The Rudolf Steiner Archive

Although I already touched on Goethe's “Faust” in this space this winter, in a consideration of Goethe's world view in the context of German idealism, I will take the liberty today of coming back to you with a consideration of Goethe's “Faust” as a kind of introduction to the six lectures I have announced. I believe that in connection with Goethe's Faust, the world view that I am representing here yields so many insights that some light will fall on the following, which will be spoken here in the near future. Of course, today I will only be able to make aphoristic remarks about the topic I have set myself, because this topic is so extensive in itself that one can never get further than highlighting this or that point of view from a wealth of points of view. And of course it also follows that one must be one-sided with each such consideration of Goethe's “Faust”. But that is a risk one must be willing to take.

After a consideration of Goethe's “Faust” that lasted more than half a century, my old friend and teacher Karl Julius Schröer completed the third edition of his “Faust” edition 1892 with a preface in which the words are found: “Only the German way of thinking was able to solve the Faust problem.” And it is essentially on these words that I would like to base my reflections today.

According to a certainly justified opinion of Herman Grimm, who was so deeply involved in all that Goethe had striven for and experienced, the Faust problem will be the starting point for recurring reflections on Goethe's “Faust” through the centuries, even millennia, which will certainly differ considerably from one another in the succession of times. In this regard, Herman Grimm already spoke a very significant word in the 1870s, which I would now also like to mention in my introduction. Herman Grimm said at the time: “We are still too deeply immersed in the world that Goethe wanted to depict allegorically and symbolically in the second part of the play; here, too, only later times will gain the right point of view.” It may be said that the standpoint which Herman Grimm assumes here is as modest as it is lofty, for he speaks from a deep consciousness of all that has been poured into this Faustic poetry, which was given to the world through Goethe. And Herman Grimm continues: “We would do an injustice to Goethe's Faust if we took it only for what his many-colored experiences make it appear, and the time will yet come when the interpreters of this poem will occupy themselves more with what lies in it than with what merely clings to it.”

Of course, such statements must still apply in many respects today. Nevertheless, decades have passed since Herman Grimm wrote these words, and today, we may perhaps already entertain the hope, from the many insights that spiritual life has experienced, that we can get more into what lies in Faust than what hangs on Faust, as Herman Grimm puts it.

And so today I would like to draw your attention to how the world wandering that Faust undertakes from his study to the world, in which people more or less live, came about, and how through this world wandering, he gradually rises to the point of view of a worldview in the broadest sense of the word, which represents a kind of rebirth of Faust out of German intellectual life, insofar as Goethe himself participated in this German intellectual life. I believe that we shall only be able to arrive at a full understanding of the figure of Faust and its significance for life if we seek from the outset to delve into what is actually living in Faust's soul at that moment when we have him before us as a poetic figure at the beginning of the Faustic poetry, as it has now been completed by Goethe. What lives in Faust, as expressed in the opening monologue, “Have now, alas, philosophy...” and so on, speaks in a deeply significant way. But a kind of light must also be cast on what lives in Faust's soul at the moment that the poetry presents to us at its beginning, from a deepening into all that takes place later in the course of the events that the Faust epic represents. Faust stands there in opposition to the sciences that he lists as the sciences of the four faculties, and we see quite clearly from what he expresses how unsatisfied he is with the sciences that have affected his soul. We may ask: What does Faust really want? And perhaps this question can only be answered adequately if we bear in mind in the further course of the first monologue that Faust, despite having absorbed the sciences of the four faculties, has devoted himself to magic, that is, to what he has been able to learn as traditional, conventional historical magic from the various writings about this magic.

