The Rudolf Steiner Archive

If we dive down within us, we'll find a lot of beings there. This may seem strange to us at first, but the more we learn to look into spiritual worlds, the more we'll see that a number of spiritual beings are working in us—often to undo the destruction that we men bring about through foolishness. Let's ask ourselves where disease comes from. We know that every disease has a physical cause and also a spiritual one that must be looked for in immorality, passions or other mistakes in this existence but mostly in the previous one. The overcoming of every disease releases force, but this doesn't mean that one should drag out an illness as long as possible to make rapid progress. Everyone should do his best to get well fast. But if he's been sick for three weeks or six months, he should look at this as karma and bear it patiently and calmly.

But there's another reason why disease is something beneficial. Since the Lemurian epoch and on through Atlantis until the Mystery of Golgotha, mankind sank ever more deeply into matter. Through the fact that we follow our drives and passions, we were brought ever further away from the goals that the Gods set for us. Disease is what bends this downward impulse and gives us an upward direction again.

Modern science condemns theosophical teachings and calls them dreams, but just read John's Gospel or any theosophical book and one will see the enlivening, refreshing effect it has, whereas a materialistic or monistic book desiccates one's soul. And since purely materialistic thinking only uses up forces the consequence in the next existence is that such people will be feeble-minded. Their brain will be a spongy watery mass; they'll want to think, but won't be able to. This feeble-mindedness is a good thing that keeps these people from sinking irrevocably. For through the fact that the brain is kept from materialistic thinking, the eternal can work on the core of the man's being after two successive incarnations, and influence it so that it strives upward again.

Something you'll all experience sooner or later in meditation is that one feels entirely loosened, the etheric body expands, one feels carried out to distant world boundaries, and then suddenly, one feels as if one were riveted to this world again, that one can't get away from it; it's as if one were sitting in a vise. That's good. It's our karma from previous incarnations that holds us fast like this. If our exercise would immediately take us up into the spiritual world before we took care of our karma, the result would be a long fall. Mehazel is the leader of these hosts who fix us to the earth. Like Samael, Azazel, and Azael, we get to know him when we descend into our interior. Then we'll really see that our interior is a field of action for demons, and as it says in the Bible: My name is Legion. We're supposed to become acquainted with these beings on our esoteric path so that we become sensible and gradually outgrow them. Azael works in such a way that he harmonizes what arises through dullness with respect to the spiritual world. We take over Azael's work when we acquire equanimity. Equanimity doesn't mean to jubilate or to complain about pain, but to recognize the reality of karmic action in everything. We shouldn't just believe in the karma idea theoretically, but should sense that karma is active in everything that hits us. This is the scourging stage in Christian initiation, that is, one should calmly confront all the pains of life that hit us like the blows of a whip and know that they're conditioned karmically. That's true equanimity.

We know that the physical world is only an inverted mirror image of the astral world. A very important meditation to make the words “The world is only maya” effective is the following. Everything around is really there in reverse. What we see from above downwards is really there from below upwards. A plant's root is above and the flower down below. The starry heavens we have before us is the result of spiritual beings who are really active behind us. Any sound that's received by the left ear comes from the right. We must become familiar with these facts and also with complementary colors. If someone has a lot of red spots imagine that they're green, or imagine that projecting limbs are cavities. One imagines the green in a plant as reddish purple and a brown root as dark blue. One should permeate all of these exercises with reverence and devotion. That's the feeling with which we can hope to approach the world's Godhead; whereas God remains an abstraction to mere thinking. If we glow through our thinking with reverence, devotion and humility, we may hope to penetrate the spiritual world.

Dr. Steiner: Today, we will primarily discuss the problem children we spoke with.

We will need to look at M.H. often. We will have to ask E.S. many things.

We can give some of the children in the fourth grade specific exercises, for instance, E.E. could learn the phrase, “People gain strength for life through learning.” You could allow him to say this each morning in the course of the first period. F.R. could learn, “I will pay attention to my words and thoughts,” and A.S. could learn, “I will pay attention to my words and deeds.”

We should have H.A. in the fifth grade do complicated drawings, for instance, a line that snakes about and comes back to its own beginning. He could also draw eurythmy forms. He should learn the phrase, “It is written in my heart to learn to pay attention and to become industrious.”

You will need to force T.E. in the seventh grade to follow very exactly and slowly. She should hear exactly and slowly what you say to her. That should have a different tempo than her own fragmented thinking. Think a sentence together with her, “I will think with you.” Only think it twice as slowly as she does.

O.R., in eighth grade, is sleepy. He is a kind of soul-earthworm. That kind of sleepiness arises because people pass things by and pay no attention to them. He shouldn’t play any pranks on anyone, nor disturb anyone’s attention.

In regard to the slow thinking in the third grade, you could take a phrase like, “The tree becomes green,” and turn it around to “Green becomes the tree,” and so forth so that they learn to turn their thinking around quickly.

My general impression is that, in spite of all of the obstacles, you should maintain the courage to continue your teaching. Although there is not much time left in this year, we still have much to do.

There is some discussion of afterschool care.

Dr. Steiner: The children should avoid comparing their teachers. You should pay attention to the children’s physical symmetry and asymmetry and seek what lies parallel in their souls. To do that, you must know each child’s peculiarities well. There is something called “flame symmetry,” that is, how things interact through harmonious motions. Ellicot first noticed it and did some work with it. What the teacher thinks affects the child when the teacher is really present. The main thing is that you take an interest in each child. A teacher asks about how to get through all the material and about homework.

Dr. Steiner: You should present homework as voluntary work, not as a requirement. In other words, “Who wants to do this?”

A teacher asks about a reading book.

Dr. Steiner: In the reading lesson, not all of the children need to read. You can bring some material and hand it around, allowing the children to read it, but not all need do so. However, the children should read as little as possible about things they do not understand very well. The teachers are reading aloud to the children too much. You should read nothing to the children that you do not know right into each word through your preparation. A teacher asks about modeling.

Dr. Steiner: You could use a column seen from a particular perspective as an example, but you should not make the children slavishly imitate it. You need to get the children to observe, but allow them to change their work.

A teacher: How far should I go in history before turning to something else? In the seventh grade, I have gotten as far as the end of the Caesars in Roman history, and in the eighth grade, I am at the Punic Wars.

Dr. Steiner: Make an effort to get to Christianity and then do two months of German. Do Goethe and Schiller in the eighth grade.

[Dr. Steiner tells an anecdote about a child who is asked, “Who are Goethe and Schiller?” The child replies, “Oh, those are the two statues sitting on the piano at home.”]

You should teach German history differently in the eighth grade than in the seventh.

A teacher asks a question.

Dr. Steiner: The teachers should write essays for The Social Future. They should tell about their pedagogical experiences, in particular, of the children’s feelings. Modern pedagogical literature is absolutely worthless before Dittes. However, through such writings, we can make it more human.

A teacher: Should we form a ninth grade next year?

Dr. Steiner: A ninth grade is certainly desirable. The school regulations no longer apply then, and we can be quite free. The ninth grade will arise spontaneously out of the results of the eighth grade.

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.

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.

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.)

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.

• 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.

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.

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.

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.

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

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

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.

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.

As early as 1891 I drew attention¹ to the relation between Schiller's Aesthetic Letters² and Goethe's Fairy-tale of the Green Snake and the Beautiful Lily.³ I would like today to point to a certain connection between what I gave yesterday as the characteristic of the civilization of the Central-European countries in contrast to the Western and Eastern ones and what arises in quite a unique way in Goethe and Schiller. I characterized, on the one hand, the seizure of the human corporality by the spirits of the West and, on the other hand, the feeling of those spiritual beings who, as imaginations, as spirits of the East, work inspiringly into Eastern civilization. And one can notice both these aspects in the leading personalities of Goethe and Schiller. I will only point out in addition how in Schiller's Aesthetic Letters he seeks to characterize a human soul-constitution which shows a certain middle mood between one possibility in the human being—his being completely given over to instincts, to the sensible-physical—and the other possibility—that of being given over to the logical world of reason. Schiller holds that, in both cases, the human being cannot come to freedom. For if he has completely surrendered himself to the world of the senses, to the world of instincts, of desires, he is given over to his bodily-physical nature and is unfree. But he is also unfree when he surrenders himself completely to the necessity of reason, to logical necessity; for then he is coerced under the tyranny of the laws of logic. But Schiller wants to point to a middle state in which the human being has spiritualized his instincts to such a degree that he can give himself up to them without their dragging him down, without their enslaving him, and in which, on the other hand, logical necessity is taken up into sense perception (sinnliche Anschauen), taken up into personal desires (Triebe), so that these logical necessities do not also enslave the human being.

