that tiny piece of gold. This little piece of gold which, to begin with, has a green shimmer, is, in reality, a whole sphere. Every tiny piece of gold is a center of a whole sphere and I learn to live and weave in the bluish-red, the bluish-violet colors of a sphere. And then, if you learn to know other qualities of gold you will realize their living connection. For instance, you will experience, but fundamentally and basically, the known quality of gold, namely, that it will not combine with oxygen. Then, you will say to yourselves: The human being lives through having oxygen; he lives through perpetually working in oxygen. In the etheric body, as you know, everything is different. The etheric body is related to what is not anchored in the physical body. Gold is related to the etheric body because it refuses to be combined with oxygen. So that by virtue of this very quality, gold works as a healing power in the etheric body for what oxygen, for example, may give rise to in the physical body. For this reason, gold is, as it were, a remedy that works from the center of the human being.

Through this impression of radiance in the pale bluish-red light, you get at the inner truth of the saying: “Gold is sun; gold is wholly sun.” This one piece of gold reveals to you that in cosmic space, gold is the sun, and that this gold-sun is related to your etheric body.

But this means that you are led to those qualities of a substance that are needed in therapy. But you will only really come to this realization by taking the following meditation, not as mere words, but in all earnestness, and as an unceasing challenge to the soul:

See in thy Soul
Power of Radiance;
Feel in thy Body
Might of Heaviness!

Schau in deiner Seele
Leuchtekraft,
Fühl in deinem Körper
Schweremacht.

But this must be a real exercise. You must practice with the aim of making your soul into something that really streams out into space and is like light, the power of radiance; and you must practice with the aim of making your body into something that through its own inner heaviness is connected with the inner being of the earth. You must have a real inner experience of this tremendous contrast, and then you separate your soul and body, as they should be separated. The verse continues:

In Power of Radiance
Rays the Spirit-I.

In der Leuchtekraft
Strahlet Geistes-Ich.

The human “P” rises up as an inner experience in the soul. It is a picture that you must understand. In the soul that is streaming out, radiating out into the universe, the “I” unfolds. To these words you must add:

In Might of Heaviness
God-Spirit wells.

In der Schweremacht
Kraftet Gottes-Geist.

The men of earlier times spoke, not merely in trivial analogy, but as something in profound correspondence with truth, of the human being, the human body, as being a temple of the Godhead. Just as it is true that the “I” is the ruler within the soul when the soul is conscious, so it is also true that the Divine, the Godhead, is the ruler in the body. You may not really speak of your body as your own, for the body is not of man, but of God. It is so indeed. The body of man grows out of the Divine forces. To man belongs only the soul that is within that body. In the instrument that is your body you must see the temple of God. It is of tremendous importance to know this:

In Power of Radiance [of the soul]
Rays the Spirit-I;
In Might of Heaviness
God-Spirit wells.

In der Leuchtekraft [der Seele]
Strahlet Geistes-Ich
In der Schweremacht
Kraftet Gottes-Geist.

The Divine Spirit is mighty in the human body, just as the “I” is mighty in the human soul. And now comes the important thing:

Yet shall not
Power of Radiance
Lay hold of
Might of Heaviness.

Doch darf nicht
Leuchtekraft
Ergreifen
Schweremacht.

When the human being is asleep it is clear to you that his soul is separated from his body. He has separated soul and body. During sleep the soul has not got hold of the body. But in waking life, too, the condition must be such that although the ego and astral body come down in the physical and etheric bodies, there must be an inner separation, and inner apartness between the power of radiance and the might of heaviness. Chemical combination between the power of radiance and the might of heaviness must not arise; these two powers must be inwardly separate. They must not mingle with each other mechanically nor be inwardly united in any way. The might of heaviness of the body, the power of radiance of the soul must work side by side, the former downwards, the latter upwards, within the same space. For that reason, the following words are important.

Yet shall not
Power of Radiance
Lay hold of
Might of Heaviness,
Nor may
Might of Heaviness
Permeate
Power of Radiance.

Doch darf nicht
Leuchtekraft
Ergreifen
Schweremacht
Und auch nicht
Schweremacht
Durchdringen
Leuchtekraft.

The last two lines merely express the opposite of the first two. That which our external, sense-knowledge continually mixes together, must, in reality, be separate within the human being. When you look at the human being with knowledge that comes from the senses, everything is intermixed; and if the human being were indeed what he appears to be to ordinary perception, he would be ill all the time. The human being can be healthy, but our material perception of him is a condition of illness. As we see him, the human being is perpetually ill, but such perception is, of course, Maya, illusion. In his true being, a man must never be as we see him. In his true being of man, power of radiance and might of heaviness must not be intermingled. They must be inwardly separate from each other. There must be nothing of what happens in water, where hydrogen and oxygen enter into a chemical combination with each other and, in themselves, really disappear. This is what ordinary sense-perception does; it has had the bad taste to adopt chemical ideas and to look at the human being as if he were a combination of the power of radiance and the might of heaviness. These two are separate and must so remain—just as if in water, hydrogen and oxygen were separate, although united.

For when Power of Radiance seizes
Might of heaviness,
And when Might of Heaviness enters
Power of radiance,
Then in World-confusion Soul and Body
Bind each other
Unto Perdition.

Denn fasset Leuchtekraft
Die Schweremacht
Und dringet Schweremacht
In Leuchtekraft,
So binden in Welten-Irre
Seele and Körper
In Verderbnis sich.

In perdition is illness. You must take this in full seriousness, so seriously that it forms your body that you can really look at the human being according to the power of radiance and might of heaviness and that you have the feeling when they take hold of one another, they are enemies. In illness they do lay hold of one another. When the power of radiance lays hold of the might of heaviness (weight), bodily illnesses arise; when the might of heaviness presses into the power of radiance, the so-called mental illnesses arise. Just think of it—in the body lives the Divine Spirit. If the power of radiance seizes upon the might of heaviness, the human being is wrongly appropriating the Divine within him.

If you learn to think about these things with the moral impulses that are necessary, to feel them deeply and then to will with what you have felt, you gradually begin to perceive the things and processes of the world in such a way that when the power of radiance has laid hold of the might of heaviness you realize how you can separate the power of radiance from the might of heaviness through something that gives support to the etheric body from out of the astral body, through some substances or else through some process in the human being. If you really feel these things, you will also understand the healing forces of curative eurythmy. The healing power in curative eurythmy is something that reckons very specially with the cosmic forces in the process of healing. When you do exercises with the consonants in curative eurythmy, you are within the moon forces. When you unfold the powers of the vowels in curative eurythmy you are within the Saturn forces. Through these two kinds of forces in curative eurythmy the human being feels his way directly into the cosmos.

Therapy, of course, is the essential thing in medicine, but there can be no therapy without absolutely useful diagnosis. Suppose we are able to confirm that the formative principle is too strong in a human being, that this formative power is coming from salts or carbohydrates which he cannot keep within bounds; there is too much form in him. If you really observe the more delicate workings of the organism—and the symptoms may be only very subtle—you will find that vowels in curative eurythmy which work against form will have an extraordinarily favorable effect.

Or suppose a child shows a slight tendency to stuttering. I am not, of course, going to make any dilettante statements about stuttering being due to this or that cause; naturally, all kinds of things may be wrong and so be the cause of it. But whatever the trouble may be, in cases of stuttering a predominating formative force is present, and therefore vowel exercises in curative eurythmy will be good, carried out in the sequence that is natural in the being of man, the true manifestation of the being of man. So that much can be achieved with children who have a tendency to stuttering by taking the vowel sequence: A(ah), E(ay), I(ee), 0, U, in curative eurythmy provided one has the necessary patience and love.

If you think about all these things, my dear friends, you will realize the importance of regarding the esoteric principles which I gave you a few days ago and have given today, as a kind of morality in medical study. By morality I mean the feeling of being bound to a duty, the feeling of being obliged, through meditation, to bring the soul into the necessary and lasting attunement for facing the world in the true and right way. If lectures could be given you for a whole year, a great deal could be said in detail and this would be of concrete use to you in practice. But as in these lectures we could only make a beginning, it has been of very particular importance to speak of the development of the medical and therapeutic powers which lie within the human being—to place these powers within your reach. For if, with these esoteric hints, you go to your medical studies, you will see that things become different. Maybe they will become more difficult. If someone of a rather dull intellect (and education makes the intellect dull today) takes up medical studies, a certain inner persistence will carry him through the first and second years and help to master things if, as the result of social circumstances, he feels a moral whip behind him. But he does not become a physician in the real sense. He becomes a person whom society appoints to play the part, but he does not become a physician.

If you let these things work upon you, a more delicate force of soul will develop in you. And in many respects the physiology, psychology and pathology on which medical science is based today will cause you pain. It will really be as though you were being offered stones instead of bread. But you yourselves will, nevertheless, be able to get something out of these stones. What is offered to you will, after all, not be without purpose. It will not be easy for you to learn. There must inevitably be difficulties, for the world with its materialism is still mighty and we must, in some way, find our place in it. Having found this place, it is for us to work our way beyond it. Thus we must certainly become physicians in the way the world demands and then medical studies must be permeated with what can be given from here.

Therefore let me say once again that opportunity will be given for you to link yourselves with us here in the way I have indicated. You must have complete confidence in the way in which the medical section of the Goetheanum will be led by me in association with Dr. Wegman. It is precisely medicine, as it can be pursued here, that can show you how human life can really be experienced—strange as this expression is. Therefore when you are once again out in the world and one thing or another occurs to you, write your wishes and your hearts' desires and an answer will be given to everybody in the monthly circular letter. And in this way—which is, to begin with, the only practicable one—external medical studies will be able to be permeated with what can be given here.

You see, there are extraordinarily few people yet—and they can only be the young ones really—who are able to build the bridge between the spiritual aims of Dornach and the materialistic science that holds sway in the outside world. At the present time it can only be a few, and really only those who are still at the stage of their studies. Why?

I once had to give a lecture about a particular chapter of therapy which was attended by medical students and also a professor, a professor of medicine. I was able to watch this man. He came to the lecture thinking that he would find confirmation of his belief that it would be the usual kind of superficial twaddle talked of by quacks. I was able to make a real study of metamorphosis in watching this professor, for on the one side he was inwardly resisting, but on the other side he was astonished. He was obliged to come to the conclusion that it was not rubbish, but naturally he could not say “Yes” to it, because it completely contradicted what he had regarded for decades as being true and correct. I spoke to him after the lecture and it emerged that he was saying to himself: “I would prefer to keep out of all that.” He could not have gone as far as this if he had really thought it nonsense.

If he had thought it nonsense he would easily have kicked it away in the usual manner. He thought he could kick it away, too, but in reality he could not, and the very most that one could have hoped for from a professor was that he should have said to himself: “I would prefer to keep out of all that.” One could not expect more than this. But a young person must have quite a different attitude. A young person has no antecedents and he, therefore, is still able to absorb things which can lead to the healing of humanity. And if this happens, my dear friends, it will really come to pass that gradually perhaps more quickly than we thinkGoetheanum spirituality will enter into medicine.

But what must happen first is that these things shall be continued with real earnestness, and that you go on doing as Dr. Wegman has told me you have done—that you go on coming to her to make the link in full confidence with the true kind of medical studies and with those things that must flow as time goes on, into the materialistic medicine of today. You can do much for yourselves and also much for the world and for sick humanity if you do not regard what you have now heard as something merely transitory, but as a starting-point for that with which such a good beginning has been made. In this sense we will remain united, my dear friends, remain so united that the center to which you adhere here in Dornach, at the Goetheanum, can work in the world, through you. That is what I wanted to say to you as a kind of warning. Then things will go well and much will be added to what we have spoken of here. It may be an ideal in your life of feeling, but it can become, in very truth, life. And as such we will maintain it, my dear friends.

The objection might easily be raised to an address such as this to-day that symbolic and allegoric meanings are forced out of something which a poet has created in the free play of his imaginative fancy. The day before yesterday we set ourselves the task to explore the deeper meaning of Goethe's ‘Fairy Tale of the Green Snake and the Beautiful Lily,’ as it was then presented to our eyes. It will always happen that such an analysis or explanation of a work of fantasy will be turned down with the remark: ‘Oh, all sorts of symbols and meanings with profound applications are looked for in the figures of the work.’ Therefore I want to say at once that what I shall say to-day has nothing whatever to do with the symbolic and allegoric interpretations often made by Theosophists about legends or poetic works. And because I know that again and again the objection has been made to similar explanations which I have given: ‘We are not going to be caught by such symbolic meanings of poetic figures,’ I cannot stress the fact sufficiently that what is to be said here must be taken in no other sense than the following. We have before us a poetic work, a work of comprehensive imaginative power or fantasy, that goes to the depths of things: ‘The Fairy Tale of the Green Snake and the Beautiful Lily.’ We may well be allowed the question, whether we may approach the work from any particular point of view, and attempt to find the basic idea, the true content of this so poetic a product.

We see the plant before us. Man goes to it and examines the laws, the inner regularity, by which the plant grows and flourishes, by which it unfolds its nature bit by bit. Has the botanist, or even someone who is no botanist, but arranges the growth of the plant in his imagination, the right to do it? Can one object: the plant knows nothing of the laws you are discovering, the laws of its growth and development! This objection against the botanist or the lyric poet who expresses the sensations derived from the plant in his poetry would have the same weight as the objection one could bring against such an explanation of Goethe's story. I do not want things to be taken as if I were to say to you: There we have a Snake, which means this or that, there we have a Golden, a Silver, and a Brazen King, who stand for this or that. I do not intend to expound the story in this symbolic, allegoric sense, but more in such a way that as the plant grows according to laws of which it is itself unconscious, and as the botanist has the right to discover these laws of its growth, one must also say to oneself that it does not follow that the poet Goethe was consciously aware of the explanations which I shall give you. For it is as true that we must consider the inevitability, and the true ideal content of the story as it is that we discover the laws of the plant's growth; that the plant grows in accordance with the same inevitability which originated it, though it is itself unconscious of it.