I would like to point out right away that a misunderstanding of the first Faust monologue can easily arise from the fact that one might believe that the moment in which Faust surrenders to magic coincides with the moment in which he speaks this monologue, and that Faust had not yet surrendered to magic before those feelings that live in this monologue go through his soul. That would be a misunderstanding and would make understanding the whole state of Faust's soul extremely difficult. Rather, we must assume that Faust, at the very moment when he expresses his feelings in that monologue, is already deeply immersed in what he addresses as magic; that he has done a great deal of study on this magic. And we can prove this from the Faustian legend itself. When the poodle that accompanies Faust on his Easter walk later takes on different forms and Faust does not know what is in this poodle, Faust reaches for a magical-occult book and now knows exactly, at least in his opinion, how he can use all sorts of incantations from these books to get to the bottom of the secret of this poodle and how he should behave towards this spiritual manifestation that he believes he has before him. We must therefore assume that Faust has already, to a certain extent, familiarized himself with these things.

Now we learn that Faust takes a book of magic and that he wants to assuage his dissatisfaction by first turning to the spirit of the great world, to the spirit of the macrocosm, as he puts it. What does he actually want? Perhaps we shall only be able to see what he wants if we delve a little into Goethe's soul itself, which indeed placed its feelings in the Faust character, at least during the time when the first Faust monologue and the first parts of “Faust” were created.

What world and worldview did Goethe actually face? Goethe was confronted with a worldview that could be built on the basis of what had been recognized about natural and spiritual life. He was in the midst of a worldview that fully took into account the scientific revelations made by Copernicus, Galileo, Kepler and so on. Goethe was confronted with what, in the spirit of Kant, could be called the world view of the Enlightenment, the penetration into the secrets of nature by means of the mind, which synthesizes the experiences of the senses and the experiences of history. What presents itself to the human soul in the way of ideas, which, as we would say today, are grasped in a healthy way by the normal mind and which arise above and beyond what can be investigated by the normal experience of the outer senses, it was such a world view that surrounded Goethe. How could he and his needs live into the world view that could give such a world view? He could not completely live himself into such a world view; for what Goethe constantly wanted, and what he now lets his Faust want, is a direct growing together of the innermost soul with what weaves and lives through the world outside, a growing together of the soul itself with the world secrets present in the world, with the deeper revelations and the revealing powers and entities of the world.

Now Goethe's Faust faced the view of the Enlightenment of nature and the spirit of the world in such a way that what could result in the way just characterized a world view seemed far removed from being able to grasp the entities that pervade the world and that he wanted to grasp with the innermost powers of the soul, with which he wanted to live together. For what this world view, based on the science of the time, could give him, at most it gave him knowledge, something that filled his head, his mind, but which could not identify so closely with human inner experience that one could really have entered with this inner experience into the forces that live and weave in nature and the spirit world. “Thus must I seek,” says Goethe's Faust, ”to get at the inmost powers and entities of the world in such wise that, by grasping them, my soul may be partaking in the spiritual-natural weaving and living of the world. But if I grasp only that which can be grasped from the present standpoint of a scientific world-view, then I grasp only in a dry, sober way with the knowledge these mysterious connections of the world, that which moves the world in its inmost being. And this knowledge can never give me that fullness which lies in grasping that which lets me live together with the secrets of the world.

And so Goethe's Faust wants to delve into what permeates and gives life to the world, into the world of nature and the spirit, in a different way. And since Goethe was certainly never of the opinion held by many people today and in the past, that what is current and has been achieved in their own time is necessarily right — in contrast to which one can say how gloriously far we have come — Goethe wants to tie in with what has gone before, from which the present has developed. And so he also lets his Faust tie in with the world view from which the world picture surrounding him has developed, with a world view that certainly had the belief that with what it gained, it entered into an experience of the secrets of existence. What kind of world view was that?