Schiller finds this middle state in the condition of aesthetic enjoyment and aesthetic creation, in which the human being can come to true freedom.

It is an extremely important fact that Schiller's whole treatise arose out of the same European mood as did the French Revolution. The same thing which, in the West, expressed itself tumultuously as a large political movement orientated towards external upheaval and change also moved Schiller—but moved him in such a way that he sought to answer the question: What must the human being do in himself in order to become a truly free being? In the West they asked: How must the external social conditions be changed so that the human being can become free? Schiller asked: What must the human being become in himself so that, in his constitution of soul, he can live in (darleben) freedom? And he sees that if human beings are educated to this middle mood they will also represent a social community governed by freedom. Schiller thus wishes to realize a social community in such a way that free conditions are created through [the inner nature of] human beings and not through outer measures.

Schiller came to this composition of his Aesthetic Letters through his schooling in Kantian philosophy. His was indeed a highly artistic nature, but in the 1780s and the beginning of the 1790s he was strongly influenced by Kant and tried to answer such questions for himself in a Kantian way (im Kantischen Sinne). Now the Aesthetic Letters were written just at the time when Goethe and Schiller were founding the magazine Die Horen (The Hours) and Schiller lays the Aesthetic Letters before Goethe.

Now we know that Goethe's soul-configuration was quite different from Schiller's. It was precisely because of the difference of their soul-constitutions that these two became so close. Each could give to the other just that which the other lacked. Goethe now received Schiller's Aesthetic Letters in which Schiller wished to answer the question: How can the human being come inwardly to a free inner constitution of soul and outwardly to free social conditions? Goethe could not make much of Schiller's philosophical treatise. This way of presenting concepts, of developing ideas, was not unfamiliar to him. Anyone who, like myself, has seen how Goethe's own copy of Kant's Critique of Pure Reason is filled with underlinings and marginal comments knows how Goethe had really studied this work of Kant's which was abstract, but in a completely different sense. And just as he seems to have been able to take works such as these purely as study material, so, of course, he could also have taken Schiller's Aesthetic Letters. But this was not the point. For Goethe this whole construction of the human being—on the one hand logical necessity and on the other the senses with their sensual needs, as Schiller said, and the third, the middle condition—for Goethe this was all far too cut and dried, far too simplistic. He felt that one could not picture the human being so simply, or present human development so simply, and thus he wrote to Schiller that he did not want to treat the problem, this whole riddle, in such a philosophical, intellectual form, but more pictorially. Goethe then treated this same problem in picture form—as reply, as it were, to Schiller's Aesthetic Letters—in his Fairy-tale of the Green Snake and the Beautiful Lily by presenting the two realms on this and on the far side of the river, in a pictorial, rich and concrete way; the same thing that Schiller presents as sense-life and the life of reason. And what Schiller characterizes abstractly as the middle condition, Goethe portrays in the building of the temple in which rule the King of Wisdom (the Golden King), the King of Semblance (the Silver King), the King of Power (the Copper King) and in which the Mixed King falls to pieces. Goethe wanted to deal with this in a pictorial way. And we have, in a certain sense, an indication—but in the Goethean way—of the fact that the outer structure of human society must not be monolithic but must be a threefoldness if the human being is to thrive in it. What in a later epoch had to emerge as the threefold social order is given here by Goethe still in the form of an image. Of course, the threefold social order does not yet exist but Goethe gives the form he would like to ascribe to it in these three kings; in the Golden, the Silver, and the Copper King. And what cannot hold together he gives in the Mixed King.

But it is no longer possible to give things in this way. I have shown this in my first Mystery Drama⁴ which, in essence, deals with the same theme but in the way required by the beginning of the twentieth century, whereas Goethe wrote his Fairy-tale at the end of the eighteenth century.

Now, however, it is already possible to indicate in a certain way—even though Goethe had not himself yet done so—how the Golden King would correspond to that aspect of the social organism which we call the spiritual aspect: how the King of Semblance, the Silver King, would correspond to the political State: how the King of Power, the Copper King, would correspond to the economic aspect, and how the Mixed King, who disintegrates, represents the 'Uniform State' which can have no permanence in itself.

This was how, in images, Goethe pointed to what would have to arise as the threefold social order. Goethe thus said, as it were, when he received Schiller's Aesthetic Letters: One cannot do it like this. You, dear friend, picture the human being far too simplistically. You picture three forces. This is not how it is with the human being. If one wishes to look at the richly differentiated inner nature of the human being, one finds about twenty forces—which Goethe then presents in his twenty archetypal fairy-tale figures—and one must then portray the interplay and interaction of these twenty forces in a much less abstract way.

Thus at the end of the eighteenth century we have two presentations of the same thing. One by Schiller, from the intellect as it were, though not in the usual way that people do things from the intellect, but such that the intellect is permeated here with feeling and soul, is permeated by the whole human being. Now there is a difference between some dry, average, professional philistine presenting something on the human being in psychological terms, where only the head thinks about the matter, and Schiller, out of an experience of the whole human being, forming for himself the ideal of a human constitution of soul and thereby only transforming into intellectual concepts what he actually feels.

It would be impossible to go further on the path taken by Schiller using logic or intellectual analysis without becoming philistine and abstract. In every line of these Aesthetic Letters there is still the full feeling and sensibility of Schiller. It is not the stiff Königsberg approach of Immanuel Kant with dry concepts; it is profundity in intellectual form transformed into ideas. But should one take it just one step further one would come into the intellectual mechanism that is realized in the usual science of today in which, basically, behind what is structured and developed intellectually, the human being has no more significance. It thus becomes a matter of no importance whether Professor A or D or X deals with the subject because what is presented does not arise from the whole human being. In Schiller everything still has a totally personal (urpersönlich) nature, even into the intellect. Schiller lives there in a phase—indeed, in an evolutionary point of the modern development of humanity which is of essential importance—because Schiller stops just short of something into which humanity later fell completely.

Let us show diagramatically what might be meant here. One could say: This is the general tendency of human evolution (arrow pointing upwards). Yet it cannot go [straight] like this—portrayed only schematically—but loops round into a lemniscate (blue). But it cannot go on like that—there must, if evolution takes this course, be continually new impulses Antriebe) which move the lemniscates up along the line.

Schiller, having arrived at this point here (see diagram), would have gone into a dark blue, as it were, of mere abstraction, of intellectuality, had he proceeded further in objectifying what he felt inwardly. But he drew a halt and paused with his forms of reasoning just at that point at which the personality is not lost. Thus, this did not become blue but, on a higher level of the Personality—which I will colour with red (see diagram)—was turned into green.

Thus one can say: Schiller held back with his intellectuality just before that point at which intellectuality tries to emerge in its purity. Otherwise he would have fallen into the usual intellect of the nineteenth century. Goethe expressed the same thing in images, in wonderful images, in his Fairy-tale of the Green Snake and the Beautiful Lily. But he, too, stopped at the images. He could not bear these pictures to be in any way criticized because, for him, what he perceived and felt about the individual human element and the social life, did simply present itself in such pictures. But he was allowed to go no further than these images. For had he, from his standpoint, tried to go further he would have come into wild, fantastic daydreams. The subject would no longer have had definite contours; it would no longer have been applicable to real life but would have risen above and beyond it. It would have become rapturous fantasy. One could say that Goethe had to avoid the other chasm, in which he would have come completely into a fantastic red. Thus he adds that element which is non-personal—that which keeps the pictures in the realm of the imaginative—and thereby came also to the green.

Expressing it schematically, Schiller had, as it were, avoided the blue, the Ahrimanic-intellectuality; Goethe had avoided the red, excessive rapturousness, and kept to concrete imaginative pictures.