So I ask you to take what I shall say as if it presented the sense and the spirit of Goethe's methods of thought and idea-conception and as if he who, as it were, feels himself called upon to put before you the ideal philosophy of Goethe, were justified—that you might find a way to it—in expounding the product of Goethe's invention, in emphasizing the figures, and in pointing out their correlation—just as the botanist demonstrates that the plant grows in accordance with laws he has discovered.

Goethe's psychology or soul-philosophy, namely, what he considers determinative for the nature of the soul, is illustrated in his beautiful Fairy Story of the Green Snake and the Beautiful Lily; and if we are to understand each other in what I have to say it will be a good thing if, in a preliminary study, we make the spirit of his soul-world clear. It has been already pointed out in the previous address that the world-conception represented here starts from the view that human knowledge is not to be looked upon as something stationary once for all. The view is widely held that man is as he is to-day, and being what he is he can give unequivocal judgment on all things; he observes the world with his sense-organs, takes in its phenomena, combines them with his reason, which is bound to his senses, and the result is an absolute knowledge of the world which must be valid for all. On the other side—but only in a certain way—stands the spiritual scientific world-conception which is represented here. This starts from the premise that what is to become our knowledge is continually dependent on our organs and our capacity for knowledge and that we ourselves are, as men, capable of development; that we can work on ourselves, and raise higher such capabilities as we have on a given level of existence. It holds that we can educate them, and they can be developed still further, even as man has developed himself from an imperfect state to his present position, and that we must come to a deeper penetration of things, and a more correct view of the world by rising to higher standards. To put it more clearly, if also more trivially: if we leave out altogether a development of humanity and look only at people as they are around us; and then turn our eyes on those men whom one reckons as belonging to primitive races in the history of civilization, and if we ask ourselves what they can know of the laws of the world around us and compare it with what an average European with some ideas of science can know of the world, we shall see there is a great difference between the two. Take, for instance, an African negro's picture of the world and that, let us say, of an European monist, who has a sense of reality through having absorbed a number of the scientific ideas of the present age: the two are entirely dissimilar.

But on the other hand Spiritual Science is far from depreciating the world-picture of the man who takes his stand on pure materialism, and from declaring it invalid. It is more true to say that in these things it is considered that in every case a man's world-picture corresponds to a stage in human evolution, and that man is able to increase the capabilities in him and to discover by means of the increase other new things.

It lies thus in the purview of Spiritual Science that man reaches ever higher knowledge by developing himself, and what he experiences in the process is objective world-content, which he did not see before because he was not capable of seeing it. Spiritual Science is therefore different from other one-sided world-conceptions, whether spiritualistic, or materialistic, because it does not recognize an absolute, unchangeable truth, but only a wisdom and truth belonging to a given stage of evolution. Thus it adheres to Goethe's saying: ‘Man has really always only his own truth, and it is always the same.’ It is always the same because what we instil into ourselves through our power of learning, viz., the objective, is the same.

Now how does man succeed in developing the capabilities and powers that lie in him? One may say that Spiritual Science is as old as human thought. It always took the view that man has before him the ideal of a certain knowledge-perfection, the object of his aspiration. The principle contained in this was always called the ‘principle of initiation.’ This initiation means nothing other than increasing the powers of man to ever higher stages of knowledge, and thereby attaining deeper insight into the nature of the world around him. Goethe stood completely and all his life long, one may say, on this principle of development towards knowledge, this principle of initiation; which is shown us most particularly in his Fairy Tale.

We shall understand each other most easily if we proceed from the view which is held most often and most widely to-day, and which is to a certain extent in opposition to the initiation-principle.

To-day one can hear in the widest circles those people who think about such things and believe themselves to have an opinion on them representing, more or less consciously, the point of view that in what concerns truth and objective reality only physical observation, or objects of physical observation can be decisive in formulating ideas. You will constantly hear it: that alone can be Science which is based on the objective foundation of observation, and by this one understands so frequently is meant only the observation of the senses and the application of the human reason and capacity to formulate thoughts to these sense-observations. Every one of you knows that the capacity to formulate ideas and concepts is a capacity of the human soul among other capacities and every one of you also knows that these other capacities of the soul are our feeling and our will. Thus, even with this comparative superficial review, we may say: man is not merely an ideating, but also a feeling and willing being. Now those who think they must put forward the purely scientific point of view will always repeat: in science, only the power of thought may enter, never human feeling, never what we know as will-impulses, for otherwise that which is objective would become clouded, and that which the power of thought might achieve by being kept impersonal, would only be prejudiced.

It is correct enough that when a man introduces his feeling, his sympathy or antipathy, into the object of a scientific enquiry, he finds it repulsive or attractive, sympathetic or antipathetic. And where should we be if he were to consider his desire as a source of knowledge, so that he could say about a thing, I want it or I do not want it? Whether it displeases or pleases you, whether you desire it or not, is entirely the same to the thing. As true as it is that he who believes himself able to stand on the firm ground of science can confine himself only to externals, so true it is that the thing itself compels you to say it is red, and that the impression you get concerning the nature of a stone is the correct one. But it does not lie in the nature of the thing that it appears to you ugly or beautiful, that you desire it or not. That it appears to you red has an objective reason; that you do not desire it has no objective reason.

In a certain respect modern psychology has got beyond the point of view just described. It is not my task here to speak for or against that tendency of modern psychology which says: ‘When we consider psychic phenomena and the soul-life, we must not confine ourselves only to intellectualism, we must regard man not merely in what concerns the power of conception, we must also consider the influences of the world of feeling and will.’ Perhaps some of you know that this belongs to Wundt's system of philosophy, which takes the will to be the origin of soul-activity. In a way that is in some respects fundamental, whether one agrees with it or not, the Russian psychologist Losski has pointed out the control of the will in human soul-life, in his last book called ‘Intuitivism.’ I could say much to you if I wanted to show how concerned the theory of the soul is to overcome the one-sidedness of intellectualism, and if further, I wanted to show you that the other powers also play a part in human soul-power.

If you carry the thought a step further, you will be able to say that this shows how impossible the demand is that the power of formulating ideas, limited as it is to observation, may lead to objective results in science. When science itself shows its impossibility, shows that everywhere Will plays a part, on what grounds would you then establish the purely objective observation of anything? Because you prefer to recognize only matter as objective, subject as you are to the tricks played by the will and your habits of thought, and because you have not the habit of thought and feeling to recognize also the spiritual element in things, therefore you omit the latter altogether in your theories. It is not a question, if we want to understand the world, of what kind of abstract ideals we set before us, but of what we can accomplish in our souls.

Goethe belongs to those people who reject the principle most categorically that knowledge is produced only through the thinking capacity, the one-sided capacity to form ideas. The prominent and significant principle expressed more or less clearly in Goethe's nature is that he considers that all the powers of the human soul must function if man is to unravel the riddles of the world.

Now we must not be one-sided and unjust. It is quite correct, when the objection is raised that feeling and will are qualities subjected to the personal characteristics of a man, and when it is asked where we should come to if not only what the eyes see and the microscope shows, but also what feeling and will dictate were considered as attributes of things! All the same that is just what we have to say in order to understand someone who, like Goethe, stands for the principle of initiation and development, namely, that, given the average feeling and will in man to-day, they cannot be applied to the acquirement of knowledge, that, in fact they would lead only to an absolute disharmony in their knowledge. One man wants this, the other that, according to the subjective needs of feeling and will. But the man who stands on the ground of initiation is also quite clear that of the powers of the human soul—thinking, representation, feeling, will—the capacity to construct thoughts and to think has advanced furthest, and is most inclined and adapted to exclude the personal element and to attain objectivity. For that soul-power which is expressed in intellectualism is now so advanced that when men rely upon it, they quarrel least, and agree most in what they say. Feeling and will have not had the chance of being developed to this point. We can also justifiably find differences when we examine the region of ideas and their representation. There are regions of the idea-life which give us completely objective truths, which men have recognized as such, quite apart from external experience, and these truths are the same if a million people differ in their opinions about them. If you have experienced in yourself the reasons for it, you are able to assert the truth even if a million people think otherwise. For instance, everyone can find such truths confirmed as those dealing with numbers and space dimension. Everyone can understand that 3 x 3 = 9, and it is so, even if a million people contradict it. Why is this the case? Because regarding such truths such as mathematical truths, most people have succeeded in suppressing their preference and their aversion, their sympathy and their antipathy, in short, the personal factor, and letting the matter speak for itself. This exclusion of the personal in the case of thought and the capacity to formulate ideas has always been called the ‘purification’ of the human soul, and considered the first stage on the way to initiation, or, as one might also say, on the way to higher knowledge.

The man who is versed in these things says to himself: It is not only with regard to feeling and the will that people are not yet so far that nothing personal enters into it, and that they can verify objectivity, but also with regard to thought the majority are not yet so far as to be able to give themselves up purely to what the things, the ideas of the things themselves say to him, as everyone can in mathematics. But there are methods of purifying thought to such a point that we no longer think personally, but let the thoughts in us think, as we let mathematical thought do. Thus, when we have cleansed thought from the influences of personality, we speak of purification or catharsis, as it was called in the old Eleusinian mysteries. Hence man must reach the point of purifying his thinking, which then enables him to comprehend things with objective thought.

Now, just as this is possible, so is it also possible to eliminate all the personal factor from feeling, so that the appeal of things to the feelings has no longer any say, to the Personal, or to Sympathy and Antipathy; nothing but the nature of the thing is evoked, in so far as it cannot speak to mere concept capacity. Experiences in our souls which have their roots or origin in our feelings, and which therefore lead to inner knowledge, and lead deeper into the nature of a thing, speaking however to other sides of the soul than mere intellectualism, can be purified of the personal element as well as thought, so that feeling can transmit the same objectivity as thought can. This cleansing or development of the feelings is called in all esoteric doctrine ‘enlightenment.’ Every man capable of development, and striving after it in no casual way, (that lies in intention of the personality) must take pains to be stirred only by what lies in the nature of the thing. When he has reached the point where the thing rouses in him neither sympathy nor antipathy, where he allows only the nature of things to speak, so that he says: whatever sympathies or antipathies I have are immaterial and are not to be taken into consideration, then it lies in the nature of the thing that the thought and action of the man assume this or that direction—then it is a declaration of the innermost nature of the thing. In esoteric doctrine this development of the will has been called ‘consummation.’

If a man takes his stand on the ground of spiritual science, he says to himself: ‘If I have a thing in front of me, there is in it a spiritual element, and I can so stimulate my mode of conception, that the essence of the thing is represented objectively through my concepts and ideas. Hence there is present in me the same thing that works externally, and I have recognized the essence of the thing through my mode of conception. But what I have recognized is only a part of the essence.’ There exists in things something which can speak not to thought at all, but only to feeling, and indeed only to purified feeling or to feeling which has become objective. The man who has not yet developed in himself by this cultivation of the feelings such a part of the essence, cannot recognize the essence along these lines. But for the man who says to himself that feeling as well as the capacity to think can provide a basis of knowledge (not the feeling as it is, but as it can become by means of well-founded methods of the teaching of cognition) for such a man it becomes gradually clear that there are things deeper than thought possibilities, things which speak to one's soul and the feelings. There are also things which reach even down to the will.

Now Goethe was particularly convinced that this really is the case, and that man really has in him these possibilities of development. He stood firmly on the ground of the principle of initiation, and he has shown us the initiation of man through the development of his soul and the development of the three powers of will, feeling and thought by representing them in his Fairy Tale.

The Golden King represents the initiation for the thought-capacity, the Silver King represents the initiation with knowledge capacity of objective feeling, and the Brazen King the initiation for knowledge capacity of the will. Goethe has emphasized that man must overcome certain things if he wishes to receive these three gifts. The Youth in the story represents man in his struggle for the highest. As Schiller in his Æsthetic Letters depicts man's aspiration towards complete humanity, so Goethe depicts in the Youth man's aspiration for the highest, wanting straight away to reach the Beautiful Lily, and attaining then inner human perfection, given him by the three Kings.

How that happens is pointed out in the course of the story. You remember that in the subterranean Temple, into which the Snake looks because of the earth's power of crystallization, one King was in each of the four corners. In the first was the Golden, in the second the Silver, in the third the Brazen King. In the fourth was the King who was a mixture of the other three metals, in whom, therefore, the three composite parts were so welded that one could not distinguish them. In this fourth King, Goethe depicts for us the representative of that stage of human development in which will, thought and feeling are mixed together. In other words he stands for that human soul which is governed by will, thought and feeling, because it is itself not master of these three capacities. On the other hand in the Youth, after he receives the three gifts from the three Kings separately, so that they are no longer chaotically mixed, that stage of knowledge is represented which does not allow itself to be ruled by thought, feeling and will, but which, on the contrary, rules over them. Man is ruled by them as long as they flow chaotically and intermingled in him, as long as they are not pure and independent in his soul. Until man has reached this separation, he is not capable of being effective through his three knowledge-capacities. When he has reached this point, however, he is no longer the subject of Chaos, but on the contrary himself controls his thought, his feeling and his will, when each is as pure and unalloyed as the metal of the respective Kings: his mode of Conception, pure as the Golden King (for nothing is mixed in him); his mode of Feeling, where nothing is added or mixed, but pure as the Silver King; and so too the Will, pure as the brass of the Brazen King; Concepts and Feelings no longer govern him, for he stands, in his nature, free; he is capable, in a word, of comprehension by means of thought, of feeling and will as required, making use of each separately. He can grasp according to necessity and the nature of things either by means of thinking, feeling or willing. Then he has advanced so far that the whole pure knowledge-capacity which we see in thought, feeling and will, leads him to a deeper insight, and he really steeps himself in the current of events, in the inner nature of things. Of course only experience can teach that this is possible.