Well, you only need to pick up something like the works of Agrippa von Nettesheim or some other similar medieval philosopher, and you will be able to gain an insight into what Goethe's Faust actually means when it invokes the spirit of the macrocosm. Such concepts, such ideas, as surrounded Faust in the philosophy of the Enlightenment — I am referring to Goethe's Faust, not the sixteenth-century Faust — did not yet exist at the time when Agrippa von Nettesheim wrote. At that time, people did not yet form a picture of the world in such abstract terms as in the Age of Enlightenment. Instead, by developing philosophical worldviews, they lived, I would say, in images, in imaginations. But one also lived in the belief that one could bring about something through which nature and the spiritual world would express themselves intimately about what they actually are. And what one now got as a world view was at the same time interwoven with the feelings and perceptions of the soul, was in a certain way the same as what the soul experienced within itself. Today one would say: it was very anthropomorphic. That is certainly true; it was the case that in what he abstracted from the world, man felt forces that were related to the forces of his own soul. One spoke of sympathies and antipathies of things and similar forces in the natural world, as one experienced them in one's own soul existence. But further: In the time in which Agrippa von Nettesheim wrote, little was believed that could be attained by man through himself, that man could simply achieve by developing the powers of his soul life, by developing those powers of cognition in order to give them a higher form than that which man has by nature. They did not believe in the power of research of the human soul itself; they rather believed that through all kinds of external activities, these or those experiments — but not experiments in our present sense — they would, so to speak, give the spiritual that lives in nature the opportunity to show how it lives in natural facts. Through all kinds of events, it was thought that the secrets of nature could be discovered. It was not believed that consciousness can directly penetrate nature through the powers it acquires. It was believed that one had to perform certain actions or events in order to, as it were, by means of magic, make nature speak and express its spirit. Man's consciousness itself was to seek this separately. They wanted to do something in the external world that would cause nature to reveal its secrets and finally express how the forces in nature are arranged, from which man himself then builds himself out of nature and the spiritual world. So they wanted just what Goethe's Faust craves: to live together with the weaving and essence of nature itself; and they believed they could achieve it.

What stood before man as nature and spiritual world had been thoroughly permeated by spirit. And the development necessitated by the world had to set in place an outer image of nature, precisely the image of nature of a Copernicus, a Kepler, a Galileo, or what has come from that, an image of nature from which precisely that which these medieval philosophers wanted to seek out of nature has been removed. In this world view of Copernicus, Kepler and Galileo, and in what has been created from it, it was precisely these ideas that were the decisive, the decisive, the justified ones, which Goethe's Faust did not perceive closely enough, were not inwardly full enough to face the world with them in such a way that one can fully experience this world in one's own soul.

And so, in the moment in which the first monologue transports us, there lives in Faust's soul the urge to experience the secrets of the world through that ancient magic, to connect the laws and essence of the world with the experiences of his own soul. And he believed that he could achieve this by devoting himself to the formulas and images that were supposed to represent the macrocosm from the book he picked up.

But Faust – I emphasize this expressly – Goethe's Faust, not the sixteenth-century one – is precisely the human being, the personality of his time. Humanity advances precisely in its organization, even if it is not visible to a rough observation. In this time, one could no longer get behind the secrets of existence in the same way as Agrippa von Nettesheim, for example. One could no longer indulge in the belief that what one attains, whether through imagination or external influence, through magical experimentation, really has something to do with the innermost workings of the world. And so Faust is finally faced with the realization: Yes, I try it the way these ancients did, to connect with the spiritual, with the natural forces of existence - but what does it give me? Does it really lead me into what lives and moves in nature and the spiritual world? No, it gives me a spectacle - what a spectacle! But alas, only a spectacle!

And in this sense, Goethe's Faust is truly representative of the Goethean period. It has become impossible to reach the sources of existence in this way, to grasp infinite nature, not merely to penetrate it with ideas or with laws of nature, but to experience it. He cannot succeed because the time when one could believe that real knowledge of nature and the spiritual world could be attained in this way is past. What a spectacle! And he turns away from what the contemplation of the signs of the macrocosm can give him. He turns to the microcosm, to the earth spirit.