As a human being of Central Europe, Schiller had con-fronted the spirits of the West. They wanted to lead him astray into the solely intellectual. Kant had succumbed to this. I spoke about this recently⁵ and indicated how Kant had succumbed to the intellectuality of the West through David Hume. Schiller had managed to work himself clear of this even though he allowed himself to be taught by Kant. He stayed at the point that is not mere intellectuality.

Goethe had to do battle with the other spirits, with the spirits of the East, who pulled him towards imaginations. Because at that time spiritual science was not yet present on the earth he could not go further than to the web of imaginations in the Fairy-tale of the Green Snake and the Beautiful Lily. But even here he managed to remain within firm contours. He did not go off into wild fantasy or ecstasies. He gave himself a new and fruitful stimulus through his journey to the South where much of the legacy from the Orient was still preserved. He learnt how the spirits of the East still worked here as a late blossoming of oriental culture; in Greek art as he construed this for himself from Italian works of art. It can therefore be said that there was something quite unique in this bond of friendship between Schiller and Goethe. Schiller had to battle with the spirits of the West; he did not yield to them but held back and did not fall into mere intellectuality. Goethe had to battle with the spirits of the East; they tried to pull him into ecstatic reveries zum Schwärmerischen). He, too, held back; he kept to the images which he gives in his Fairy-tale of the Green Snake and the Beautiful Lily. Goethe would have had either to succumb to rapturous daydreams (Schwärmerei) or to take up oriental revelation. Schiller would have had either to become completely intellectual or would have had to take seriously what he became—it is well known that he was made a 'French citizen' by the revolutionary government but that he did not take the matter very seriously.

We see here how, at an important point of European development, these two soul-constitutions, which I have characterized for you, stand side by side. They live anyway, so to speak, in every significant Central-European individuality but in Schiller and Goethe they stand in a certain way simultaneously side by side. Schiller and Goethe remained, as it were, at this point, for it just required the intercession of spiritual science to raise the curve of the lemniscate (see diagram) to a higher level.

And thus, in a strange way, in Schiller's three conditions—the condition of the necessity of reason, the condition of the necessity of instincts and that of the free aesthetic mood—and in Goethe's three kings—the Golden King, the Silver King, and the Copper King—we see a prefiguration of everything that we must find through spiritual science concerning the threefold nature of the human being as well as the threefold differentiation of the social community representing, as these do, the most immediate and essential aims and problems of the individual human being and of the way human beings live together.

These things direct us indeed to the fact that this threefolding of the social organism is not brought to the surface arbitrarily but that even the finest spirits of modern human evolution have already moved in this direction. But if there were only the ideas about the social questions such as those in Goethe's Fairy-tale and nothing more one would never come to an impetus for actual outer action. Goethe was at the point of overcoming mere revelations. In Rome he did not become a Catholic but raised himself up to his imaginations. But he stopped there, with just pictures. And Schiller did not become a revolutionary but a teacher of the inner human being. He stopped at the point where intellect is still suffused with the personality.

Thus, in a later phase of European culture, there was still something at work which can be perceived also in ancient times and most clearly, for modern people, in the culture of ancient Greece. Goethe also strove towards this Greek element. In Greece one can see how the social element is presented in myth—that is, also in picture form. But the Greek myth, basically, Is image in the same way that Goethe's Fairy-tale is image. It is not possible with these images to work into the social organism in a reforming way. One can only describe as an idealist, as it were, what ought to take shape. But the images are too frail a structure to enable one to act strongly and effectively in the shaping of the social organism. For this very reason the Greeks did not believe that their social questions were met by remaining in the images of the myths. And it is here, when one follows this line of investigation, that one comes to an important point in Greek development.

One could put it like this: for everyday life, where things go on in the usual way, the Greeks considered themselves dependant on their gods, on the spirits of their myths. When, however, it was a matter of deciding something of great importance, then the Greeks said: Here it is not those gods who work into imaginations and are the gods of the myths that can determine the matter; here something real must come to light. And so the Oracle arose. The gods were not pictured here merely imaginatively but were called upon (veranlasst) really to inspire people. And it was with the sayings of the Oracle that the Greeks concerned themselves when they wanted to receive social impulses. Here they ascended from imagination to inspiration, but an inspiration which they attained by means of outer nature. We modern human beings must certainly also endeavour to lift ourselves up to inspiration; an inspiration, however, that does not call upon outer nature in oracles but which rises to the spirit in order to be inspired in the sphere of the spirit. But just as the Greeks turned to reality in matters of the social sphere—just as they did not stop at imaginations but ascended to inspirations—so we, too, cannot stop at imaginations but must rise up to inspirations if we are to find anything for the well-being of human society in the modern age.

And we come here to another point which is important to look at. Why did Schiller and Goethe both stop at a certain point—the one on the path towards the intellectual (Verstandiges) and the other on the path to the imaginative? Neither of them had spiritual science; otherwise Schiller would have been able to advance to the point of permeating his concepts in a spiritual-scientific way and he would then have found: something much more real in his three soul-conditions than the three abstractions in his Aesthetic Letters. Goethe would have filled imagination with what speaks out in all reality from the spiritual world and would have been able to penetrate to the forms of the social life which wish to be put into effect from the spiritual world—to the spiritual element in the social organism, the Golden King; to the political element in the social organism, the Silver King; and to the economic element, the Bronze, the Copper, King.

The age in which Goethe and Schiller pressed forward to these insights—the one in the Aesthetic Letters and the other in the Fairy-tale—was not yet able to go any further. For, in order to penetrate further, there is something quite definite that must first be realized. People have to see what becomes of the world if one continues along Schiller's path up to the full elaboration (Ausgestaltung) of the impersonally intellectual. The nineteenth century developed it to being with in natural science and the second half of the nineteenth century already began to try to realize it in outer public affairs. There is a significant secret here. In the human organism what is ingested is also finally destroyed. We cannot simply go on eating but must also excrete; the substance we take in has to meet with destruction, has to be destroyed, and has then to leave the organism. And the intellectual is that which—and here comes a complication—as soon as it gets hold of the economic life in the uniform State, in the Mixed King, destroys that economic life.

But we are now living in the time in which the intellect must evolve. We could not come to the development of the consciousness-soul in the fifth post-Atlantean epoch without developing the intellect. And it is the Western peoples that have just this task of bringing the intellect into the economic life. What does this mean? We cannot order modern economic life imaginatively, in the way that Goethe did in his Fairy-tale, because we have to shape it through the intellect (verständig). Because in economics we cannot but help to go further along the path which Schiller took, though in his case he went only as far as the still-personal outbreathing of the intellect. We have to establish an economic life which, because it has to come from the intellect, of necessity works destructively in the fifth post-Atlantean epoch. In the present age there is no economic life that could be run imaginatively like that of the Orient or the economy of medieval Europe. Since the middle of the fifteenth century we have only had the possibility of an economic life which, whether existing alone or mixed with the other limbs of the social organism, works destructively. There is no other way. Let us therefore look on this economic life as the side of the scales that would sink far down and therefore has to work destructively. But there also has to be a balance. For this reason we must have an economic life that is one part of the social organism, and a spiritual life which holds the balance, which builds up again. If one clings today to the uniform State, the economic life will absorb this uniform State together with the spiritual life, and uniform States like these must of necessity lead to destruction. And when, like Lenin and Trotsky, one founds a State purely out of the intellect it must lead to destruction because the intellect is directed solely to the economic life.

This was felt by Schiller as he thought out his social conditions. Schiller felt: If I go further in the power of the intellect (verständesmassiges Können) I will come into the economic life and will have to apply the intellect to it. I will not then be portraying what grows and thrives but what lives in destruction. Schiller shrank back before the destruction. He stopped just at the point where destruction would break in. People of today invent all sorts of social economic systems but are not aware, because they lack the sensitivity of feeling for it, that every economic system like this that they think up leads to destruction; leads definitely to destruction if it is not constantly renewed by an independent, developing spiritual life which ever and ever again works as a constructive element in relation to the destruction, the excretion, of the economic life. The working together of the spiritual limb of the social organism with the economic element is described in this sense in my Towards Social Renewal (Kernpunkte der Sozialen Frage).⁶

If, with the modern intellectuality of the fifth post-Atlantean epoch, people were to hold on to capital even when they themselves could no longer manage it, the economic life itself would cause it to circulate. Destruction would inevitably have to come. This is where the spiritual life has to intervene; capital must be transferred via the spiritual life to those who are engaged in its administration. This is the inner meaning of the threefolding of the social organism; namely that, in a properly thought out threefold social organism, one should be under no illusion that the economic thinking of the present is a destructive element which must, therefore, be continually counterbalanced by the constructive element of the spiritual limb of the social organism.