Now it will not be difficult to agree, after what I said just now, that if Goethe makes the Youth represent striving mankind, we may see in the Beautiful Lily another soul-condition, namely, that soul-condition which man attains when the beings lying in things spring forth in the soul, and he thereby raises his existence by blending the things in himself with the nature of things in the external world. What man experiences in his soul by growing out of himself, by becoming master of the powers of the soul, victor over the chaos in his soul; what man then experiences, that inner blessedness, that unity with things; their awakening in him, is shown us by Goethe in his representation of the union with the Beautiful Lily. Beauty here is not merely aesthetic beauty, but a quality of man brought to a certain stage of perfection. So that we shall also now find it easy to understand why Goethe makes the Youth proceed in his effort to reach the Beautiful Lily, in such a way that all his powers at first disappear. Why is this?

We understand Goethe's presentation of such a scene if we hold fast to a thought he once expressed: ‘Everything which gives us mastery over ourselves without liberating us, leads us into error.’ Man must first be free, he must reach the point of being master of his inner soul-powers, and then he can attain union with the highest soul-condition, with the Beautiful Lily. But if he sets out to attain it unprepared, with still immature powers, they are lost and his soul is shrivelled. Hence Goethe points out that the Youth seeks this liberation which will make him captain of his soul. The moment his soul-powers are no longer chaotic, but are purified, cleansed and ordered, he is ready to reach that condition of soul which is symbolized by his union with the Beautiful Lily.

So we see that Goethe constructs these figures in free creative fantasy, and if we look upon them as representing soul-powers, we see that they permeate and work in his whole soul. If we look upon them like this, if we are as sensitive to these figures as in a way Goethe was—Goethe who unlike a second-rate didactic poet was not content to say what this or that soul-quality meant, but used it to express what he felt himself, then we shall realize what is expressed in these poetic figures. And therefore the various figures stand in the same personal relationship to each other as the soul-powers of a man stand to each other.

It cannot be clearly enough insisted upon that there is no question of the characters meaning this or that. That is certainly not the case. Rather is it that Goethe felt this or that in this or that soul-activity and transformed his feelings in connection with one or the other soul-activity into one or the other figures.

Thus he created the sequence of the story's events, which is still more important than the figures themselves. We see the Will-o'-the-Wisps and the Green Snake, and that the former cross over from the other side of the river and reveal quite peculiar qualities. They absorb the gold greedily, even lick it from the walls of the Old Man's room, and then throw it about prodigally. The same gold which in the Will-o'-the-Wisps is a sign of worthlessness, as we are also shown by the fact that the Ferryman has to refuse it—otherwise the river would surge up¹—the Ferryman may take only fruits in payment—this gold—what effect does it have in the body of the Green Snake? The Snake, after taking it, becomes internally luminous! And the plants and other things round her are also lit up because she takes into herself what in the case of the Will-o'-the-Wisps is a symbol of worthlessness.

But a certain importance is ascribed even to them. You know that the Old Man at the critical moment calls upon the Will-o'-the-Wisps to open the Temple gates, so that the whole train can enter in. Precisely the same thing which happens here in the case of the Green Snake, is to be found in the human soul, a thing we came across particularly clearly two days ago in the conversation between Goethe and Schiller. We saw that Schiller, as he spoke with Goethe about the way in which nature should be regarded, was still of the opinion that the drawing with a few strokes by Goethe of the proto-plant was an idea, an abstraction, which one receives when one omits the differentiating features and puts together the common ones. And we saw that Goethe thereupon said that if that was an idea, then he saw his ideas with his eyes. At this moment there were two quite different realities in opposition. Schiller trained himself completely to take Goethe's way of looking at things; so that it shows no lack of honour to Schiller if he is taken as an example of that human soul which moves in abstractions, and preferably in those ideas of things which are comprehended by the mere reason. That is a particular inclination of the soul, which, if a man wishes to attain a higher development, can, in certain circumstances, play a very dangerous part.

There are people whose inclination lies in the direction of the abstract. Now when they combine this abstraction with something they come across as soul-power, this is, as a rule, the concept of unproductivity. These people are sometimes very acute, they can draw fine distinctions, and connect this or that concept wonderfully. But you also often find with such a soul-condition, that the spiritual influences, inspirations, are excluded. This soul-condition, characterized by unproductivity and abstraction, is represented to us in the Will-o'-the-Wisps. They take up the gold wherever they find it; they lack any inventive faculty, are unproductive and can grasp no ‘ideas.’ These ideas are alien to them. They have not the will unselfishly to yield themselves up to things, or to stick to facts or to use concepts only as far as they are interpreters of facts. All they care about is to stuff their reasons full of concepts, and then scatter them about prodigally. They are like a man who goes to libraries, collects wisdom there, and takes it in and then gives it out again correspondingly. These Will-o'-the-Wisps are typical of that soul-capacity which is never able to grasp a single literary thought, or feeling, but which can nevertheless grasp in beautiful forms what creative spirits have produced in literature. I do not mean to say anything against this kind of soul. If a man did not have it nor cultivated it when he was insufficiently endowed with it, he would lack something which must be present when it comes to the real capacity for knowledge. In his picture of the Will-o'-the-Wisps, in the whole circumstances in which they appear and act, Goethe shows the manner in which such a soul-type functions, in relation to other soul-types, how it harms and benefits. In truth, if someone wanted to climb to higher stages of knowledge and had not this faculty of soul, there would not be the means to open the Temple for him. Goethe shows the advantages equally with the drawbacks of this soul-condition. What he gives us in the Will-o'-the-Wisps represents a soul-element. The moment it wants to lead an independent life in one direction or another, it becomes harmful. This abstraction leads to a critical faculty which makes men learn everything indeed, but incapable of further development, because the productive element is missing in them. But Goethe also clearly shows how far there is value in what the Will-o'-the-Wisps represent. What they contain can become something valuable; in the Snake the Will-o'-the-Wisps' gold turns to something valuable in so far as she illumines the objects round about her.

What lives in the Will-o'-the-Wisps, when worked out in another way, will become extremely fruitful in the human soul. When man strives so to regard his experiences of concepts and ideas and ideal creations not as something abstract in themselves, but as capable of leading to and interpreting the realities round him, so that he thinks as selflessly and willingly of his observations as of the abstract quality of the concepts, then he is as regards this soul-power in the same position as the Green Snake: then he can produce light and wisdom out of the purely abstract concepts. Then he is not brought to be in the vertical line which loses all connection and relation to the horizontal plane. The Will-o'-the-Wisps are the Snake's relatives, but of the vertical line. The gold-pieces fall through the rocks, are absorbed by the Snake which thereby becomes inwardly luminous. He who approaches the things themselves with these concepts absorbs wisdom.

Goethe gives us also an example of how one is to work on the conceptions (Begriffe). He has the conception of the proto-plant. Primarily it is an abstract conception, which, were it worked out in the abstract, would become an empty picture, killing all life, as the gold, thrown down by the Will-o'-the-Wisps, killed the Pug-dog. But just think what Goethe does with the conception of the proto-plant. If we follow him on his Italian journey, we see that this conception is only the ‘leit-motif’ going from plant to plant, from being to being. He takes the conception, goes from it over to the plant, and sees how this is made in one or another shape, taking on quite different shapes, in lower or higher places, and so on. Now he follows from step to step how the spiritual reality or form creeps into every physical form. He himself creeps about like the Snake in the crevices of the earth. Thus for Goethe the conception-world is nothing else but that which can be spun into objective reality. The Snake for him is the representative of that soul-power which does not struggle upward selfishly to higher regions of existence in an attempt to raise itself above everything, but which continually and patiently lets the conception be verified by observation, patiently goes from experience to experience. When man not merely theorizes, not merely lives in the conceptions, but applies them to life and experience, then he is as far as this soul-power is concerned, in the position of the Snake. This is so in a very wide sense. He who takes philosophy not as a theory, but as what it is meant to be, he who regards the conceptions of spiritual science as exercises for life, knows that just such conceptions, even the highest, are meant to be applied in such a way that they merge into life and are verified by daily experience. The man who has learnt a few conceptions but is incapable of applying them to life is like a man who has learned a cooking-book by heart, but cannot cook. As the gold is a means to throw light on things, so Goethe illuminates the things round him by means of his ideas.

This is the instructive and grand thing about Goethe's attitude to Science, and his every effort, that his ideas and conceptions have reality and have the effect of lighting up all objects round him. The day before yesterday special importance was laid on the universality in Goethe which gives the reason why we never have the feeling: that is Goethe's ‘meaning.’ He stands there, and when we see him, we find only that we understand things better which before were not so clear. For this reason he was capable of becoming the point of agreement between two hostile brethren, as we saw the day before yesterday.

If we wanted to discuss every feature in this fairy tale and characterize every figure in it, I should have to speak not for three hours but for three weeks on it. So I can give you only the deeper principles contained in the story. But every feature shows us something of Goethe's method of thought and his opinion of the world.

Those soul-powers which are represented in the Will-o'-the-Wisps, in the Green Snake and in the Kings, are on one side of the River. On the other side lives the Beautiful Lily, the ideal of perfect knowledge and perfect life and work. We heard from the Ferryman that he can bring the people (gestalten, forms) from the other side to this, but can take no one back again. Let us apply this to our whole soul-mood or soul-condition and our improvement.

We find ourselves on earth as beings with souls. These or the other soul-capacities work upon us as talents, as more or less developed soul-powers. They are in us; but we have also something else in us. In us human beings if we take ourselves properly there is the feeling, the knowledge that the powers of our soul, which finally interpret the nature of things to us, are closely related to the elemental spirits (grundgeister) of the world, with the Creative, Spiritual forces. The longing for these creative forces is the longing for the Beautiful Lily. Thus we know that everything derived on one hand from the Beautiful Lily, strives on the other to return to her. Unknown forces unmastered by us have brought us from the world on the other side over the river-boundary to this side. But these forces, characterized by the Ferryman, and working in the depths of unconscious nature, cannot take us back again, for otherwise man would return, without his work and co-operation, to the kingdom of the divine, precisely as he came over. The forces which as unconscious nature-forces have brought us over into the kingdom of struggling humanity, may not lead us back again. For this other forces are required; and Goethe is aware of it. But he wants to show also how man must set about being able to re-unite with the Beautiful Lily. There are two ways. One leads over the Green Snake; we can cross by it and gradually find the kingdom of the spirit. The other way goes across the Giant's shadow. We are shown that the Giant, otherwise without strength, stretches out his hand at dusk, and its shadow falls across the River. The second road leads over this shadow. Whoever wishes therefore to cross by clear daylight to the kingdom of the spirit must use the way provided by the Snake; and whoever wishes to cross at dusk can use the way leading across the Giant's shadow. Those are the two ways to reach a spiritual picture of the world. The man who aspires to the spiritual world—not with human concepts and ideas, not with those forces which are symbolized by the worthless gold (as spirits of bare sophistry) and the Will-o'-the-Wisps—but by proceeding patiently and selflessly from experience to experience, succeeds in reaching the other bank in full sunlight.

Goethe knows that real research does not stop at material things, but must lead over beyond the boundary; beyond the river which separates us from the spiritual. But there is another way, a way for undeveloped people, who do not want to take the road of knowledge, but a way represented by the Giant. He himself is powerless, only his shadow has a certain strength. Now what is powerless in a true sense? Take all the conditions possible to man when his consciousness is reduced, as in hypnotism, somnambulism and even dream-conditions; everything by which the clear consciousness of day is subdued, whereby man is subject to lower soul-power than in clear consciousness, belongs to this second way. Here the soul, by surrendering its ordinary daily functional power of the soul, is led into the real kingdom of the spirit. The soul, however, does not itself become capable of crossing into the spiritual kingdom, but remains unconscious and is carried across like the Shadow into the kingdom of spirit. Goethe includes in the forces represented by the Giant's shadow everything which functions unconsciously and from habit, without the soul-powers which are active during clear consciousness taking part. Schiller, who was initiated into Goethe's meaning, once, at the time of the great upheavals in Western Europe, wrote to Goethe: ‘I rejoice that you have not been roughly caught in the shadow of the giant.’ What did he mean? He meant that had Goethe travelled further West, he would have been caught in the revolutionary forces of the West.

Then we see that the objects of man's quest, the height of knowledge, is represented in the ‘Temple.’ The Temple represents a higher stage of man's evolution. Goethe nowadays would say that if the Temple is something hidden, it is under the narrow crevices of the earth. Such an aspiring soul-force as is represented in the Snake can feel the shape of the Temple only dimly. By absorbing the ideal, the gold, she can illumine this shape, but fundamentally the Temple can be there to-day only as a subterranean secret. But though Goethe leaves the Temple as something subterranean for external culture, he points out that to a further-developed man this secret must be unlocked. In this he indicates the current of Spiritual Science which to-day has already caught up wide masses of people, which in a comprehensive sense seeks to make popular the content of Spiritual Science, of the principle of initiation, and of the Temple's secret. The Youth is therefore to be regarded in this truly free Goethean sense as the representative of aspiring mankind. Therefore the Temple is to rise beyond the River, so that not only a few individuals who seek illumination can cross and re-cross, but so that all people can cross the River by the bridge. Goethe, in the Temple of Initiation above the earth puts before us a future state, which will have arrived when man can go from the kingdom of the senses into the kingdom of the spiritual, and from the kingdom of the spiritual into the kingdom of the senses.

How is this attained in the Fairy Tale? Because the real secret of it is fulfilled. The solution of the story is to be found in the story itself, says Schiller, but he has also pointed out that the word that solves it is inserted in a very remarkable way. You remember the Old Man with the Lamp, which illuminates only where there is already light? Now, who is this Old Man, and what is the Lamp? What is its curious light? The Old Man stands above the situation. His lamp has the peculiar quality of changing things, wood into silver, stone into gold. It has also the quality of shining only where there is already a receptivity, a definite kind of light. As the Old Man enters the subterranean Temple he is asked how many secrets he knows. ‘Three,’ he replies. To the Silver King's question, ‘Which is the most important,’ he answers: ‘The open one.’ And when the Brazen King asks whether he would tell it them also, he says: ‘As soon as I know the fourth.’ Whereupon the Snake whispers something in his ear and he says at once:

‘The Time is at Hand.’