What is this earth spirit? Well, if you take the whole of what is presented in Goethe's “Faust” in connection with the appearance of the earth spirit, you find that this earth spirit is the representative of everything that, in the course of historical development, flows over the earth in the broadest sense flows over the earth, which works in such a way that what lies in our deepest drives, what, as it were, orbits the earth and places us human beings with our innermost selves into its currents, comes out of it into our soul, into our heart, into our very innermost being. In a sketch that he later made for his 'Faust', Goethe himself summarized the idea of this earth spirit, as it were, as a world and deed genius. This reminds us that what Goethe actually addresses in his poetry as the earth spirit is something that lives in the course of historical development, that has an effect on our soul, insofar as we are children of a particular age, insofar as certain impulses live in us, a certain form of that which can be achieved in existence in one way or another lives in us. But this depends on how we are placed in a particular epoch in relation to what flows out of the earth spirit that has been ruling over the earth throughout the ages. So this earth spirit, as it is written in Faust, may say:

... in the storm of action
I surge up and down,
Woe to and fro!
Birth and grave,
An eternal sea,
A changing weaving,
A glowing life,
So I create at the whirring loom of time
And work the living garment of the Godhead.

Now, I would like to say, a word is uttered in “Faust” that is often misleading when given a slightly exaggerated explanation. I do not want to fall into the trap that many all too easily fall into, of reading all kinds of things into a poem like the Faust poem. And I know very well that almost every explanation that one can dream up fits, if one twists it skillfully, almost everything. I would like to try to derive everything I have to say from the Faust legend itself. I now mean at this moment the word:

Two souls, alas! dwell in my breast,
The one seeks separation from the other...

One of these characterizes Faust as if it lived in all the impulses of this earthly life. He explicitly says of the other soul that it wants to rise from the dust of earthly life to the realms of the high ancestors. Now, I think it is an oversimplified explanation when one simply says that this is the lower and that the higher nature of man. Of course, with such abstractions one always comes close to the truth. One cannot go wrong, because the more abstract one is, the more correctly one will express oneself as a rule. But with a work of fiction such as Faust, it is important to accurately and specifically capture the feelings that are embodied in the work of fiction. And it seems to me, in fact, when Faust speaks of his two souls, that one soul is the one that experiences, above all, what the human inner being is, that experiences the influx of the forces, the impulses of the earth spirit, the one soul that perceives how impulses rise up from the deep foundations of human existence of the individual human individuality and fill the soul life. The other soul seems to me to be the one that has been active in striving for what the spirit of the macrocosm is to reveal, that wants to rise from the mere dust of earthly existence to the realms of high ancestors, that is, to all the spiritual that lives in the natural and spiritual world and from which the human being not only as a historical being, but from which he has emerged as a complete, as a whole being, as a natural and historical being, to the universe as it has gradually developed over the centuries, millennia, millions of years, into which the spirits of the centuries, millennia and millions of years have laid their impulses. It is to this universe, then, to the spiritual ancestors from whom this human being on earth has developed, that this soul wants to rise. Of course, as soon as one expresses such things in such sharply defined words as I have just done, one again makes the meaning somewhat one-sided. That too should certainly not be denied. But nevertheless, I believe that the two directions of feeling that live in Faust's soul and that he describes as his two souls are these: one of them goes out into the macrocosm, into the universe, and encompasses spiritual beings, as a whole, as a great thing, and nature at the same time, the whole cosmos, insofar as man is grounded in this cosmos as a microcosm. And in the other direction of feeling, I believe I must recognize that which flows from the current of historical becoming into the human soul and makes man a member, a child of a very specific time; so that we are Earth Spirit, as the opposite of the spirit of the great world, we are led to that which stirs in our own soul as the striving to embrace the full human being, in contrast to the individual expressions, which must always remain in the individual human life. Faust believes he can feel at one with this spirit, which makes man a whole human being, and indeed now as a historical being, by confronting the Earth Spirit. But the Earth Spirit rejects him. He refers him to the spirit that he understands. And at the same time he makes it clear to him how he, Faust, is not the same as the Earth Spirit itself. What is the underlying reason for this?