In every generation, in the children whom we teach at school, something is given to us; something is sent down from the spiritual world. We take hold of this in education—this is something spiritual—and incorporate it into the economic life and thereby ward off its destruction. For the economic life, if it runs its own course, destroys itself. This is how we must look at things. Thus we must see how at the end of the eighteenth century there stood Goethe and Schiller. Schiller said to himself: I must pull back, I must not describe a social system which calls merely on the personal intellect. I must keep the intellect within the personality, otherwise I would describe economic destruction. And Goethe: I want sharply contoured images, not excessive vague ones. For if I were to go any further along that path I would come into a condition that is not on the earth, that does not take hold with any effect on life itself. I would leave the economic life below me like something lifeless and would found a spiritual life that is incapable of reaching into the immediate circumstances of life.

Thus we are living in true Goetheanism when we do not stop at Goethe but also share the development in which Goethe himself took part since 1832. I have indicated this fact—that the economic life today continually works towards its own destruction and that this destruction must be continually counterbalanced. I have indicated this in a particular place in my Towards Social Renewal. But people do not read things properly. They think that this book is written in the same way most books are written today—that one can just read it through. Every sentence in a book such as this, written out of practical insight, requires to be thoroughly thought through!

But if one takes these two things [Goethe's Fairy-tale and Schiller's Aesthetic Letters], Schiller's Aesthetic Letters were little understood in the time that followed them. I have often spoken about this. People gave them little attention. Otherwise the study of Schiller's Aesthetic Letters would have been a good way of coming into what you find in my Knowledge of the Higher Worlds—How is it Achieved? Schiller's Aesthetic Letters would be a good preparation for this. And likewise, Goethe's Fairy-tale could also be the preparation for acquiring that configuration of thinking (Geisteskonfiguration) which can arise not merely from the intellect but from still deeper forces, and which would be really able to understand something like Towards Social Renewal. For both Schiller and Goethe sensed something of the tragedy of Central European civilization—certainly not consciously, but they sensed it nevertheless. Both felt—and one can read this everywhere in Goethe's conversations with Eckermann, with Chancellor von Müller⁷ , and in numerous other comments by Goethe—that if something like a new impulse from the spirit did not arise, like a new comprehension of Christianity, then everything must go into decline. A great deal of the resignation which Goethe felt in his later years is based, without doubt, on this mood.

And those who, without spiritual science, have become Goetheanists feel how, in the very nature of German Central Europe, this singular working side by side of the spirits of the West and the spirits of the East is particularly evident. I said yesterday that in Central European civilization the balance sought by later Scholasticism between rational knowledge and revelation is attributable to the working of the spirits of the West and the spirits of the East. We have seen today how this shows itself in Goethe and Schiller. But, fundamentally, the whole of Central European civilization wavers in the whirlpool in which East and West swirl and interpenetrate one another. From the East the sphere of the Golden King; from the West the sphere of the Copper King. From the East, Wisdom; from the West, Power. And in the middle is what Goethe represented in the Silver King, in Semblance; that which imbues itself with reality only with great difficulty. It was this semblance-nature of Central European civilization which lay as the tragic mood at the bottom of Goethe's soul. And Herman Grimm, who also did not know spiritual science, gave in a beautiful way, out of his sensitive feeling for Goethe whom he studied, a fine characterization of Central-European civilization. He saw how it had the peculiarity of being drawn into the whirlpool of the spirits of the East and the spirits of the West. This was the effect of preventing the will from coming into its own and leads to the constantly vacillating mood of German history. Herman Grimm⁸ puts it beautifully when he says: 'To Treitschke German history is the incessant striving towards spiritual and political unity and, on the path towards this, the incessent interference by our own deepest inherent peculiarities.' This is what Herman Grimm says, experiencing himself as a German. And he describes this further as 'Always the same way in our nature to oppose where we should give way and to give way where resistance is called for. The remarkable forgetting of what has just past. Suddenly no longer wanting what, a moment ago, was vigorously striven for. A disdain for the present, but strong, indefinite hope. Added to this the tendency to give ourselves over to the foreigner and, no sooner having done so, then exercising an unconscious, determining (massgebende) influence on the foreigners to whom we had subjected ourselves.'

When, today, one has to do with Central European civilization and would like to arrive at something through it, one is everywhere met by the breath of this tragic element which is betrayed by the whole history of the German, the Central European element, between East and West. It is everywhere still so today that, with Herman Grimm, one can say: There is the urge to resist where one should give way and to give way where resistance is needed.

This is what arises from the vacillating human beings of the Centre; from what, between economics and the reconstructing spirit-life, stands in the middle as the rhythmical oscillating to and fro of the political. Because the civic-political element has celebrated its triumph in these central countries, it is here that a semblance lives which can easily become illusion. Schiller, in writing his Aesthetic Letters, did not want to abandon semblance. He knew that where one deals purely with the intellect, one comes into the destruction of the economic life. In the eighteenth century that part was destroyed which could be destroyed by the French Revolution; in the nineteenth century it would be much worse. Goethe knew that he must not go into wild fantasies but keep to true imagination. But in the vacillation between the two sides of this duality, which arises in the swirling, to and fro movement of the spirits of the West and of the East, there is easily generated an atmosphere of illusion. It does not matter whether this illusionary atmosphere emerges in religion, in politics or in militarism; in the end it is all the same whether the ecstatic enthusiast produces some sort of mysticism or enthuses in the way Ludendorff⁹ did without standing on the ground of reality. And, finally, one an also meet it in a pleasing way. For the same place in Herman Grimm which I just read out continues as follows: 'You can see it today: no one seemed to be so completely severed from their homeland as the Germans who became Americans, and yet American life, into which our emigrants dissolved, stands today under the influence of the German spirit.'

Thus writes the brilliant Herman Grimm in 1895 when it was only out of the worst illusion that one could believe that the Germans who went to America would give American life a German colouring. For already, long before this, there had been prepared what then emerged in the second decade of the twentieth century: that the American element completely submerged what little the Germans had been able to bring in.

And the illusionary nature of this remark by Herman Grimm becomes all the greater when one finally bears in mind the following. Herman Grimm makes this comment from a Goethean way of thinking (Gesinnung), for he had modelled himself fully on Goethe. But he had a certain other quality. Anyone who knows Herman Grimm more closely knows that in his style, in his whole way of expressing himself, in his way of thinking, he had absorbed a great deal of Goethe, but not Goethe's real and penetrating quality—for Grimm's descriptions are such that what he actually portrays are shadow pictures, not real human beings. But he has something else in him, not just Goethe. And what is it that Herman Grimm has in himself? Americanism! For what he had in his style, in his thought-forms, apart from Goethe he has from early readings of Emerson. Even his sentence structure, his train of thought, is copied from the American, Emerson.¹⁰

Thus, Herman Grimm is under this double illusion, in the realm of the Silver King of Semblance. At a time when all German influence has been expunged from America he fondly believes that America has been Germanized, when in fact he himself has quite a strong vein of Americanism in him.

Thus there is often expressed in a smaller, more intimate context what exists in a less refined form in external culture at large. A crude Darwinism, a crude economic thinking, has spread out there and would in the end, if the threefolding of the social organism fails to come, lead to ruin—for an economic life constructed purely intellectually must of necessity lead to ruin. And anyone who, like Oswald Spengler,¹¹ thinks in the terms of this economic life can prove scientifically that at the beginning of the third millenium the modern civilized world—which today is actually no longer so very civilized—will have had to sink into the most desolate barbarity. For Spengler knows nothing of what the world must receive as an impulse, as a spiritual impulse.

But the spiritual science and the spiritual-scientific culture which not only wishes to enter, but must enter, the world today still has an extremely difficult task getting through. And everywhere those who wish to prevent this spiritual science from arising assert themselves. And, basically, there are only a few energetic workers in the field of spiritual science whereas the Others, who lead into the works of destruction, are full of energy.