The solution of the riddle is what the Snake whispered in the Old Man's ear, and we have to find out what that is. It would lead us too far to say at length what the three secrets mean. I shall only hint at it. There are three Kingdoms which in evolution are so to speak stationary: the mineral, the vegetable and the animal Kingdoms, which are completed, as compared with progressive man, who is still developing. The inner development of man is so vehement and important that it cannot be confused with the development of the other three nature kingdoms. What the secret of the Old Man contains is the fact that one Kingdom of nature has arrived at the present point of a full-stop, and this is what explains the laws of the mineral, vegetable and animal kingdoms. But now comes the fourth kingdom, that of man, the secret which is to be revealed in the human soul. The secret which the Old Man must first discover, is of this kind. And how must he discover it? He knows of what it consists, but the Snake has to tell him first. This indicates to ns that man has still to go through something special, if he wants to attain the goal of evolution as the three other kingdoms have done. What this is the Snake whispers to the Old Man. She tells how a certain soul-power must be developed, if a higher stage is to be reached; she says that she has the will to sacrifice herself for this, and she does in fact sacrifice herself. Hitherto she has made a bridge when here and there someone wished to cross; but now she will become a permanent bridge, by falling in pieces, so that man will have a lasting connection between this side and that, between the spiritual and the physical. That the Snake has the will to sacrifice herself must be taken as the condition of revealing the fourth secret. The moment the Old Man hears that the Snake will sacrifice herself, he can even say: ‘The time is at hand!’ It is that soul-power which adheres to the external. And the way to be trodden is not to make this soul-force and inner science the ultimate end but self-surrender. That really is a secret, even if it is called an ‘open secret,’ that is, when any who will can know it. What is regarded in a wide circle as end in itself—everything we can learn in natural science, in political science of civilization, in history, in mathematics and all other sciences can never be an absolute end. We can never come to a true insight into the depths of the world, if we consider them as ends in themselves. Only if we are at all times ready to absorb them and regard them as means, which we offer as a bridge to let us cross over, do we come to real knowledge. We bar ourselves off from the higher, true knowledge unless we are also ready to sacrifice ourselves. Man will get an idea of what initiation is only when he ceases to carve for himself a world-conception out of external-physical concepts. He must be all feeling, with all-attuned soul, such a soul as Goethe describes in his ‘Westöstlichen Divan’ as the highest acquisition of man:

‘And so long thou hast not this, Death and Birth!
Thou art but a sorry guest, on this dark Earth.’

Death and Birth! Learn to know what life can offer, go through with it, but surpass, transcend yourself. Let it become a bridge for you, and you will wake up in a higher life and be one with the essence of things, when you no longer live in the illusion that, cut off from the higher ego, you can exhaust the essence of things. When Goethe speaks of the sacrifice of the idea and the soul-material, in order to acquire new life in higher spheres, and of the deepest inner love, he likes to think of the words of the mystic Jacob Böhme, who knows from experience this self-surrender of the Snake. Perhaps Jacob Böhme has pointed out just this to him and made it so clear to him that a man can live, even in the physical body, in a world which otherwise he would tread only after death, in the world of the eternal, the spiritual. Jacob Böhme knew also that it depends on the man, whether he can, in the higher sense, slide over into the spiritual world. He shows it in the saying: ‘Who dies not before he dies, is ruined when he dies.’ A significant saying! Man, who does not die before he dies, that is, who does not develop in himself the eternal, the inner kernel of being, will not be in a position, when he dies, to find again the spiritual kernel in himself. The eternal is in us. We must develop it in the body, so that we may find it outside the body. ‘Who dies not before he dies, is ruined when he dies.’ So it is also with the other sentence: ‘And so death is the root of all life.’

Thus we see that the things of the soul can only illumine a place where light already is: the Lamp of the Old Man can only shine where there is already light. Once more our attention is directed to those special soul-powers, of devotion and religious self-surrender, which for hundreds and thousands of years have brought the message of spiritual worlds to those who could not seek the light by way of Science or otherwise. The light of the different religious revelations is represented in the Old Man, who has this light. But to him who does not bring an inner light to meet the sense of religion, the Lamp of Religion gives no light. It can shine only where light already is and meets it. It is the Lamp which has transfigured man, which has led all mortality across to a life of soul.

And then we see that the two Kingdoms are united through the Snake's sacrifice. After it goes, so to say, through incidents symbolic of what man has to go through in his higher development in an esoteric sense, we see how the Temple of Knowledge is brought by means of all the three human soul-powers across the river, how it rises and each soul-power performs its service. This is meant to show that the soul-powers must be in harmony, since we are told: the single personality can achieve nothing; but when all work together at a favourable moment, when the strong and the weak co-operate in the right relationship, then the soul can acquire the ability to reach the highest state, the union with the Beautiful Lily. Then the Temple moves out of the hidden crevices up to the surface for all who strive in truth after knowledge and wisdom. The Youth is endowed with the knowledge-powers of thought by the Golden King: ‘Know and recognize the highest.’ He is endowed with the knowledge-powers of feeling by the Silver King, which Goethe expresses beautifully with the words: ‘Tend the sheep!’

In feeling are rooted art and religion, and for Goethe both were a unity—already at the time when he wrote on his Italian journey concerning Italy's works of art: ‘There is necessity, there is God!’

But there is also the doing—when man does not apply it to the struggle for existence, but when he makes it into a weapon for gaining beauty and wisdom. This is contained in the words spoken by the Brazen King to the Youth: ‘The Sword in the left hand, the right free!’ There is a whole world in these words. The right hand free to work the self out of human nature.

And what happens with the Fourth King, in whom all three elements are mingled together? This mixed King melts into a grotesque figure. The Will-o'-the-Wisps come and lick what gold there is off him: man's soul-powers here still want to examine what sort of stages of human development, now overcome, there once were.

Let us take yet another feature: namely, when the Giant comes staggering in and then stands there like a statue, pointing to the hours: when man has brought his life into harmony, then the subordinate has a meaning for what is intended to be methodical order. It ought to express itself like a habit. The unconscious itself will then receive a valuable meaning. Hence the Giant is depicted like a clock.

The Old Man with the Lamp is married to the Old Woman. This Old Woman represents to us nothing else but the healthy, understanding human soul-power, which does not penetrate into high regions of spiritual abstractions, but which handles everything healthily and practically, as, for instance, in religion, represented by the Old Man with the Lamp. She is the one to bring the Ferryman his pay: three heads of cabbage, three onions and three artichokes. Such a stage of development has not passed beyond the contemporary. That she is so treated by the Will-o'-the-Wisps is no doubt a reflected picture of how abstract minds look down with a certain amount of scorn on people who take things in directly by instinct or intuition.

Every point, every turn of this story is of deep significance, and if we enter into one more explanation, it must be of an esoteric kind, and you will find that one can really only give the method of explanation. Bury yourselves in the story, and you will discover that a whole world is to be found there, very much more than it has been possible to indicate to-day.

I should like to show you in two examples how much Goethe's spiritual world-view runs through his whole life, how in things of spiritual knowledge he stands in agreement in extreme old age with what he had written earlier.

While Goethe wrote ‘Faust’ he adopted a certain attitude which harks back to a symbol of a deeper evolution-path of nature. When Faust speaks of his father, who was an alchemist, and had taken over the old doctrines credulously, but had misunderstood them, he says that his father also made

‘... a Lion red, a wooer daring, Within the Lily's tepid bath espoused.’

Faust I, Scene II, p. 32.

That is what Faust says, without knowing its significance. But such a saying can become a ladder leading to high stages of development. In the Fairy Tale Goethe shows in the Youth the human being striving for the highest bride, and that with which he is to be united he calls the Beautiful Lily. You notice this Lily is to be found already in the first parts of ‘Faust.’

And, again, the very nerve of Goethe's philosophy which found expression in his Fairy Tale, is to be found also in ‘Faust:’ in Part II, in the Mystic Chorus, where Faust confronts the entry into the spiritual world, where Goethe sets down his avowal of a spiritual world-conception in monumental words. He shows there how the ascent on the road of knowledge follows in three successive stages, namely, the purification of the thought, the illumination of feeling and the working out of will. What man attains through the purification of the thought leads him to recognize the spiritual behind everything. The physical becomes a symbol of the spiritual. He goes deeper still, in order to grasp what is unattainable to thought. He then reaches a state at which he no longer regards things by means of thought, but is directed into the thing itself, where the essence of it, and what one cannot describe become accomplished fact. And that which one cannot describe, that which, as you will hear in the course of the winter addresses, must be thought of in another way, that whereby one must advance to the secrets of the will, he labels simply ‘the indescribable.’ When man has completed the threefold road through thought, feeling and will, he is united with what is called ‘eternal womanhood’ in the Chorus Mysticus, the goal of the human soul's development, the ‘Beautiful Lily’ of the Fairy Tale.

Thus we see that Goethe utters his deepest conviction, his secret revelation there also, where he brings his great confessional poem to an end, after rising up through thought and feeling and will to union with the Beautiful Lily, up to that state which finds its expression in the passage of the Chorus Mysticus, which expresses the same thing as Goethe's philosophy and spiritual science, as well as the Fairy Tale:

‘All things transitory
But as symbols are sent:
Earth's insufficiency
Here grows to Event:
The Indescribable,
Here it is done:
The Woman-Soul leadeth us
Upward and on!’

• 1. and the waves rear up like horses—aufbäumen. Ed.

Medieval Christianity has the three wise men from the East represent the three continents of Europe, Asia and Africa. Just as such things are linked to great truths in esotericism, so too is the illusion that one king is a Moor, the second a European and the third an Oriental. The three wise men from the East are connected with great cosmic truths. Just a fortnight ago, we said that Theosophy would restore to man direct perception, a correct understanding of what happens in the course of a year, so that changes show us how our spirit coincides with cosmic events.

Just as we do not see merely a physical movement when a human eye looks at us, but rightly draw conclusions about the inner state of a human soul from the outer gaze of the eye, so the theosophist realizes that in every thunder and lightning, in every breath of air, in every sunrise and sunset, only the physical expression of spiritual entities is to be sought. And just as everyday events give beings a sense of the beings behind them, so the regularly recurring phenomena of the year reveal the deeds of a divine spirit that works according to law. We see how the power of the sun grows more and more from spring onwards, how the sun regains its power from the shortest days, how it awakens the veiled life of the earth and lets it sprout anew, how the power of the sun is expressed in external deeds. From a certain day on, the power of the sun decreases again, the days become shorter and shorter. When the least physical power of the sun reaches us, life withdraws below the surface of the earth. Man can feel and experience that behind all the deeds of outer nature stands the spiritual creation of spiritual beings.

If he penetrates even deeper, the teachings that were cultivated within the mysteries tell him that not only does this take place, but that with the increasing solar power, the activity of the solar beings decreases, that at the time when the external solar power is weakest, another power increases. In the shortest time, another, a spiritual power is strongest. When the darkness is at its greatest, there is a light during the course of the year that shines most brightly; the traditions of the mysteries have always expressed this. Christmas is connected with the deep wisdom of the world. All legends tell us that the gods sleep at midday. There are regions where the churches are open all day, only closed at noon; this is based on the same premise. What Christian humanity celebrates as Christmas can only be understood from the mystery teaching. The disciple was shown the sun and the moon, as they alternate in their normal course. They were especially pointed out to the fact that during the night the earth itself veils the sunlight. At Christmas, in the deepest silence, the disciple is shown a transparent earth through which the sun can be seen. “To see the sun at midnight” is the ancient custom of Christmas. Those for whom matter is no obstacle can see through the earth to the sun on the other side, namely the sun beings. Contrary to the tradition that the gods sleep at noon, it was believed that the gods watch at midnight, because at midnight the spiritual light can be seen best. This should be done with particular solemnity at Christmas. We can understand that this has continued to have an effect into our time, since Christmas is in this season. Esoteric Christianity also sees a body in the sun, and just as man is not content to merely observe the body physically, so the Christian is aware that through the sun the body of a spiritual entity becomes visible and that Christ is the head of spiritual entities.

Now the physical fact that the moon reflects sunlight is an expression of a spiritual fact that underlies the physical one. Even in the Hebrew era, people said: Before the power of Christ works and creates in the earth itself, it works in an indirect way. The Jewish law before Christ was the spiritual background of the moon. As long as the people of the Earth were immature and not ready to receive the power of Christ, they had to receive the reflected light of the moon. Through Moses we received the law; the law was spiritual sunlight in the reflection of the moon. Initiates could see the power of Christ through the Earth at Christmas. With the coming of Christ into the Earth, the spiritual power of the Sun united with the power of the Earth, and that is the origin of the Christian Christmas. It celebrates the moment in the evolution of the Earth when man has matured to receive the inner sun, and now man should be able to see through the transparent Earth. What used to be a mystery festival became Christian Christmas. Now man should also feel the power of Christ in the daytime and in the Earth, not only in the sun. This says a great deal. People sensed the spiritual sunlight in the reflections of different religions and world views. These religions and world views represent the three wise men of the Orient. Now the time has come when the sun penetrates the earth as a unified force, when one should sense the basic power in all religions.

Then the religions arrive, led by a star, the star of Christmas. Only the wise men are shown the transparent sun, which is the star of Bethlehem itself and has led them to where Christ appears in the flesh. They bring gold, that is, their wisdom, which has taken on different forms; now the star has arrived that unites them. Frankincense is the symbol of reverence for the power that brings peace in all human deeds, opinions and questions; myrrh is the symbol of immortality, for the spiritual power of the sun. Through beholding through the earth, the disciple receives the realization, the inner guarantee of the soul's immortality. Furthermore, myrrh signifies resurrection and preservation. The establishment of Christmas on the shortest day — it has been moved slightly — is not an arbitrary act, but an expression of human development. The Christian tradition knows what a profound fact underlies this. During the midday hour the gods sleep, while at midnight the gods are awake. What works externally, physically, is indicated by the myth through the figure of John, namely, the physical power of the sun alongside the direct power of Christ. When the sun is at its strongest, the spirit is at its strongest. John's birthday is when the sun is at its strongest: I must decrease, but he will increase. From summer towards winter, the physical power of the sun, like John, decreases, and the spiritual sun, like Christ, increases. Those who work in the sense of the esoteric Christ have felt this idea of peace and harmony.