Now, we can perhaps recognize what is at the root of this if we consider the further progress of Goethe's Faustian poetry. Where does Faust feel he is placed immediately after he is rejected by the Earth Spirit? Wagner is the one he feels himself confronted with! And one may look for so much of the most noble humor in Goethe's world literature that one can, to a certain extent, be of the opinion: By the Earth Spirit rejecting Faust and pointing to the spirit that he understands, he is actually pointing him in a certain respect to the spirit of Wagner, whom Faust will face in the very next moment. Thus the Earth Spirit is actually saying to Faust: First become aware of how similar what lives in your inner being, what you have been given out of the spirit of the earth, is to the whole formation of Wagner's soul! And what emerges from this Wagnerian soul in the course of Goethe's poem? Yes, we see how Wagner lives on in the poem up to a certain point in time, which is precisely indicated to us in the second part of Goethe's “Faust” in the classical Walpurgis Night, where that which Wagner has brought forth out of his world view, the homunculus, must dissolve in the weaving and ruling of the whole world, as Goethe characterizes it in the various figures of the classical Walpurgis Night. And so we are led, I would say, to the ideal, to the ultimate goal of Wagner's striving. We may well call this the creation of the homunculus.

What then is this homunculus? Certainly, Goethe's Faustian poetry - and this is the incomparably great thing about it - presents in a magnificent, dramatic way these things that are otherwise often only the subject of abstract philosophical consideration. But that is precisely the great thing, that for once in the world it has been possible to bring that which other people can only approach in philosophical ideas to a truly poetic, genuinely artistic form. What then is this homunculus, this homunculus idea, when we present Goethe's world view, interwoven with his artistic sensibilities? Wagner is steeped in the world view that had developed by the time the young Goethe felt he was stepping into it, a world view that, so to speak, only takes into account the mechanistic view of nature and history, which emerged as the first product of what Copernicus, Galileo and Kepler - certainly out of necessity - had to make of the old world view. In place of the living, organic element, which in the pre-Copernican world view was interwoven into the human world view, into the world view of the philosophers, there now arises a world view that is more and more interwoven only with concepts and ideas that represent the world as a mechanical one. And so Wagner was still able to cling to the habit of deriving an understanding of the human being from the world as a whole, from the cosmos as a whole. Thus he was able to come to the view that man, too, could be created through a correspondingly complicated mechanistic juxtaposition of the mechanical laws that permeate and animate the world. And this creation of man, which brings only that into the image, into the conception of man, into that which one can feel and prove and experience about man, which flows from the mechanistic world view, we see this in what the ideal of Wagner represents, in the Homunculus.

Thus, the Earth Spirit clearly shows Faust the direction in which he would actually end up if he remained at the level of the world view at which he is currently standing. He points the way clearly, and one is tempted to say: Don't we see, when we want to dig deeper into the feelings and emotions that underlie the Faustian legend, that if Faust stops where he is before his world wandering, he would come to where Wagner comes: to grasp the human being as a mechanism that is only capable of life, even as an idea, if it can merge with what the world itself lives through and surges through, and where Faust's soul in particular wants to pour out into a higher, experienced knowledge, in contrast to the knowledge that Wagner can achieve, who is completely immersed in the world view of the Enlightenment.