One only has to see how people of today are actually completely at a loss in the face of what comes up in the life of Present civilization. It is characteristic, for instance, how a newspaper of Eastern Switzerland carried articles on my lectures on The Boundaries of Natural Science during the course at the School of Spiritual Science. And now, in the town where the newspaper is published, Arthur Drews¹², the copy-cat of Eduard von Hartmann, holds lectures in which he has never done anything more than rehash Eduard von Hartmann, the philosopher of the unconscious.¹³ In the case of Hartmann it is interesting. In the case of the rehasher it is, of course, highly superfluous. And this philosophical hollow-headedness working at Karlsruhe University is now busying itself with anthroposophically-orientated spiritual science.

And how does the modern human being—I would particularly like to emphasize this—confront these things? Well, we have listened to one person, we now go and listen to someone else. This means that, for the modern human being, it is all a matter of indifference, and this is a terrible thing. Whether the rehasher of Eduard von Hartmann, Arthur Drews, has something against Anthroposophy or not is not the important point—for what the man can have against Anthroposophy can be fully construed beforehand from his books, not a single sentence need be left out. The significant thing is that people's standpoint is that one hears something, makes a note of it, and then it is over and done with, finished! All that is needed to come to the right path is that people really go into the matter. But people today do not want to be taken up with having to go into something properly. This is the really terrible and awful thing; this is what has already pushed people so far that they are no longer able to distinguish between what is speaking of realities and what writes whole books, like those of Count Hermann Von Keyserling,¹⁴ in which there is not one single thought, just jumbled-together words. And when one longs for something to be taken up enthusiastically—which would, of itself, lead to this hollow word-skirmishing being distinguished from what is based on genuine spiritual research—one finds no one who rouses himself, makes a stout effort and is able to be taken hold of by that which has substance. This is what people have forgotten—and forgotten thoroughly—in this age in which truth is not decided according to truth itself, but in which the great lie walks among men so that in recent years individual nations have only found to be true what comes from them and have found what comes from other nations to be false. The disgusting way that people lie to each other has fundamentally become the stamp of the public spirit. Whenever something came from another nation it was deemed untrue. If it came from one's own nation it was true. This still echoes on today; it has already become a habit of thought. In contrast, a genuine, unprejudiced devotion to truth leads to spiritualization. But this is basically still a matter of indifference for modern human beings.

Until a sufficiently large number of people are willing to engage themselves absolutely whole-heartedly for spiritual science, nothing beneficial will come from the present chaos. People should not believe that one can somehow progress by galvanizing the old. This 'old' founds 'Schools of Wisdom' on purely hollow words. It has furnished university philosophy with the Arthur Drews's who, however, are actually represented everywhere, and yet humanity will not take a stand. Until it makes a stand in all three spheres of life—in the spiritual, the political and the economic spheres—no cure can come out of the present-day chaos. It must sink ever deeper!

• 1 . See Rudolf Steiner's own review (GA 51) of his lecture to the Vienna Goethe Association (Wiener Goetheverein) on 27 November 1891 entitled Über das Geheimnis in Goethes Rätselmarchen in den 'Unterhaltu deutscher Ausgewanderter' (On the Secret in Goethe's Enigmatic Fairy Tale in 'Conversations of German Emigrants) in Literarisches Frühhwerk, Vol III, Book IV, Dornach, 1942. See also Goethe's Standard of the Soul (Goethes Geistesart in ihrer Offenbarung durch seine 'Faust' und durch sein 'Märchen von der grünen Schlange und der Lilie') (GA 22).
• 2 . See On the Aesthetic Education of Man published in 1795 in the Die Horen. This work arose from letters sent by Schiller to the Duke of Augustenburg between 1793 and 1795.
• 3 . Published in the Die Horen in 1795 as the close to the short story Conversations of German Emigrants.
• 4 . See The Portal of Initiation—A Rosicrucian Mystery, 1910, in Four Mystery Dramas, (GA 14).
• 5 . See Lecture One of this volume.
• 6 . See Towards Social Renewal, 1919, (GA 23). For what follows on here, see Chapter Two.
• 7 . See, for example, the conversation with Chancellor von Müller on 8 June 1830 and that with Eckermann on 11 March 1832.
• 8 . Herman Grimm (1828–1902). The quotations are from his essay Heinrich von Treitschke's German History (Heinrich von Treitschhes Deutsche Geschichte) in Contributions to German Cultural History, (Beitrage zur Deutschen Kultur-geschichte) Berlin, 1897, page. 5
• 9 . Erich Ludendorff (1865–1937), German general.
• 10. Ralph Waldo Emerson (1803–1882), American writer and philosopher.
• 11. Reference is made here to Oswald Spengler (1880–1936) and his work Der Untergang des Abendlandes (The Decline and Fall of the Occident), the first part of which was published in 1918.
• 12. Arthur Drews (1865–1935), Professor of Philosophy at the Technical University at Karlsruhe, spoke on 10 October 1920 in lectures organized by the free religious congregation at Konstanz on 'Rudolf Steiner's Anthroposophy'. He repeated this lecture on 19 November in Mainz. His articles opposing Anthroposophy were published as a collection under the title Metaphysik and Anthropasophie in ihrer Stellung zur Erkenrunis des Obersinnlichen (Metaphysics and Anthropasophy in their Position Regarding Knowledge of the Supersensible), Berlin, 1922.
• 13. Eduard von Hartmann (1842–1906), Philosophie des Unbewucsten: Versuch einer Weltanschauung (Philosophy of the Unconscious: An Attempt at a World-View), Berlin, 1869.
• 14. Count Hermann Keyserling (1880–1946). Compare, for example, the chapter 'Für and wider die Theosophie' ('For and Against Theosophy') in Philosophic als Kunst (Philosophy as an Art), Darmstadt, 1920.

We have been speaking about the tasks facing the leaders of spiritual and cultural life, tasks arising out of the great change that took place in the transition from the fourth to the fifth post-Atlantean period. I endeavoured to describe the forces which emanated from this, such as those which were made manifest in the figure of Faust and the figure of Hamlet. When you consider the essential core of the matter, you find that spiritual leaders such as the poets who created these figures found themselves faced with the task of answering, in poetic form, the question: What will become of the human being when he has to find inner satisfaction of soul from intellectual life alone, living exclusively in abstract thoughts? For obviously the soul's mood as a whole must arise from the impression made on it because it is forced to contemplate, with the help of abstract thoughts alone, all that is most dear to it, and all that is most important for it. All the evolutionary factors we considered yesterday were what Goethe and Schiller had to draw on in their creative work.

We also saw how Goethe and Schiller felt themselves to be ensnared in these evolutionary factors. We saw how both express the feeling that truly great poetic creation cannot be accomplished without some inclination towards the real spiritual world. But the inclination towards the spiritual world which was still characteristic for western cultural development in the eleventh, twelfth, thirteenth centuries was no longer possible in ensuing times. It retreated, you might say, in the face of the stark intellectual view. Yet on the other hand this intellectual view, this living in thoughts, had not yet developed sufficiently to allow access to real, genuine spiritual aspects in the thought life.

What typifies the position of Schiller and Goethe within the cultural evolution of humanity is the fact that their most important creative period falls in an age when the old spirituality has gone, but when it is not yet possible for living spirituality to burgeon out of the new intellectualism. I described a little while ago¹ how that which fills the soul in an intellectual way is actually the corpse of the spiritual life lived by the soul in the world of spirit and soul before birth, or before conception. This corpse must be brought back to life. It must be placed once more within the whole living context of the cosmos. But this point had not yet been reached at that time, and what Goethe and Schiller were wrestling to achieve, particularly in their most important period, was a mood of soul which could somehow be satisfying during this period of transition, and out of which poetic creation could be achieved.