This poem is so great, the deepest trait of Christianity, of esoteric Christianity, lies in it. A pilgrim is sent to the monastery with a special mission. Twelve individuals are found there, with a thirteenth at the top. Brother Mark is led through many regions and his character is described to us. This is deeply significant, we are told, which forms external intellectual power, education and training. Brother Markus comes close to his goal after many wanderings. He strives for serious wisdom training. [That lonely, strange wanderer does not possess the science of the mind, but he does possess wisdom that speaks as if from children's lips. It is the wisdom that speaks through the transformed science. He speaks from the naive feeling of his wisdom, and it does indeed sound as if it comes from children's lips.] We must again take re-embodiment as our starting point. A person who has learned much in a previous life, who has a world of ideas and content for contemplation, will then be re-embodied. These ideas do not have to appear in the form of ideas. He seeks serious training in wisdom. [His wisdom is a mature and transformed knowledge from previous embodiments. He has not learned much new knowledge in his present incarnation, but he has accumulated wisdom from previous lives.] Now it is love, kindness, compassion, and

Brother Mark appears not as a sage who has learned much, but as a mature sage who has learned in previous incarnations; whose wisdom has become gold. At the entrance to the monastery, which he enters, he encounters a strange symbol that is supposed to represent the meaning of life to him: a cross entwined with red roses. He sees the sign of the cross, professed by so many people, entwined with roses. Note the wording in this sentence, it is a password of the Rosicrucian:

Who has joined roses to the cross?

[This may suggest that Goethe was a Rosicrucian initiate. The cross represents the three lower bodies of man, the physical, the etheric and the astral body. In his life, man should overcome those qualities of these three bodies that have come to him from outside. They should be transformed within him through his ego.] By the fact that his own ego can say to itself “I am”, he transforms these three bodies. [For he who does not have this dying and becoming remains only a dull guest on the dark earth. The lower bodies are represented in the black cross.] Man transforms these lower powers and qualities, not as a form of self-mortification, but as instruments of his own ego, purified, cleansed, transformed into powers of his own ego. He kills what was originally in him and lets it rise again as a young, fresh power – his higher ego, which is the ruler over the lower powers. The mortified bodies – the black cross – in the mortified original Tree of Life as three representatives and a fourth: sprouting life. [The four beams of the cross are made of the wood of the cypress, the cedar, the palm and the olive tree, and they touch at one point.] Cypress is the physical body, palm is the etheric body and cedar is the astral body, which has been overcome; olive tree, which permeates the three lower bodies as with ointment, as with oil, as that which rejuvenates and gives birth again.

[Esoteric Christianity sees in the rosary on the cross the Christ Jesus, through whom the lower nature in man is purified and raised to a higher level.

When man looks at the sprouting life, not yet penetrated by passions. still asleep, only a dim consciousness, is plant green. Where it rises up to the I in the astral body, where the I expresses itself, there the green plant sap becomes red blood. [Red blood, the color of roses, is the symbol of the I. As long as the green plant sap still wells up through the leaves, it announces to us the pure, chaste plant substance. The penetration of the body with passions, desires, instincts causes the emergence of red blood. In man, the pure plant substance has been permeated with desires and passions. Thus man has bought his higher consciousness, through which he perceives as he perceives today: by permeating the plant substance with desires and passions. He will purify his ego again, he will regain the chastity of the plant. [In the course of time, the ego must gradually restore the pure plant substance. Thus, man with his red blood must, as it were, become pure plant substance again. As long as this remains green, it sleeps.] In the future, the red blood will no longer be the expression of his lower instincts and desires, but of his higher self. The red roses on the cross signify both the color of our blood and our pure plant nature. It creates myth-forming power similar to wisdom. In the power that emanates from Christ, the ego is led upwards to become pure, chaste plant substance again. In the red flower we see the purified, refined ego. There is a beautiful old myth: the bee, as it goes to the red rose to suck, so it went to Christ Jesus to suck from the wound. [The devil hates red roses the most!] He wants the blood in the fist. He hates the purified blood that has returned to the red rose.

In the poem, we have twelve representatives of different religions united in the leading, great brotherhood of humanity. [A thirteenth leads them because he overlooks and encompasses all the individual religions] in order to flow out from here into the whole world. Just as the three kings come to the harmony in Bethlehem, so the twelve send their spiritual rays out into the world. And one leads. We see here the threefold higher nature of man, the rays emanating from one point.

Markus is admitted to the monastery and he is united with the eleven to become twelve.

[Brother Markus receives the deepest instruction in the monastery. The poem characterizes the thirteenth, the leader of the assembly.] The thirteenth is presented in his essence as one who is exalted in his soul, in his heart the various confessions of the world are balanced. [At his birth a star shone, signifying the spiritual sun that he had seen at his initiation. It is the same star that shone for the Magi from the East at the birth of Jesus Christ.] A vulture comes down and dwells peacefully among the doves. Peace is the atmosphere that spread at the birth of this person. A strange saga is told about him in his youth: as a boy, he overcame the vipers, that is the lower nature of his being. In previous lives, he had acquired the strength to overcome himself. The viper was wrapped around his sister's arm. This sister signifies his etheric body, which in the case of males is female] — You know that the etheric body in the male sex is female, that is, always in the opposite sex. The astral body wraps itself around this — the adder, the snake, and he overcomes this, which wraps itself around his sister — around his etheric body. The boy practices obedience in the outer world. At first he submits to what the parental home demands with a certain humility and devotion. He is now allowed to go out into the world, and finally, by the right of his birth, he may take the lead in the order. [By the right of his birth he is placed at the head of his order, which is something deeply significant.] The twelve represent the different religions of humanity. Each of them [experiences a moment in its development when it feels it has come closest to the truth]. Each has something special to tell, as a special relation to the thirteenth. [On this point, the twelve are particularly close to the thirteenth.]

At an important moment, Markus enters the monastery: the thirteenth is preparing to leave the monastery to enter a higher level. [The thirteenth of the old men wants to ascend to the highest region of the mystical. He no longer needs to undergo physical embodiment. To do this, the twelve others should mature so that they can then manage without the thirteenth.

There are thirteen chairs in the hall, symbolizing the spiritual work of the thirteen, and Brother Markus is shown around. The task of each is symbolically depicted in a sign above the chair. Above the chair of the thirteenth is the cross of roses. The thirteenth, Humanus, is a mediator for harmony and peace, which are differentiated in the world. The various religious denominations, which are in conflict, find each other here at a higher level, so that the power is not lost, but flows out into the world. To the right and left of the chair is the fire-colored dragon. [The fire dragon is the lower astral nature that must be overcome; and the hand in the bear's jaws means the ego of the human being, which is embraced by the lower, destructive nature, but through which stage one must pass as a mystic. We also find the meaning of this symbol with the war god of Central Europe, with the hand in the jaws of the wolf. This symbolizes the time when the word was sunk into man's inner being. The power of the word through which man develops. Here [the deep meaning is expressed that work must be done]. Because many a person looks at what is being done that is more important than the physical work for the overall development of humanity. What is done from the spiritual centers is invisible. The twelve have experienced the joys and sorrows of life, and now they are gathered for a different kind of work – another door is closed by a curtain. [The twelve men no longer work here in a physical way, but in a higher spiritual way. Through their own perfection, they are working at the same time on the further development of humanity.]

Mark is received in the forecourt and waits to enter the innermost part. Brother Markus has only gained a glimpse into the astral realm, but there is a hint that in due course he will also get to know the spiritual world. At first he saw only images and colors of it. The spiritual worlds, on the other hand, resound in the spiritual tone, in harmonies of the sound of the spheres. After his sleep, he hears three blows and in between a light flute sound. This is to be regarded as a symbol of the harmony of the spheres. Furthermore, he senses the gradual awakening of the threefold higher nature of man. Thus he is initiated to finally become a member of the higher cosmic world himself. Only then does he actually feel accepted into the great cosmic sound. The birth of the higher man through the power of the roses takes place, [symbolically represented by the three youths. They signify the birth of the three higher parts of the human being. The power of Christ brings us up to the true self as the highest level of mystical-spiritual development]. The greatest bliss that a person can achieve is Manas, Budhi, Atma. Through this, he becomes a member of the great cosmic secrets of the development of the earth.

Today, on New Year's Eve, our greetings go from soul to soul, from heart to heart, and when we embrace these impulses, our greetings contain something of the goals of the world principle. One year follows another in the steady progression of time. Reflections such as today's should fill us and remind us that not only years go and come, but that these are stages, to ever higher and higher ascent of the individual and of all humanity. We feel that this is not repetition of the same, but ascent with goals within life with the true, genuine perfection of humanity. Let us let our souls be filled with these reflections and thus feel the impulse of the genuine New Year's greeting, which is struck in our souls by the Christ principle, as a greeting that embraces all humanity.

We want to help each other to ascend, we greet each other at every turn of the year. We want to work together, in theosophical brotherhood, to ascend the path of human perfection. Then the sound of the New Year's Eve bells will contain something of the harmony of the spheres. There are customs and traditions, and when we connect the soul with these customs and with the sound of the New Year's Eve bells, we say: We want to be helpers to each other in the forward climb of humanity to its highest goals.

The Inner Nature of Colour

My Dear Friends,

Yesterday we concerned ourselves with various moods and eludes of feeling and with the way in which these can be expressed by means of eurhythmic gesture. To-day, to begin with, we will continue along somewhat similar lines. Taking our start from the point at which we left off yesterday, we will first consider the mood of Devotion or Piety (Andacht). It is very necessary, when trying to experience some such mood of soul, to realize that eurhythmy does not attempt to interpret by means of ordinary mime. On the contrary, as we saw when studying the vowels and consonants, eurhythmy seeks to draw the plastic form corresponding to such a feeling and mood from out of the whole human being, the whole human organization. We know that, in the case of the vowels and consonants, the movements are formed in such a way that they actually imitate and make visible what really exists as a kind of air form when the human being speaks. When we speak we make certain forms in the air. If by any means we were able to retain these forms and to hold them fast, we should have the original forms of the gestures which we use to express the sounds.

If, however, we wish to express some definite mood of soul, then we naturally approach much more closely to the arbitrary gesture, to the gesture which arises in ordinary, everyday life when we ourselves are experiencing the mood in question.

It is undeniable that to-day many people avoid the use of gesture, because, apparently, they have an idea that gesture is not the thing. On the other hand, however, the more the human being loses himself in feeling, the more he develops a mood of soul transcending the ordinary life of everyday, so much the more does the use of gesture become necessary. And such a mood of soul is that of Devotion.

In this devotional mood man has always felt the need for making a certain gesture. And the eurhythmic gesture for Devotion is one which, in its very nature, corresponds to the instinctive attitude adopted when this mood arises in the soul. For this reason the eurhythmic gesture for Devotion approximates more nearly to the natural position than is the case with most of the other movements. To express this mood of Devote the arms are held downwards close to the body, and then bent upwards from the elbow, the hands and fingers taking up a position corresponding to one of the vowels, u for instance, or a. Thus according to the shade of feeling which one wishes to introduce into the mood of Devotion, any one of these postures may be adopted.

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It is important that the gesture expressing this mood should be carried out in such a way that it is separated right off from, the movements otherwise occurring in the course of the poem. So that in order to get the best effect it is as well in such a cash to make use of the gesture at the beginning and again at the end of the poem. If, however, a devotional mood runs continuously through the whole of the poem, the movement can be made at the beginning and at the end of every verse.

Will you now make use of this gesture when I say the following words:

‘O Holy Spirit,
Hearken to the cry of my soul!’

Oh, göttlicher Geist, erhöre
meines Herzens Ruf!

The gesture should here be made both before and after the sentence. It would also be especially good if the onlooker were actually to see how the upper arms are drawn downwards, pressed against the sides. This should precede the actual gesture for Devotion. (See diagram.)

An intensification of the mood of Devotion is the mood of Solemnity, of Ceremonial (Feierlichkeit). This mood of Solemnity is in a way not unlike the mood of Knowledge, of Wisdom, only in the latter case the movement is reversed. Thus to express Knowledge we make use of the same movement towards the right as we use towards the left when expressing Solemnity. This can only be experienced when there is an absolutely clear realization of the relation existing between these two moods of feeling.

Knowledge entails the taking into ourselves of something outside, something which we wish to unite with our own being. If man had no knowledge he could not be said to be man at all. It is through the capacity for absorbing knowledge that he first becomes truly human. So that knowledge, wisdom, should be looked upon as something which adds to the dignity of man, but which, on the other hand, contains within it a certain activity of soul. Activity is always expressed in eurhythmy by turning towards the right. If we take the mood of Knowledge and change it, making it more passive, more devotional, we get the feeling of Solemnity.

But wherever the passive element enters in, wherever there is little feeling of activity, then we turn towards the left and make our movements towards the left. And it is in this way that we express the mood of Solemnity. We make a movement similar to that of Knowledge, but in this case towards the left. Let us take an example in which we can make use of this gesture.

‘Over the destiny of man
Shine the inviolable stars....’

‘Über menschlichen Schicksalen
glänzen heil’ge Sterne

Here you should make the gesture both at the beginning and at the end. Begin by indicating the gesture for Knowledge and then carry it over into that of Solemnity.

In eurhythmy we have chiefly to do with the expression and revelation of certain qualities of soul; and we shall see that the whole content of the soul life may be divided into three categories, into Thinking, Feeling and Willing. Now it is important, when interpreting a poem, really to express its fundamental character and when this character changes in the course of a poem,—when for example, thinking passes over into feeling, or feeling into will,—it is then very important that this should be shown in the whole bearing and in the character of the movements.