Now we have to look a little into Goethe's soul itself if we want to discover what the role of Homunculus actually is in the whole of “Faust”. We know, if we have explored Goethe's world view a little, how Goethe sought knowledge in his own way, how he wanted to get behind the appearances of nature. Over many years, I have tried to show how Goethe worked in this direction in the introductions to my edition of Goethe's scientific writings and also in my book “Goethe's World View”. Goethe tried to find out for himself what lives in the processes and beings of external nature. And in a certain contrast to what surrounded him as science, he developed his metamorphosis doctrine, his ideas of the primal plant, the primal animal, of the primal phenomenon. What did he actually want with that? What he wanted with it is closely related to what he wanted to pour into his Faust, and what really shows how Goethe strove from a completely different attitude to knowledge than the science around him. In a passage in which Goethe seeks to describe what became clear to him during his travels through Italy, his idea of the archetypal plant, the mental image he sought to see in every plant and which would explain all plant life and every individual plant , he says: If you have this original plant, if you have truly grasped what this original plant should be, then you have something from which you can even invent individual plant forms that could live quite well. This goes to the very heart of Goethe's scientific endeavour. Through his scientific endeavour, Goethe did not want to arrive at ideas such as the world view of the Enlightenment around him. Goethe wanted to arrive at ideas that, so to speak, only represent in the soul, but activate the same forces that we have outside in plants, in animals, in all of nature itself. Goethe wanted to unite what grows and happens in the plant, and he did not want to have an idea that appears as an abstraction compared to what lives and weaves out there in nature; he wanted to have an idea that one can say lives in the imagination as something that is of the same nature as what lives out there in the plant. Goethe did not want to gain ideas that could be said to represent what is out there in the world, but in reality what is out there in the world is quite different. Goethe wanted to gain ideas through which what lives outside in a natural way would come to life in the soul in a way that is appropriate to the soul. That was his whole endeavour. Goethe wanted a kind of knowledge that can be described as living knowledge, as living together with nature. That is to say, he wanted to be able to walk through nature and its formations with the ideas he had in such a way that these ideas relate to the inner life of nature and its formation. As the forms of nature change, so should what lives in the soul change. There should be nothing living in the soul that the soul has merely abstracted from nature, but the soul should have merged with nature, lived together with it. Goethe strove for a knowledge that he really presents in a wonderful and artistic way in the fate of the homunculus in the classical Walpurgis Night. Homunculus is an idea derived from the human being, which must therefore remain with mere mechanism, with mere abstraction. Just as Goethe's ideas, Goethe's metamorphosic ideas, are not supposed to be such ideas, but rather represent the forces and living essence of nature itself, so this homunculus, instructed by a view of nature , which was even closer to nature than that which surrounded Goethe, taught by the natural philosophy of the ancient Greek philosophers, Thales, Anaxagoras, but also taught by the transformative being Proteus, must dissolve. Just as Goethe's metamorphic ideas should unite with nature itself, so should the homunculus unite with world events. He cannot live as he has emerged from Wagner's views. He is a mere idea, a mere thought. He must connect with existence. When the homunculus is seized by the living, the role of Wagner is played out.

Faust must begin a world wandering that takes him beyond what he could have achieved, but which must play out in this way, as the role of Wagner played out with the creation of the homunculus. And to this end, Goethe shows us how Faust now develops not those powers as his powers of knowledge that lead him to the macrocosm in the sense in which the macrocosm can only be grasped in the Copernican, Keplerian, Galilean way; but Goethe shows us how Faust now wills just that which the Earth Spirit can give out of the realm of the innermost, one might also say, the lowest forces of soul existence. With the forces that can come from this, Faust is to begin his journey through the world. And now we see Faust going through this journey through the events that are first presented in the first part of Goethe's “Faust”. There we see how Mephistopheles confronts Faust. I do not want to get involved here in all possible explanations of what this Mephistopheles actually is; but I want to go into what necessity shows us, that Goethe must go beyond what is presented in the first part of “Faust”. According to what we have just considered, Goethe has, to a certain extent, initially presented Faust as powerless in the face of the spirit of the macrocosm. But he does not immediately present him as powerless in the same way in relation to the spirit of the earth. But Faust – and this must certainly be emphasized – initially still stands by what a bygone age, from which humanity had in turn come to a more developed world view, still regarded as something right or at least as something possible. I will not go into what Mephistopheles becomes in his relationship with Faust in terms of the soul, nor into how Mephistopheles is more or less a realistic, more or less a mythological figure. I just want to draw attention to what happens to Faust under the influence of Mephistopheles.