This shows most clearly and most intensively in the collaboration between Goethe and Schiller. When they met, Goethe had completed a considerable part of Faust, namely the Fragment which appeared in 1790 and some additional parts as well. Goethe held back the dungeon scene, even though it was by then already completed. The Fragment has no Prologue in Heaven, but begins with the scene ‘I've studied now Philosophy ...’ If we examine this Fragment, and also the parts which Goethe omitted, we find that here Faust stands as a solitary figure wrestling inwardly to find a satisfying mood of soul. He is dissatisfied with stark intellectualism and endeavours to achieve a union with the spiritual world. The Earth-Spirit appears, as in the version now familiar to us. Goethe was certainly striving towards the world of spirit and soul, but what is still entirely lacking, what was still quite foreign to him at that time, was the question of placing Faust within the whole wider cosmic context. There was no Prologue in Heaven. Faust was not yet involved in the battle between God and Satan. This aspect only came to the fore when Schiller encouraged Goethe to continue working on the drama.

Schiller's encouragement inspired him to change Faust's solitary position and place him within the total cosmic context. Encouraged more or less by Schiller, the Faust which reappeared in the world in 1808 had been transformed from a drama of personality, which the 1790 version still was, into a drama of the universe. In the Prologue—‘The sun makes music as of old, amid the rival spheres of heaven’—in the angels, indeed in the whole spiritual world, and in the opposition with Satan, we see a battle for the figure of Faust which takes place in the spiritual world. In 1790, Faust was concerned only with himself. We see this personality alone; he alone is the focus. But later a tableau of the universe appears before us, in which Faust is included. The powers of good and evil do battle to possess him. Goethe wrote this scene in 1797, placing Faust in a tableau of the universe, after Schiller had demanded of him that he continue work on Faust.

As shown in the ‘Dedication’, Goethe felt somehow estranged from the manner in which he had approached his Faust when he was young. We see also in Schiller what was actually going on in the souls of the most outstanding human beings. He began as a realist. I showed you yesterday how the luciferic and ahrimanic elements confront one another in Karl Moor and Franz Moor. But there is no suggestion of any appearance of the spiritual world in some archetypal figure or other; we see the luciferic and the ahrimanic element simply in the character traits of Karl Moor and Franz Moor. It is quite typical of Schiller to make his point of departure a perfectly realistic element. But when he has completed the plays of his youthful phase, when he has met Goethe, and when he takes up writing again in the nineties, we see that now he is compelled to let the spiritual world play into his poetic creations. It is one of the most interesting facts that Schiller now feels compelled to let the spiritual world play into his poetic figures.

Consider Wallenstein (Wallenstein's Camp). Wallenstein makes his decisions in accordance with his belief in the stars. He acts and forms resolves in accordance with his belief in the stars. So the cosmos plays a role in the figures Schiller creates. The Wallenstein (Wallenstein's Camp) drama is comprehensible only when we take into account that Wallenstein feels himself to be filled with the forces which emanate from the starry constellations. At the end of the eighteenth century Schiller felt compelled to return to a contemplation of the stars which was familiar in the sixteenth and seventeenth centuries to those who thought about such things. He felt he could not depict significant events in human life without placing this human life within the cosmos.

Or take Die Braut von Messina (Bride of Messina). He is experimenting. He tries to shape the dramatic action in accordance with the ancient idea of destiny in connection with the wisdom of the stars. It is perfectly obvious that he is trying to do this, for we, too, can experiment with this drama. Take out everything to do with the wisdom of the stars and with destiny, and you will find that in what remains you still have a magnificent drama. Schiller could have written Die Braut von Messina (Bride of Messina) without any wisdom of the stars and without any idea of destiny. Yet he included these things. This shows that in his mood of soul he felt the need to place the human being within the cosmos. This quite definitely parallels the situation which led Goethe, on once again taking up work on his Faust drama, to place Faust within the tableau of the universe.

Goethe does this pictorially. Angels appear as starry guides. The great tableau of the Prologue in Heaven presents us with a picture of the cosmos. Schiller, who was less pictorial and tended more towards abstraction, felt obliged during the same period to bring into his Wallenstein (Wallenstein's Camp) and his Braut von Messina (Bride of Messina) something which would hint at the position of the human being within the universe. He even went so far as to include the destiny concept of ancient Greek tragedy.

But look at something else too. Just at the time when he was getting to know Goethe, Schiller, in his own way, adopted the French Revolution's ideas about freedom. I mentioned yesterday that in France the revolution was political, whereas in Central Europe it was spiritual and cultural. I would like to say that this spiritual revolution took on its most intimate character in something Schiller wrote which I have quoted here in all kinds of connections: his Letters on the Aesthetic Education of Man (Aesthetical Essays).

Schiller asks: How can people achieve an existence which is truly worthy of human beings? Something that might have been called a philosophy of freedom was not yet possible at that time. Schiller answers the question in his own way. He says: A person who follows the course of a logical thought is unfree. Of course he is unfree, because what logic says cannot be developed freely in any way, and so he is subject to the dictates of reasoning. He is not free to say that two times two is six, or perhaps five. On the other hand he is also subject to the dictates of natural laws if his whole organism is given over to the dictates of nature.

So Schiller sees the human being occupying a position between the dictates of reason and the dictates of nature, and he calls the balance between these two conditions the aesthetic condition. The human being shifts the dictates of reason downwards a little into whatever likes and dislikes he may have, thus gaining freedom in a certain sense. And if he can also moderate his urges and instincts—the dictates of nature—raising them up to an extent to which he can rely on them not to debase him to the level of an animal, then they meet up in the middle with the dictates of reason. The dictates of reason take a step down, the dictates of nature take a step up, and they meet in the middle. By acting in accordance with what pleases or displeases him, the human being is in a condition which is subject to neither dictum; he is permitted to do what pleases him, because what pleases him is good by virtue of the fact that at the same time his sensual nature also desires what is good.

This exposition of Schiller's is naturally quite philosophical and abstract. Goethe greatly approved of the thought, but at the same time it was quite clear to him that it could not lead to a solution of the riddle of man. He is sure to have felt deeply for the exceptional spiritual stature of the exposition, for what Schiller achieved in these Letters on the Aesthetic Education of Man (Aesthetical Essays) is indeed one of the best treatises of recent times. Goethe sensed the genius and power of these thoughts. But at the same time he felt that out of such thoughts nothing can come which in any way approaches the being of man. The being of man is too rich to be fathomed by thoughts such as these.

Schiller, if I may say so, felt: Here I am in the intellectual age, but intellectualism makes the human being unfree, for it imposes the dictates of reason. So he sought a way out by means of aesthetic creativity and aesthetic enjoyment. Goethe, though, had a feeling for the infinitely abundant, rich content of human nature. He could not be satisfied with Schiller's view, profound and spiritually powerful though it was. He therefore felt the need to give his own expression to the forces working together in the human being. Goethe, not only by nature, but also because of his whole attitude, was incapable of expressing these things in the form of abstract concepts. Instead, under the influence of the kind of thoughts developed by Schiller, he wrote his fairy-tale of the Green Snake and the Beautiful Lily. Here, about twenty figures appear, all of which have something to do with the forces of the human soul. They work together, not only as the dictates of reason and the dictates of nature but as twenty different impulses which, in the end, depict in the most manifold way something signifying the rich nature of the being of man. We must take note of the fact that Goethe gave up speaking about the being of man in abstract concepts altogether. He felt bound to move away from concepts.

In order to characterize the relationship of Schiller to Goethe in connection with the Letters on the Aesthetic Education of Man (Aesthetical Essays) and the fairy-tale of the Green Snake and the Beautiful Lily, we have to say the following: Goethe wrote the fairy-tale under the immediate influence of Schiller's letters. He wanted to answer the same questions from his point of view and out of his feelings. This can be proved. Indeed I proved it historically long ago and it was seen to make sense.² So in order fully to characterize what took place between these two personalities we should have to say: In olden times when, in seeking knowledge, human beings caused beings from the spiritual world to visit them; when they still worked in their laboratories of knowledge in order to penetrate to the mysteries of the universe, and when spiritual beings came into their laboratories—just as the Earth Spirit and many another spirit visit Faust—this was very different from how things are today. In those days people felt themselves to be relatives of those spiritual beings who visited them. They knew, although they were living on the earth and had perforce to make use of the instrument of a physical body, that before birth and after death they were nevertheless beings just like those who visited them. They knew that for earthly life they had sought out an abode which separated them from the spiritual world, but that this spiritual world nevertheless visited them. They knew that they were related to this spiritual world and this gave them an awareness of their own being.