Let us take to begin with the two polar opposites, thinking and willing. They are indeed the most contrasted activities of the human soul. When the human being thinks,—I am speaking here in the widest sense of the word,—this is a process which, depends upon the head as it rests quietly on the shoulders. By means of external sense-perception we cannot see the process of thought. It takes place in the quietly resting head. The activity of will is the extreme opposite of this. When the activity of will does not make its appearance in the external world in, some form or another, then it remains intention only. Real activity of will makes its appearance in the external world; such activity can be seen, But in so far as the inward experience of, the human being is concerned, this will-activity remains dark, just as what takes place within the human being during the night remains dark to him. The human being knows nothing of his experiences as these take place during the night; he is just as little conscious of the relation between his soul, his muscles and his bones, when some movement arises which is the expression of will-activity.

When you have a straight line you have something before you which is absolutely definite. You need only have a small portion of a straight line and its direction as a whole is absolutely determined. The straight line is something about which there can be no doubt whatever.

The curved line, on the other hand, is something which impels us to follow it, but we do not know exactly where it is going to lead us.

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There are, it is true, regularly formed curved lines but even in this case one experiences such regularity differently from the way in which one experiences the straight line. For this reason in eurhythmy the straight line is used to denote thought and the curved line to denote will. You must, therefore, try to introduce straight lines into your form when you wish to express the element of thought and curved lines when you wish to express Will-activity.

Now here, of course, much depends upon the eurhythmist’s conception of a poem. One might say: In this particular poem I intend to express the element of will. Another says, perhaps I shall express thought, the imparting of something by means of thought. Two quite different conceptions! So in cases where the matter is not absolutely obvious the choice of interpretation lies in the hands of the individual eurhythmist. This makes it necessary, when you begin to work out a poem, to put yourselves the following question: What, in my opinion, is the fundamental character of this poem? Does it lean more towards, thought? Does it impart something? Let us take, for example, the following :—

Zu Aachen in seiner Kaiserpracht,
Im altertümlichen Saale,
Sass König Rudolfs heilige Macht
Beim festlichen Krönungsmahle.
Die Speisen trug der Pfalzgraf des Rheins,
Es schenkte der Böhme des perlenden Weins,
Und alle die Wähler, die sieben,
Wie der Sterne Chor um die Sonne sich stellt,
Umstanden geschäftigt den Herrscher der Welt,
Die Würde des Amtes zu üben.

In this poem there is a succession of thoughts, as is usually the case with the pure epic. But if, at any point, the thought element were to pass over into the element of will, we should have to show this also in the eurhythmic form. The particular verse I have just quoted, however, would best be expressed by moving as far as possible in straight lines.

Now it is, of course, also possible to combine straight lines in such a way that various figures are formed, so that you can introduce other characteristics besides thought by moving in a triangle, a square, or a pentagram as the case may be.

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On the other hand, if the thought is of a more complicated nature, you might perhaps make use of such a form as this:

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Every conceivable curved line serves to express the element of will.

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Feeling is shown by making use of some sort of combination of straight and curved lines. Here you have opportunity for a wide play of fancy.

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Now it will be necessary to work out eurhythmy forms along these lines. All of you will be able to make such forms for yourselves, and by trying to do so you will create an inner relationship between the eurythmy and the poem. Then the question naturally arises: What is the connection between such forms as these, and those forms which have been given as standard forms, as forms which have been worked out in such a way as to bring out the special character of the poem? You will discover, however, that these guiding lines really underlie;: all such forms. You will invariably find this to be the case.

On the other hand, you will also find, when working out such forms, that care has been taken to show where called for, the more intimate character of a poem. What does this mean? The fact of the matter is that by far the greater number of so-called poems are in reality not poetry at all. For a true poet must be able to enter into the essential nature of language, so that what he has to say is not merely prose content more or less crudely clothed in verse, but is expressed through the way in, which he handles the language itself. To express wonder in a poem by making use of some such phrase as: O how wonderful!—cannot be said to be artistic. A truly artistic sense will lead one to introduce as many a-sounds as possible into a poem at the moment when one most wishes to express this feeling of wonder. In the same way it would be good to make use of the u-sound when dealing with the past, when looking back into the past. On the other hand, when there is the wish to express the gathering together of inner forces as a result of some external contact, it would be well to introduce the sound e.

Thus, when a true poet wishes to express the element of thought he will make special use of the e-sound. I am speaking now in quite an idealistic sense, for it will rarely be possible to carry out all the demands of art. If this were done very, very few poems would be written—for which one might indeed be thankful—for the poet would not quickly acquire the necessary intuition. If a poet makes use of many e or i sounds, you may be sure that he is a poet who chiefly tends to express the element of thought. He tends to the epic in poetry. Whereas you will find that a poet who is continually making use of the vowel sounds a, o and u, tends more to express feeling in his poems. A poet who makes little use of vowels and much use of con-sonants is one who is developing the will side of his nature. Therefore, you must follow closely the character of the poet when building up a eurhythmic form.

When, therefore, you observe that a poem arises more out of the intellect,—and this is, of course, perfectly justifiable—you will make use of straight lines in the form. When you observe that feeling is more in evidence you will combine both straight and curved lines. When, however, the element of will comes most strongly to expression in a poem, even though coloured by feeling, then you must make use of curved lines only.

If now, bearing this in mind, you proceed to examine the various forms which have been given from time to time, you will discover, and only then can you discover, how the more intimate structure of a poem must be built up and followed in the form.

It will perhaps be interesting to see,—paying at first no attention to its content,—what sort of result is obtained when a poem is interpreted, in the first place, according to the indications which have been given for Thinking, Feeling and Willing. One can think of poems which lend themselves to all three methods, each of which has its own particular beauty. Let us take for example the well known poem:

Let us in the first place interpret the poem in such a way that we bring out the story, that we emphasize the thought-element. Try, therefore, to improvise a form consisting of straight lines, avoiding as far as possible all rounded movements.

When the poem is expressed in this way we are left with the impression that something has been related, that we have been told something.

And now try to make a form consisting of curved lines:

Ich ging im Walde ...

In this case you see that the story-telling element falls completely away, and there is also nothing to represent the feeling-life.

There is, however, a strong element of feeling in this poem, when, for example, the flower says: Soll ich zum Welken gebrochen sein?—or again when the poet says: Wie Sterne leuchtend, wie Auglein schön.—This poem, then, contains the three elements of thinking, willing and feeling. Now try to make a form consisting of straight and curved lines.

Ich ging im Walde...

By so doing you give the impression that the poem is being inwardly experienced. Straight and curved lines together indicate that the eurhythmist who is interpreting the poem continually withdraws into himself: in the case of straight lines the interpretation becomes more abstract, less apparent. And by this means the whole thing retains its inward character.

Much more is manifested outwardly when one passes over into curved lines.

Now to-day I want to speak about the significance of the colours which are to be seen on the eurhythmy figures, because the study of colour in this connection will do much to deepen our whole attitude towards eurhythmy.¹

Here, for instance, you have in this figure an indication of the colours corresponding to the sound a.

Of course it is obviously impossible in our eurhythmy to show the colours of all the different sounds as this has been done in the case of the eurhythmy figures; for if one were to do so, one would have, for instance, when an a and an o occurred in the same line, to change, while this line was being recited, from one costume into the other. That is altogether beyond us. (We already know by experience the difficulties which arise when the costumes have to be changed between two consecutive poems. But if in the course of a poem of four verses, let us say, perhaps twenty-two or twenty-eight changes had to be effected, there would be no coping with the situation.)

Nevertheless the colours as represented here in these figures are fundamentally true. And it is a fact that one is only able to enter right into the nature of the different sounds when one is able to express them also as colour.

Let us consider once again the sound a, the sound expressing wonder, astonishment. Fundamentally speaking, colour may be said to be the external expression of our feeling-life. Our feeling-life is objectified in the outer world as colour. The reason why there is so much disagreement as to the nature of colour is that people do not observe that colour is really the external counterpart of the life of the soul.

Now to return to the feeling of amazement, of wonder. You will experience this feeling in the gesture for a. And you must ask yourselves: What colours are called up in me by this gesture?—Here your feelings will lead you to the colour-combination seen on this figure, blue-violet,—that is to say a combination of the so-called dark colours.

Let us, on the other hand take o. The mood lying behind o is that of embracing something. Here you need brighter colours such as shown in the eurhythmy figure for the o-sound.

For the reason already given it is not always possible to use these colours as they are represented here in the eurhythmy figures; it will, however, be of the very greatest assistance to you if, when practising, you call up in yourselves the feeling of colour in sound, the colours for instance, of a, o or i, or again of u, which is, as we know, the expression of fear. In this way you enter by degrees into a more intimate relationship with the nature of the different movements. Thus when practising it is a good exercise to dress oneself in imagination in accordance with the colours of the eurhythmy figures. This is very much to be recommended.

Picture now the colours for the sound e, the pale yellow combined with a certain amount of green. One feels how red and blue lose themselves in green. While with blue and violet one has the feeling of yielding oneself up, as in the case of a and u, one has, in the mood of self-assertion or of taking some-thing into one’s own being, the feeling of the lighter colours. In the e-sound we have the expression of being affected by something and of standing up against it. This is expressed in the green colour. Green is obtained by mixing together yellow and blue; thus by a combination of a light and a dark colour. And it is through this combination that you have the direct expression for the sound e. You grow into the feeling of this gesture when you associate it with this colour.

It is quite impossible to enter into these things with the understanding; they can only be felt and experienced inwardly. For our purposes, however, we will assume that we have absorbed all this, and have come so far as to recognize that the mood of any particular sound is really represented by the corresponding eurhythmy figure. Let us take the mood of the e-sound. One will gradually discover for oneself that whole poems are really permeated throughout with the e-mood. How-ever many other vowels were to occur in such a poem, it might, nevertheless, have the e-mood running right through it. Take, for example, a poem or any text which is to be expressed in eurhythmy, in which, let us say, there continually occurs the feeling of being unpleasantly affected by something, but at the same time a certain resistance against what is affecting one in this way. When a poem has such a mood running through ’it, we shall do well to choose these colours (e-figure) for the dress and veil. The important thing is to learn to associate definite colours with each particular sound; then we shall gradually reach the point at which we are able to select dresses and veils suitable to a poem as a whole.

I mention all this for a very good reason, and that is to prevent the delusion arising that when a eurhythmist has learned the movements for a, e, i, o, etc. there is nothing more to be done. Certainly the eurhythmist may be able to do it all, but this by itself is no proof that he can convey it to others. You must not forget that the impression created by the eurhythmic gestures is very powerful; very powerful forces are at work, although we may not be .conscious of them. There is all the difference in the world between those who, in their desire to master eurhythmy very rapidly, would be liable to believe for instance, that the sound i has been made when the arm is simply held out in the right direction, and those who make the i in such a way that the stretched movement is clearly visible. There is a great difference whether I make the movement in this way... or in this way, whether I merely extend the arms or whether I bring the stretched feeling to visible expression.

In order to acquire free artistic movements while actually carrying out any gesture, it is necessary to be conscious of the feeling and mood contained in the sound in question. This, however, can only come about when one really studies the individual sounds. And an important feature of this study is the clothing of oneself in imagination in the corresponding colours. All this should be taken into account in the teaching of eurhythmy, both as an art and as a means of education. Eurhythmists must accustom themselves to live in the world of colour.

This experience of colour was natural to humanity in the days of the old clairvoyance, but has since been lost. It appeared again in a somewhat distorted form at the end of the Kali-Yuga in certain more or less pathological cases. And at that time one met such people who maintained that Vienna was the colour of dark lilac, Czernowitz yellow, Prague yellowish-orange. Berlin a combination of yellow and grey, Paris a shimmering of rose-colour and blue, etc., etc. At that time people were to be found who talked in this sort of fashion; and anyone possessing a feeling for such things could up to a point understand what it was that they were trying to express.,

In the same way every human being has his own particular colour. This colour is of course closely connected with the astral body, which, as we know, changes with every varying emotion. Nevertheless, each individual human being may be said to possess his own fundamental colour. Thus, to the question: You were at such and such a place; what sort of people did you meet there?—one might answer: The colour of the man I saw was blue,—and another: The colour of the man I saw was red.—Such a point of view is quite justifiable. It is possible to feel things in this way; for in reality it is the same impression as that which arises in the case of ordinary physical colour.

It is therefore a good exercise to call up in one’s mind the connection existing between any special movement and its underlying character and colour ... (see eurhythmy figures). Here it will be of assistance to practise the sound in some such way as this. You might, for instance, take the vowel-sounds a, u, e, o, i, and allow the following colours to stream through the movements: blue-violet; blue-green; greenish-yellow; reddish-yellow; red-yellow-orange. You must experience the colour and make the movements simultaneously, thus working at the same time in the realm of colour and of sound. By this means: the movements will become noticeably flowing and supple, and you will soon see that a certain ‘style’ is being developed.

This brings us to the end of to-day’s lecture, and tomorrow, we shall continue the study of the characteristics underlying the various aspects of the soul life.

• 1. It was found that the eurhythmic gestures could best be portrayed by means of figures cut out from a flat surface of wood, each one being painted with three harmonizing colours. They were carried out according to directions given by Dr. Steiner at the Goetheanum, Dornach, where they may be obtained.

Rudolf Steiner: Good morning, gentlemen! You will have realized from all we've said that our earth in its present form is only the last remains of what was once essentially different. If we want to compare its earlier condition with anything, we can only compare it really—as you have seen—with what one has in an egg cell. Our earth today has a solid kernel of all sorts of minerals and metals. And we have the air around us, and in the air two substances which especially affect us-we could not live without them: oxygen and nitrogen. We can say therefore that in the earth we have a hard kernel of all kinds of substances, seventy to eighty of them, and around us the air-envelope containing mainly nitrogen and oxygen.

Nitrogen and oxygen, however, are only the main constituents. The air always contains other substances, though in very small quantities, such as carbon, hydrogen, sulphur, among others. But these are also the substances contained in the white of an egg, in the white of a hen's egg. Oxygen, nitrogen, hydrogen, carbon and sulphur! The difference is merely that in the egg white the sulphur, hydrogen and carbon are closely combined with the oxygen and nitrogen, while in the outer air they are present in a much looser way. So the same substances are in the air that are in the hen's egg. The same substances are present in a much smaller amount in the yolk, and we can therefore say that when it hardens, densifies, it becomes what the earth is. One must observe such things if one wants to know what the earth once looked like.

Today, however, things are done in quite a different way, and in order that your judgment of what I am telling you here may not be confused by what is commonly accepted, I would like to give you a small view of this general knowledge. It agrees perfectly with what I say if only one considers it in the right way.

People today do not think about things as we have done here in the last two lectures. They say: Here is the earth; it is made of mineral substance. This mineral earth is convenient to investigate, so let us examine first what lies on top, what we walk on. Then if we make quarries, if we make railway cuttings and open up the ground, we find there are certain layers or strata of earth. The uppermost layer is the one on which we walk. If we go somewhere or other into the depths, we find deeper-lying strata. But these strata are not always lying so nicely above one another that we can say: the one is always above the other.

When you really examine the earth, here you have one stratum [See drawing-red], it is curved over, not level; another stratum below is also curved [green]. And above them comes the stratum on which we walk [white]. Now, as long as we remain on foot on this side of a hill we find an upper layer that could become good arable land if we would use the right manuring methods and so on. But if we are building a railway we may have to remove certain strata and by making these cuttings we come into the depths of the earth. That has led to the discovery that strata are superimposed on one another, not level, but they have been jumbled up in all sorts of ways.

But these strata are sometimes very remarkable. People have asked how one can determine the age of the strata—which layer is older. Of course the most obvious answer is this: When the strata lie above one another, then the lowest is the oldest, the next above, younger, and the one at the very top the youngest of all. But, you see, that is not always the case. In some places it is so, but not everywhere. And one can show in the following way why it is not the case everywhere.

We are accustomed, as you know, in our civilized lands to bury our domestic animals when they die, so that they may not be injurious to people. But if the human race were not so far evolved, what would happen with the animals then? Wherever the animal died, there it would lie. Now at first it remains on the surface. But, as you know, when it rains the soil gets washed up and after a time part of the decaying creature is mingled with the soil thrown up by the rain. There it will remain, and after some time the whole animal is penetrated with earth by the rain or by water that flows down over a slope and then the rest of the earth goes over the animal. Now someone can come along and say: Heavens! The earth looks so uneven there, I must dig and have a look! He need not dig very far, just a little, and then he finds what is left of the skeleton, let us say, of a wild horse. Then he says: Well, now I'm walking on a stratum that only appeared later, the one below was formed when there were wild horses like that. And one can know that that is the next stratum, that the age in which this man lives was preceded by an age in which these horses lived.

You see, what that man does is what the geologists have been doing with all the strata of the earth, ever since the time when they could be reached by quarries, railway cuttings, excavations, and so on. One learns in geology to investigate quarries everywhere, with a hammer or some other instrument, in order to record what is exposed in the mountains through landslides or something similar. One goes hammering everywhere, makes various statements and then one finds in some stratum the so-called fossils. Then one can say: There are strata beneath the ground that contain animals quite different from those of today. Then one discovers in excavating the earth's strata what the animals were like that existed in other ages.

This is nothing so very special, for people often underestimate the time it takes for something like this to happen. People find today in southern regions churches or other buildings just standing there. The people come along, do some digging for some reason or other, and Heavens! there's something under this church that is hard; that's not earth. They dig down and find a pagan temple underneath! What had happened? A relatively short time ago this surface layer on which the church or building stands was not there at all. It was pushed up by man, perhaps with the help of nature-forces, and underneath there is the pagan temple. What was once above, is now below. Layer upon layer has in fact been piled up in the earth. And one must find out, not from the way the strata lie, but from the nature of the fossils, how these animals and the various plants have come into the strata.

Then, however, the following comes about: You find one layer of the earth [See drawing below, yellow], you find another [green]; you are able for some reason or other to excavate [arrow], and if you look merely at the stratification, then it seems as if what I have marked green were the lower layer and what I have marked yellow were the upper layer. You cannot get in here at all, you cannot excavate, there is no railway, no tunnel nor anything else by which one can get in. You make a note that the yellow is the upper stratum, the green the lower. But you must not decide immediately, you must first look for fossils.

Now one very frequently finds fossils in the upper stratum which are earlier, of fish, for example, strange fish-skeletons which are earlier. And perhaps below, one finds interesting mammal skeletons which are more recent. Now the fossils contradict the strata, up above appear the older, the earlier; below, the more recent, the younger. One must realize how that has happened. You see, it is because some sort of earthquake, some inner movement has flung what was below up above the top layer. It is the same as if I were to lay a chair on the table and the original position would be: here the chair-back and here the table-top, and then through an earthquake the table would be turned over the chair.

One can perceive in the most varied instances that there has been an inversion, a turning upside down. And one can come to the following conclusions as to when the inversion took place: It must have happened later than when all the animals were alive, it must have happened after the fossils were formed, otherwise they would lie differently.

One comes in this way not to judge the strata simply as they lie one above the other, but one must be able to see how they have changed their positions. The Alps, this mighty chain of mountains stretching from the Mediterranean Sea to the region of the Danube, this main mountain range in Switzerland, is not to be understood at all unless one can go into such things. For all the strata that were built up in the Alps have later been thoroughly jumbled up. There what was lowest often lies at the top, and what was at the top is lowest of all. One must first find out how all these shifts have taken place.

It is only when all this is taken into account that one can tell which are the oldest strata and which are the newest. Modern natural science, only going by the externals of research, then naturally says: Those strata are the oldest in which the remains of the very simplest animals and plants are found. Later on, animals and plants grew more complicated, and so we find the most complicated remains in the latest strata. In the oldest strata one finds fossils because the calcium or quartz structure of the animal has been preserved, while everything else has been dissolved. When one comes to the later strata the skeleton has been preserved.

Now there is another remarkable way in which fossils are formed. Sometimes this is very interesting. Picture that there once existed some simple type of ancient creature; it had a body, perhaps with tentacles in front. I am drawing it rather large; in the strata known to geology it will as a rule be smaller. Now this creature perishes lying on this piece of ground, and this particular soil does not penetrate and permeate the creature; it avoids, so to say, the acids in the body. Then something very remarkable occurs: the earth in which the animal lies approaches it from all sides and envelops it, and a hollow space is made in the shape of the animal. That has happened very frequently; such hollow spaces are formed, earth is shaped around the animal. But there is nothing inside; the soil has not been absorbed by the body, but round about, because the animal was scaly, a hollow space is formed. Later, the scales are dissolved and still later a brook winds through.

This then fills the hollow space with stony gravel, [green] and there within, a cast of the animal is finely modeled, by a quite different material. Such casts are particularly interesting, for there we don't have the animals themselves, but their casts.

However, you must not imagine that things are always so easy. Of present man, for instance, with his organism of soft substance, there is extraordinarily little left—nor of the higher animals. There are animals of which only the casts of their teeth have remained. One finds casts of the teeth of a kind of primeval shark which were formed in this way. One comes to realize that every animal has its own form of teeth and man has a different form. The dental formation is always in keeping with the whole structure of the creature. One must have the talent to imagine the appearance of the whole animal from the form of its teeth. So things are by no means simple.

But as one studies these strata one finds out how things really developed. And then it simply becomes clear that there was a time when such animals as we have now did not exist, when there were much, much simpler creatures, somewhat like our snails, mussels, and so on. But one has to know how much has remained of them. Let us imagine that the following could happen. Just suppose that a small boy who did not like to eat crab sneaked a crab from his parents' dinner-table and played with it. He is not caught and buries it in the garden. Now there is earth over it and the whole business is forgotten. Later the garden belongs to new owners; they dig about and in one place they see some funny little things looking like lime-shells. (You know about the so-called crab's eyes which are not eyes, but little lime-shells in the body of the crab.) Those are the only traces left.

Now one cannot say that those are fossils of some kind of animal; they are fossils of only part of the creature. Similarly in older strata, especially in the Alps, one finds some sort of fossil having that shell-like appearance. That is how they look; they no longer exist today but are found in the earlier strata. One must not suppose, however, that this had been the whole creature. One must assume that there was something around it that dissolved, and only a small piece of the animal is left.

Modern science goes into this very little. Why? Well, it simply says that in this mighty Alpine mass the layers have been mixed with one another, the lowest flung to the top, the uppermost to the lowest—that the strata show it. But can you imagine, gentlemen, that with the present earth-forces such massive mountains could be flung up in that way? The little that happens now on earth is by comparison a dancing through, one fleck lightly tossed on another—today that is all, a sort of dancing through!

If a man lived 720 years instead of seventy-two, he would experience in his old age that he was walking on ground a little higher than before. But we live too short a life. Just think if a fly that only lives from morning till evening were to relate what it experiences! Since it lives only in the summer, it would tell us of nothing but flowers, that there were always flowers. It would have no idea of what goes on in the winter; it would believe that each summer joined on to the one before. We human beings are certainly a little longer-lived than a one-day fly, but still we have a little of the fly nature with our seventy to seventy-two years! We see indeed little of what goes on. Even with the scanty forces prevailing today, there is no doubt that more happens than man usually sees. Yet, comparatively speaking, all that happens is that rivers flow along to the sea and leave alluvial soil behind. So a little soil is deposited, and this then reaches beyond the shores and the fields get a new stratum. That is comparatively little. When one considers how something like this great mountain mass of the Alps has been jolted and shaken through and through, it is obvious that the forces which are active today were active in quite a different way in earlier times.

But now we must try to picture how such a thing can happen. Take, for instance, an egg cell from some mammal. It looks at first quite simple, a nucleus in the center with an albuminous mass all around. Now suppose that the egg is fructified. When it is fructified, the nucleus changes into all sorts of little forms; it develops very strangely into a number of spirals that go up like tails. And then the moment these little coils arise, star-formed structures develop out of the mass. The whole mass comes into formation because there is life in it. What goes on there is very different from what goes on in our earth today. The upheavals and over-turnings that are taking place in the egg cell are the same as what once took place in the massive Alps!

What then is more natural than to say: Well, then the earth must once have been alive, or these convulsions of inverting and overthrusting could not possibly have occurred! The present form of the earth does in fact show us that in past ages when neither man nor higher animal existed, the earth itself was alive. This obliges us to say that the present dead earth has come forth from a living earth. Yet animals can only live on this present dead earth! Just think if the oxygen and nitrogen in the air had not separated off and had not condemned hydrogen, carbon and sulphur to an almost complete passivity: we would then have to breathe in something like egg white—for that was what surrounded the earth.

Now we could imagine—for anything can happen in this world!—that instead of our lungs, we had developed organs able to draw in an albuminous atmosphere like that. Today, of course, we can take it in as food through the mouth. Why could not a sort of lung-organ have evolved, up nearer to the mouth? Anything can originate in this world; any possible thing might come about—even though we would never guess at such changes from observing man's present body. But think, gentlemen—we look today into lifeless air. It has died. Formerly the albumen was living. The air has died because the sulphur, hydrogen and carbon have gone and the nitrogen and oxygen have therefore also perished. We gaze into light-filled air that has died, but this has allowed our eyes to be physical, as they are indeed physical. If everything in our surroundings were living, then our eyes would have to be living too. But if they were living, we would be unable to see with them, and we would always be in a state of unconsciousness: just as a person becomes unconscious when there begins to be too much life in his head, when instead of the regularly developed organs he has all sorts of growths. He is then unconscious intermittently, and later it becomes so severe that he lies there as if he were dead. Likewise in our original condition on the earth, as it was then, we could not have lived consciously. The human being could only awake to consciousness as the earth gradually died. And so mankind evolves on an earth that is dead.

So it is, gentlemen! And this is true not only of nature but also of civilization. If you think back to what I said just now—that below the earth there could be pagan temples and above Christian churches—you will see that the Christian churches are related to the pagan temples just as the upper strata to the lower, only that in one case we have to do with nature, in the other with culture. But one will not understand how the Christian element evolved if one does not observe that it evolved out of paganism as its foundation. In culture too we have to consider these strata.

Now I have said that the human being has actually been there all the time, but as a spiritual being, not a physical being. And that again leads us to look for the real reason why man did not evolve as a physical being earlier. We have said that in the air today there are nitrogen and oxygen, with carbon, hydrogen and sulphur to a lesser degree. In our breathing we ourselves unite the carbon that is in us with the oxygen we inhale and exhale the two together as carbon dioxide. In our human existence we breathe in oxygen and breathe out carbon dioxide; our life consists of that. We would long, long ago have filled the earth and the air of the earth with carbon dioxide had there not been something else on the earth: the plants. They have the same hunger for carbon that we have for oxygen. They take up the carbon dioxide eagerly, hold on to the carbon and give out the oxygen again.

You see, gentlemen, how wonderfully these things complement each other! We human beings need the oxygen out of the air, we inhale it, unite it with the carbon we have within us and exhale carbon and oxygen together as carbon dioxide. The plants breathe this in and breathe the oxygen out again, and so there is always oxygen in the air.

Well, this is true today but in human evolution on the earth it was not always like that. When we find the fossilized creatures that lived long ago, we realize that they could not have been like our modern animals and plants, particularly not like our present plants. All the primeval plants must have been much more like our sponges, mushrooms, algae. There is a difference between our mushrooms and our other present plants. The latter take in the carbon and form their body from it. When they sink into the ground, their body remains as coal. The coal we mine today is the remains of plants.