Suppose Schiller had visited Goethe in 1794 or 1795 and had said: Here are my letters on the aesthetic education of man, in which I have endeavoured, out of modern intellectualism, to give people once more the possibility of feeling themselves to be human beings; I have sought the ideas which are necessary in order to speak about the true being of man; these ideas are contained in these letters about aesthetic education. Goethe would have read the letters and on next meeting Schiller he would have been able to say: Well, my friend, this is not bad at all; you have provided human beings once more with a concept of their worth, but this is not really the way to do it; man is a spiritual being, but just as spirits retreat from light, so do they also retreat from concepts, which are nothing other than another form of ordinary daylight; you will have to go about this in a different manner; we shall have to go away from concepts and find something else.

You can find everything I have expressed here, in the form of direct speech, in the correspondence between Goethe and Schiller. It is all there, in hints and intimations. In the process, Goethe wrote his fairytale of the Green Snake and the Beautiful Lily, which was to depict how the soul forces work in man. It is Goethe's admission that to speak about man and the being of man it is necessary to rise up to the level of pictures, images. This is the way to Imagination. Goethe was simply pointing out the path to the world of Imaginations. This fairy-tale of the Green Snake and the Beautiful Lily is so very important because it shows that out of his own struggles, and also in his Faust, Goethe felt impelled, at a most important moment, to the path towards Imaginations.

To Goethe, the statement that thinking, feeling and will work together in man would have seemed philosophical. He did not say this, but instead he depicted a place where there were three kings, one of gold, one of silver and one of iron. These images signify for him something which cannot be expressed in concepts. We see that Goethe is on the way to a life of Imagination. This brings us to one of the most profound questions with which Goethe is concerned. He himself did not care to discuss the true profundity of this question with anyone. But we can see how this question concerned him, for it appears in all sorts of places: What is the point of fathoming the being of man by using the kind of thinking to which intellectualism has led? What use would it be? This is a riddle of earthly evolution, a riddle belonging to this epoch, for in this strong form it could only have come into question in this epoch. Sometimes, in all its profundity, it makes its appearance in paradoxical words. For instance in Faust we read

The lofty might
Of Science, still
From all men deeply hidden!
Who takes no thought,
To him 'tis brought,
'Tis given unsought, unbidden!³

This is extraordinarily profound, even if it is only the witch who says it: ‘The lofty might of Science, still from all men deeply hidden! Who takes no thought’—in other words to one who does not think—'tis given unsought, unbidden!’ However much we think, the lofty might of science remains hidden from us. But if we succeed in not thinking, then it is given unsought, unbidden. So we should develop the might to not think, the skill to not think, in order to achieve not science or knowledge—for this cannot of course be achieved without thinking—but in order to achieve the might of science or knowledge.

Goethe knows that this might of science works in the human being. He knows that it is at work, even in the little child who as yet does not think. What I said in my book The Spiritual Guidance of Man⁴ was taken very much amiss. On the very first pages I pointed out that if the human being had to fashion all the wisdom-filled things found in the form of the human body by means of his thoughts—consciously using the might which also holds sway in science—then he would reach a ripe old age without ever discovering those delicate formative forces which work with the skill of a sculptor! The might of science is indeed needed in the early years of childhood to transform this brain from a rather formless lump into the sublime structure it has to achieve.

This is a question with which Goethe is profoundly concerned. He of course does not mean merely a dull absence of thinking. But he is quite sure that the might of science can be discovered if we do not destroy our links with it by means of our intellectual thinking. This is even the reason why he makes Mephisto take Faust to the witches’ kitchen. Commentaries on these things always distort matters. We fail to know Goethe if we do not link his purpose—in creating a scene like that in the witches’ kitchen—with what we sense to be the essence of his own being. Faust is presented with the draught of youth. In one sense he is given a perfectly realistic draught to drink. But the witch says:

See, thus it's done!
Make ten of one,
And two let be,
Make even three,
And rich thou'lt be.
Cast o'er the four!
From five and six
(The witch's tricks)
Make seven and eight,
'Tis finished straight!
And nine is one,
And ten is none.

Now imagine Goethe standing there. If you have a sense for his essential being you cannot but ask: Why is the witch made to declaim this witches’ multiplication table? Goethe did not like speaking about these things, but if he were in the right frame of mind he might reply: Well, the lofty might of science, still from all men deeply hidden! Who takes no thought, to him 'tis brought. You see, the power of thought fades when you are told, make ten of one, and two let be, make even three, and rich thou'lt be, and so on. Thinking comes to a standstill! So then you enter into a state of mind in which the lofty might of science can be given to you without any thinking.—Such things are always an aspect of Goethe's Faust and indeed of all Goethe's poetic work.

So Goethe was faced with this question, which was for him something exceptionally profound. What was it that Faust lacked, but gained through his sojourn in the witches’ kitchen? What did he not have before? If you think of Faust and how he could have been Hamlet's teacher, disgusted by philosophy and jurisprudence, medicine and theology, and turning instead to magic—if you imagine what he is like even in the Easter scene, you will have to admit that he lacks something which Goethe possessed. Goethe never got to the bottom of this. He felt he was like Faust, but he had to say to himself: Yes, all the things with which I have invested Faust are also in me, but there is something else in me as well. Is it something I am permitted to possess? What Faust does not have is imagination, but Goethe did have imagination. Faust gains imagination through the draught of youth which he receives in the witches’ kitchen. In a way Goethe answered his own question: What happens when one wants to penetrate to the universal secrets with the help of the imagination? For this was the most outstanding power possessed by Goethe himself.

In his youth he was not at all sure whether looking into the universal secrets with the help of the imagination was anything more than a step into nothingness. This is indeed the Faustian question. For stark intellectuality lives only in mirror images. But once you come to the imagination you are a step nearer to the human being's forces of growth, to the forces which fill the human being. You approach, even though only from a distance, the formative forces which, for instance, shape the brain in childhood. There is then only one more step from the ordinary imagination to the faculty of Imagination! But for Goethe this was the all-important question.

Thus Goethe takes Faust to the witches’ kitchen so that he can extricate himself from that confounded capacity of thinking—which may lead to science but does not lead to the might of science—in order that he may be allowed to live in the realm of the imagination. Thenceforward Faust develops his imagination. By means of the draught in the witches’ kitchen, Goethe wins for Faust the right to have an imagination. The rejuvenation he experiences is simply a departure from the arid forces he had as, say, a thirty-five year old professor, and a return to his youth where he takes into his soul the youthful formative forces, the forces of growth. Where the imagination flourishes, the youthful formative forces remain alive in the soul.

All this was present as a seed within Goethe, for he wrote the scene in the witches’ kitchen as early as about 1788. It was there as a seed, beginning to sprout and demanding a solution. But from Schiller he received a new impulse, for now he was urged on to the path towards the faculty of Imagination. Schiller was at first nowhere near to seekingfor the faculty of Imagination. But in Wallenstein (Wallenstein's Camp) and in Die Braut von Messina (Bride of Messina) he sought the cosmic element.⁵ And in Die Jungfrau von Orleans (The Maid of Orleans) he endeavoured to fathom the subconscious forces of the being of man.

The immense profundity of the struggle going on may be seen in the fragment Demetrius which Schiller left behind when he died. The dramatic power of this fragment surpasses that of everything else he wrote. In his desk there was also the draft of a play about the Knights of Malta. This, too, if he had succeeded in writing it, would probably have been truly magnificent. The whole principle of the Order of the Knights of Malta—a spiritual order of knighthood resembling that of the Templars—unfolds in their battle against Sultan Suleiman. If Schiller had succeeded in depicting this, he would have been forced to face the question: How will it be possible to bring the vision of the spiritual world down into human creative activity? For this question was indeed alive for him already.

But Schiller dies. Goethe no longer benefits from the stimulus he gave. Later, stimulated by Eckermann—who was less of a spiritual giant than Schiller, if I may put it this way—he finishes Faust, working on the second part from about 1824 until his death. Shortly before his death he has the package containing the work sealed. It is a posthumous work. We have considered this second part of Faust from many different angles, and have discovered, on the one hand, deeply significant, sublime insights into the manifold mysteries of the spiritual world. Of course we can never understand it entirely if we approach it from this one angle, and we must seek ever higher viewpoints.

But there is another angle too.⁶ Goethe felt compelled to complete this poetic work of Faust. Let us examine the development of the philosophy of Faust and go back a stage further than we have done so far. One of the stages was the figure of Cyprianus, about whom we have already spoken. Before that, in the ninth century, the legend of Theophilus was written down.⁷ Theophilus is once again a kind of Faust of the eighth, or ninth century. He makes a pact with Satan and his fate very much resembles that of Faust.

Consider Theophilus, this Faust of the ninth century, and consider the legendary Faust of the sixteenth century, to whom Goethe refers. The ninth century profoundly condemns the pact with the devil. Eventually Theophilus turns to the Virgin Mary and is saved from all that would have befallen him, had his pact with Satan been fulfilled. The sixteenth century gives the Faust legend a Protestant slant. In the Theophilus legend, incipient damnation redeemed by the Virgin Mary is described. The sixteenth century protests against this. There is no positive end; the story is told in a manner suitable for Protestantism: Faust makes a pact with the devil and duly falls into his clutches.

First Lessing and then Goethe now protest in their turn. They cannot accept that a character—acting with worldly powers and in the manner of worldly powers—who gives himself over to the power of Satan, entering into a pact with him, must of necessity perish as a consequence of acting out of a thirst for knowledge. Goethe protests against this Protestant conception of the Faust legend. He wants Faust's redemption. He cannot abide by the conclusion of Part One, in which he made concessions and let Faust perish. Faust must be saved. So now Goethe leads us in sublime fashion through the experiences depicted in Part Two. We see how the strong inner being of man asserts itself: ‘In this, thy Nothing, may I find my All!’⁸ We need only think of words such as these with which a strong and healthy human nature confronts the one who corrupts.

We see Faust experiencing the whole of history up to the time of ancient Greece. He must not be allowed to perish. Goethe makes every effort to arrive at pictures—pictures which, though different in form, are nevertheless taken from the Catholic cultus and Catholic symbolism. If you subtract everything that is achieved out of Goethe's own imaginative life, fuelled as it is by the great riches of the tremendously rich lifetime's experience that was his—if you subtract all this, you find yourself back with the legend of Theophilus in the ninth century. For in the end it is the Queen of Heaven⁹ who approaches in all her glory. If you subtract all that specifically belongs to Goethe, you come back to the Theophilus described by the saintly nun Hrosvitha—not identical, of course, but nevertheless something which has not succeeded in an independent approach to the poetic problem but still has to borrow from what has gone before.

We see how a personality as great as Goethe strives to find an entry to the spiritual world. In the fairy-tale of the Green Snake and the Beautiful Lily he is seeking for an Imagination which will make the human being comprehensible. In Faust he is also seeking for an Imagination, but he cannot achieve an independent Imagination and has to draw on help from Catholic symbolism. Thus his final tableau resembles the clumsy depiction by Hrosvitha in the ninth century—though of course in Goethe's case it is obviously executed by one of the greatest poets.

It is necessary to indicate the intricate paths followed by the spiritual and cultural history of humanity in order to arrive at an understanding of all that is at work in this spiritual history. Only then can we come to realize how the working of karma goes through human history. You need only consider hypothetically that certain things happened which did not actually happen—not in order to correct history in retrospect, but in order to come to an understanding of what is actually there. Imagine that Schiller, who died young, had remained alive. The drama about the Knights of Malta was in his desk and he was in the process of working on Demetrius. In collaboration with Goethe the highest spirituality developed in him, living in them both at once. But the thread broke. Look at the second part of Wilhelm Meister, look at Elective Affinities, and you will see what Goethe was striving for but failed to achieve. Everywhere he was striving to place the human being within a great spiritual context. He was unable to do so, for Schiller had been taken from him.

All this is an expression of the way in which the recent spiritual and cultural evolution of mankind is striving for a certain goal, the goal of seeking the human being in his relationship with the spiritual world. But there are hindrances on every side. Perhaps something like Goethe's Faust can be comprehended in all its greatness only when we see what it does not contain, when we see the course on which the whole spiritual evolution of mankind was set. We cannot arrive at an understanding of the spiritual grandeur present in human evolution by merely giving all sorts of explanations, and exclaiming: What an incomparably great masterpiece! We can only reach such an understanding by contemplating the striving of the whole human spirit towards a particular goal of evolution. We are forcefully confronted with this when we consider these things. And then, in the nineteenth century, the thread breaks entirely! The nineteenth century, so splendid in the realm of natural science, sleeps as far as the realm of the spirit is concerned. The most that can be achieved is that the highest wisdom of natural science leads to fault-finding with a creation such as Faust.

Goethe needs Schiller, in order to place Faust—whom he first depicted as a personality—within the context of an all-embracing universal tableau. We can sense what Goethe might have made out of the philosophy of Faust if he had not lost Schiller so soon. Yet those who think about these things come along and say that Faust is an unfortunate work in which Goethe missed the point entirely. Had he done the thing properly, Faust would have married Gretchen and made an honest woman of her, and then gone on to invent the electro-static machine and the air-pump. Then mankind would have been presented with the proper Faust!

A great aesthete, Friedrich Theodor Vischer,¹⁰ said: Faust Part Two is rubbish. So he drafted a plan of what it ought to have been. The result was a kind of improved Eugen Richter out of the nineteenth century, a man of party politics, only a bit more crude than were party men in the nineteenth century. It was not an unimportant person but a very important person—for Friedrich Theodor Vischer was such a one—who stated: The second part of Faust is a piecemeal, fragmented construction of Goethe's old age!

Any connection with a striving for the spirit was lost. The world slept where spirituality was concerned. But out of this very situation the people of today must find their tasks with regard to a new path to the spiritual world. It is of course not possible for us to refer back to:

The lofty might
Of Science, still
From all men deeply hidden! Who takes no thought,
To him 'tis brought,
'Tis given unsought, unbidden!

We cannot simply decide to stop thinking, for thinking is a power which came with the fifth post-Atlantean period, and it is a power which must be practised. But it must be developed in a direction which was actually begun by Goethe in his fairy-tale of the Green Snake and the Beautiful Lily. It must be practised in such a way that it leads to Imagination. We must understand that the power of the intellect chases away the spirit, but if the power of the intellect itself can be developed to become the faculty of Imagination, then we can approach the spirit once more. This is what we can learn by considering in a living way what has taken place in the field we have been discussing.

• 1 . For instance see Rudolf Steiner The Bridge Between Universal Spirituality and the Physical Constitution of Man, Anthroposophic Press, New York 1958, lecture of 19 December 1920; and Rudolf Steiner, The Shaping of the Human Form out of Cosmic and Earthly Forces, lecture of 26 November 1920. English text available in typescript only.
• 2 . See Rudolf Steiner, Goethe as Founder of a New Science of Aesthetics [Goethe als Vater einer neuen Ästhetik], Anthroposophical Publishing Company, London 1922; and Rudolf Steiner, Goethe's Secret Revelation and The Riddle of Faust, Rudolf Steiner Publishing Co., London 1933.
• 3 . Faust, Part One, Witches' Kitchen. The quotation ‘See, thus it's done!’ is also from this scene.
• 4 . Rudolf Steiner, The Spiritual Guidance of Man, Anthroposophic Press, New York, 1983.
• 5 . See Rudolf Steiner, Schiller und die Gegenwart (Schiller and the Present Time), Dornach 1955, lecture in Berlin on 4 May 1905.
• 6 . See Rudolf Steiner Geisteswissenschaftliche Erlauterungen zu Goethes Faust, (Goethe's Faust Illumined by Spiritual Science), Dornach 1967, GA 272 and 273.
• 7 . This legend, of Greek origin, came to the West some time around the tenth century and was recounted both in prose and in verse in almost every known language. Hrosvitha, the poetess from Lower Saxony, a nun in Gandersheim, told the story in Latin verse.
• 8 . Faust to Mephisto in Faust Part Two, A Gloomy Gallery.
• 9 . Faust Part Two, last scene.
• 10. Friedrich Theodor Vischer (1807-1887), philosopher and aesthete. In 1862 he wrote a satire Faust. Der Traglidie dritter Teil (The Tragedy of Faust, Part Three).

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.