All the research we are able to pursue into the kinds of plants that originally existed tells us the following: Our present plants, including the plants which are now providing us with coal, are built up from carbon. But much earlier plants were formed not from carbon but from nitrogen. That was possible because just as carbon dioxide is exhaled today by animal and man, in ancient times a combination of carbon and nitrogen was exhaled. That is prussic acid, the terribly poisonous hydrocyanic acid fatal to all life today. This poisonous prussic acid was once exhaled, and nothing that exists today could then have arisen. The early mushroom-like plants took in the nitrogen and formed their body from it. The creatures about which I spoke last time, the bird-like beings and the heavy, coarse animal-beings, breathed out this poisonous acid, and the plants around them took the nitrogen to form their plant-body. Here, too, we can see that substances still existing today were used in quite a different way in ancient times.

I spoke of this once before to those of you who have been here for some time. I related how in 1906 I had to give some lectures in Paris⁴ on the evolution of the earth, the origin of man, and so forth. The subject led me to say: Can anything in this world show that carbon and oxygen have not always had the role they play today, that nitrogen once had that role, and that once the atmosphere consisted of prussic acid, of hydrocyanic acid?

Now you know that there are old people and young children. Well, if a man of seventy stands here and a child of two next to him, they are both human beings; they stand beside each other, and the one who is now seventy was like the two-year-old sixty-eight years ago. Things of different ages stand side by side. And it is the same in the universe; there, too, the older and the younger are side by side. Our earth, from what I have just now described and what you can still see today, our earth is a greybeard, an ancient fellow, almost dead already-if one does not count the life newly sprung up, one can call it almost dead. But at its side in the universe there are again younger forms which will only later become what our present life is. For instance, we must regard the comets as one of these. We can know, therefore, that since the comets are younger, they must still have conditions that belong to a younger age. The comets are to the earth what the child is to the old man. And if the earth once had prussic acid, the comets must now have it, they must have hydrocyanic acid! If with today's body one were to touch a comet, one would instantly die. It is diluted prussic acid that is in them.

I said in Paris in 1906 that this follows from the premises of spiritual science. Those who acknowledge spiritual science accepted my statement even though it astonished them. Then later, a fairly long time afterward, a comet made its appearance. By that time people had got the necessary instruments and it was then found by ordinary scientific methods that comets do have cyanide, prussic acid, as I had said in Paris in 1906. So it was confirmed.

Naturally, when people hear of this, they call it a coincidence: Oh sure, Steiner made that statement in Paris, and then there was the discovery—just a coincidence. They say this because they know nothing else. But I have now told you why one must take it for granted that there is prussic acid in the comets. It was no accident, it was genuine science by which one first reached this knowledge. Physical research only confirmed it later. People realize now that this is true for all that anthroposophy sets forth; for everything is confirmed later. Quite a number of things will be discovered today outside the Anthroposophical Movement that were already given out many years ago by anthroposophy in a rather different way.

Yes, there are many other things that could be carefully investigated today by science. I am always saying that if people could really travel to a star, they would be amazed to find it different from the modern ideas about it determined by their life on earth. They imagine that it contains a glowing gas. But that is not at all what is found out there. Actually, where the star is, there is empty space, empty space that would immediately suck one up. Suction forces are there. They would suck you up instantly, split you to pieces. If people would work with the same consistent research and the same unprejudiced thinking as we do here, they would also come to see with intricate spectroscopes that there are not gases out there, but negative suctional space.

Some time ago I gave certain individuals the task of investigating the sun and stars with the spectroscope, simply in order to prove by external methods that the stars are hollow spaces, not glowing gases. That can be proved. The persons to whom I gave this task were tremendously enthusiastic when they started: “Oh! then we shall get somewhere!” But sometimes enthusiasm fades away; they delayed too long. And then a year-and-a-half ago news came from America that people were starting to investigate the stars and were gradually finding out that they were not glowing gases but hollowed-out space! It is no disaster, of course, for such a thing to happen. But naturally, it would have been more useful to us – externally—if we had done it. But it doesn't matter, as long as truth comes to light.

On the other hand, however, it can be seen through just such things that anthroposophy really wants to work in collaboration with ordinary science. So it would also like to work with ordinary science on the strata of the earth. One thoroughly accepts what science has to say about the upheavals and overturnings in the Alps. But one cannot go along with the scientists when they assume that these upheavals were caused by forces that are still existing today. The fact is that there were life-forces there then; only life-forces could have flung and tossed these strata of living substance through one another. Anthroposophy already incorporates ordinary science and extends far beyond it, but science always wants to stop whenever it is too lazy to approach things more closely.

So—we will continue on Wednesday at nine o'clock.

• 4. Paris, May 25-June 16, 1906: L'Esotérisme chrétien / Esquisse d'une cosmogonie psychologique, Paris 1957.

Play on jokes and rants with five interruptions by Gerhart Hauptmann
Performance at the Deutsches Theater, Berlin

"Schluck und Jau." This much-disputed "Spiel zu Scherz und Schimpf" by Gerhart Hauptmann, which has just been published by S.Fischers Verlag (Berlin) and performed at the Deutsches Theater, will be discussed in the next issue of this magazine. Our judgment differs so much from what has been heard so far, pro and con, that we can only hope to be heard when the agitated tempers have calmed down somewhat.

"And do not take this coarse little piece for more than an unconcerned whim child," says the prologue speaker, who is "a hunter with the hip horn, through a divided curtain of green cloth, as it were, in front of the hunting party, to whom, as is assumed, the following piece is played in the banqueting hall of a hunting lodge." I believe that such a clear expression of his intentions must be respected in a poet. One would be wrong to expect a profound philosophy of life from a play written for the above purpose. What poet would waste such a philosophy if he thought of a "hunting party" as spectators and, moreover, had his prologue speaker address them thus: "Let it please you, dear hunters, that sometimes this curtain opens and reveals something to you - and then closes. Let your eyes glide over it, if you do not prefer to look into the cup." As a spectator, I am therefore entitled to put my own brain aside for once and to insert that of a member of a princely hunting party into my cranial cavity. I have the interests, thoughts and opinions of Prince Jon Rand, and it is very well calculated for my understanding when Karl, my "thinking" comrade, shares his philosophy of life with me. Jau, the drunkard, has been awakened from his intoxication in a princely bed; he has been dressed in princely clothes and then told that he is a prince and not a walking rascal. Charles undertakes this maneuver to amuse his prince. He then instructs him:

"Take this dress off him, this colorful embroidered one,
So he slips into the rags again,
Which now tied into a small bundle
The castellan keeps. Dress remains dress after all! His is a little more flimsy,
But just and fitted to his body.
And since it is from the same witness
Like dreams - his as good as ours, Jon!
And we are no closer to the things that surround us here
Are no closer than dreams, and
No closer than the stranger Jau -
So he rescues from our junk heaven
Much less than we into his realm
Of lowliness. How? What, are we more
? More than naked sparrows? More than this Jau? I do not think so! What we really are,
Is little more than what it really is -:
And our best happiness is soap bubbles.
We form them with our heart's breath
And swarm after them in the blue air,
Until they burst: and so does he.
He will be free in the future as before,
To pursue such eternal arts."

The ancient wisdom that the differences between people are based only on appearances, that something completely new is revealed to us as the essence of man when we awaken from the dream of life for a while, something that is in every man, be he prince or beggar - this not exactly profound but nevertheless true wisdom is presented here as it fits into the brain of a man like Karl. And the type of person who takes such things, which others have long since relegated to the category of the most banal matters of course, seriously and expresses them with importance, is wonderfully met. We know him, the count, who recites a few trivialities from a catechism on Indian philosophy with an expression as if he had gone to school with Buddha himself. This philosophizing salon hero of Gerhart Hauptmann's is excellently designed. Nietzscheanism has also found such philosophizing counts today. I knew one myself who always carried around the small edition of "Zarathustra" in a cute little booklet in his trouser pockets. In the other pocket, the count's thinker carried an equally well-equipped small edition of the Bible. He seemed to be of the opinion that the teachings of the "Book of Books" could be perfectly confirmed by the sayings of Zarathustra and that Nietzsche was only mistaken if he thought he was an anti-Christian philosopher. Why should it not give Karl, who is the child of such a mind, a terrible pleasure to make it clear to his comrade that it is only the veil of Maja that lets us find a difference between beggar and king, and that a beggar, if he is only put in the position of being king for a day, will play his part just as well as the born prince?

Hauptmann, however, seems to lack the humor that would be necessary to pull off the whole farce. He is a contemplative nature. He lays souls bare in a wonderful way. The two ragamuffins Schluck and Jau, with their riff-raff philosophy and servile lifestyle, are wonderfully drawn. Hauptmann's psychological subtlety is evident in every stroke with which he characterizes these two types. As a result, the beginning and end of the play are excellently done: the scene that shows us the two drunken rags on the green plan in front of the castle, and the other, at the end, that shows them after they have passed their adventures in the castle and have been thrown back onto the street.

The situation is different with what lies in between. This is where a dramatic cartoonist should have developed his art. Hauptmann's talent fails in this area. The irresistible comedy, which alone would be appropriate here, is probably not his thing. The actual farce therefore appears dull and colorless. Shakespearean style was the aim. But it is only half achieved everywhere. This also indicates what seems to be questionable about this play. It does not reveal any of its character. One is reminded of so much without feeling fully compensated by what is new in invention and treatment. We would have preferred less Shakespeare and more Hauptmann.

I apologize that I did not quite succeed in engaging a princely hunting party brain, but that my own asserted itself so obtrusively.

Lessing had faith in rebirth.

In Herder we find the ideas of re-embodiment in his writing on the development of the human spirit.

In Schiller we find it in his correspondence: Julius and Raphael (Schiller and Körner), Theosophy of Julius, and in the letters on the advancement of the aesthetic education of man.

Novalis had the belief in it.

Goethe presents the development of the human being from the lower to the higher powers of the soul in the fairy tale of the green snake and the beautiful lily. His view was: Only the one who has gone through the stages of development, who has felt drawn into it, who has gone through doubts, has gained the great conviction, the great faith, and struggled through disharmony to harmony. His Faust is a song of human perfection. We do not need to look for it in the Bhagavad Gita. We also find the great problem in Faust. He sets himself the task of solving the mystery of evil.

Faust (Part One) Here we see the young man full of the feeling of disharmony. Earth spirit is not a symbol, but a real being for Goethe. He assumed that there are planetary beings in the planets, and that they have their bodies, just as we have our bodies of flesh.

His, that is to say, Goethe's creed: the earth spirit had taught him not only to see, but to feel and sense the unified essence of stone, plant, animal, and human. He taught him the brotherhood of all created things up to man, the crown of [creation]. He expressed his creed at the age of eighty in “the mysteries” – pilgrims walk to the monastery, the rosary is a sign of the three kingdoms of nature; stone, plant, animal is cross. Roses are love.

Goethe himself later said that each of the twelve personalities represents one of the great world creeds or religions. The purpose was to seek the true inner core of the world religions.

Three worlds: first, the dream world; second, the astral or soul world; third, the mental or spiritual world.

The awakening of the spiritual eye first brings about tremendous changes in the dream life. When the new vision, the new world, opens up, it takes on great regularity. Of course, no science may be founded on what the human being experiences there.

The disciple or chela must learn to bring the consciousness of the second, the astral world, into their daily consciousness through the dream. Later, in dreamless sleep, he experiences the spiritual and mental worlds. The consciousness of the astral world expresses itself in images. The consciousness of the spiritual world in spiritual hearing. The Pythagoreans called it the music of the spheres.

Prologue in Heaven – the spiritual world.

In Mephistopheles, Goethe created the image for an ancient idea that is contained in all profound spiritual wisdom. He tried to solve the mystery of evil. Evil is the sum of all those forces that oppose the progress of human perfection. If truth consists in further development, then every obstacle is a lie. The one who corrupts through lies is called Mephistopheles.

Part Two

Faust had to end as a mystic. In “Conversations of Eckermann with Goethe”, Goethe says: “For the initiate, it will soon be apparent that there is much depth to be found in this Faust.” The main idea of “Faust” presents the three main parts of human nature: spirit, soul, and body.

The spirit is eternal, was there before birth and will be there after death. The soul is the link between spirit and body; in its development it first tends more towards the body, then towards the spirit, and with this towards the lasting, the eternal. The development of the spiritual eye helps in this.

The realm of the mothers represents the source of all things; the spirit comes from this.

To enter the spiritual realm – Devachan in theosophy – requires a moral qualification. The aim of theosophy is to lead people upwards. To do this, a person must first make themselves capable, worthy. When Faust leads Helen up for the first time, he is consumed by wild passion, and this causes Helen to scatter.

Helena represents the various incarnations.

Homunculus is a soul. In the classical Walpurgis Night, it is shown how a soul comes into being. Goethe sees the gradual development before him. Homunculus is to receive a body. He must begin with the mineral kingdom; then the plant kingdom follows. Goethe's expression: “It grunts so”.

Faust's blindness represents: the physical world dies away for him; now his inner vision opens up. A magnificent image! Whoever does not have this, this dying and becoming...

Jakob Böhme puts it this way: And so death is the root of all life. And in another place:

He who does not die before he dies
Will perish if he dies.

Chorus mysticus:

All that is transitory
Is but a parable
The inadequate,
Here it becomes an event
The indescribable,
Here it is done;
The eternal feminine
Draws us onward.

In all mysticism, the striving human soul is described as something feminine. The union of the soul with the mystery of the world: spiritual union in mystics is expressed as the marriage of the lamb. This view brought Goethe even deeper into the above-mentioned fairy tale of the green snake and the beautiful lily.

Euphorion embodied poetry.

Goethe himself said about the last part of Goethe's “Faust” that he wanted to depict Faust's ascent in the image of the end – Montserrat.

The poem suggests: Parzival, a hiker in the valley. When Faust went blind, he was given the opportunity to develop rapidly. He entered the higher regions; we would call it Devachan or Suschupti. But Goethe brought Catholic ideas with him. So he had Father Marianus appear in the cleanest cell. This indicates: liberation from all sexual things, thus standing above man and woman. That is why he also gave him a woman's name with a masculine ending. Now the dual sex was replaced by the single sex. He had awakened completely in Budhi. Budhi, the sixth basic element, had gained the upper hand over everything else.