On the one hand, in ancient times, magic, imagination or external actions were used to uncover the secrets of nature. Faust cannot be associated with this, as we will see. On the other hand, however, there was something else connected with the search for the secrets of the world in ancient times, something that has been preserved to our times: the belief that something could be learned about the secrets that prevail in man by, as it were, — we shall speak about this healthy power of the soul in particular tomorrow in connection with spiritual research — and that one exposes something in man that is less than this healthy power of the soul, which one can perhaps call, improperly but with a word that is understandable to us at this moment, the normal power of the soul. We need only recall words such as hypnotism, somnambulism, all the forms of superstitious clairvoyance, and we have the whole wide area into which we are led, perhaps in a not immediately transparent way, by the events of the first part of Goethe's Faust. And Mephistopheles is simply, I might say, such an emissary of the Earth Spirit, who for a while brings Faust to become really similar to the medieval Faust, be it the real historical Faust, who received his doctorate in Heidelberg in 1509, who is really an historical personality, be it the Faust of the folk book or one of the other numerous figures, or the Faust of the puppet show that Goethe got to know. This Faust of the puppet theater, this Faust of the sixteenth century, as he then continued to live on through the centuries, cannot be understood without taking into account unhealthy, morbid forces of the human soul, as we must call them today, forces of the human soul that are achieved by a damping down, a paralyzing of the human consciousness, as it is present in normal life. Whether one reads the life story of Faust — the Faust who received his doctorate in Heidelberg in 1509 — or delves into the book Faust, which appeared in 1589, one encounters on the one hand a real personality on the one hand and on the other a poetic personality, who is to the highest degree what today, with a more or less apt word, is called “medial”, “medial” with all the morbid, abnormal phenomena associated with it.

Now it is not immediately apparent that Goethe wanted to show Faust, for example, the mediality of the appearance of the earth spirit until the end of the first part of his “Faust”, but what happens really leads us into this realm. And one would like to describe Mephistopheles as the spirit who, in Faust's nature, evokes such a world view that people can believe that it solves deeper secrets of existence, namely, people who do not really trust in human full consciousness and therefore believe that one must first paralyze and cloud this consciousness in order to get behind the secrets of existence. In a book that is certainly one-sided but by no means undeserving, Kiesewetter has portrayed Mephistopheles as a kind of second ego of Faust, not as a higher ego, but as the ego that one recognizes if one disregards the part that expresses itself in a person's normal higher mental life and descends into the regions of the soul, where the instinctive nature, where, I might say, the sub-sensible — by no means the supersensible! — comes to expression. In a way that is not immediately apparent, but which becomes quite clear to anyone who follows the events in the first part of “Faust” with understanding, it now becomes apparent that Faust, in his wanderings through the world, really can be believed to be attained by the path of such an abnormal, subdued, somnambulant consciousness, or in the ordinary, trivial sense, by one who is not clear-minded. But something else is also made clear to us, something that is extraordinarily important for understanding both the human soul and the “Faust” poem. While Faust is becoming familiarized with everything that can be recognized with deeper, but only sub-sensuous, driving forces, which then expresses itself in the witches' kitchen, in Walpurgis Night and so on, he is at the same time becoming familiarized, we may say, with tragic-moral aberrations, with the rule of impetuous drives. Of course, what we encounter, for example, in the “Gretchen” poem is one of the perfect flowers of world literature. But it is perhaps one of the perfect flowers of world literature precisely because the poet has succeeded in depicting the tragedy that flows from human drives that are not clarified by what one can call higher human nature in the true sense of the word. And Mephisto throws together for Faust a certain world knowledge, a satisfaction of knowledge, with this emergence of blind instinct from the depths of the soul, where man abandons himself to his nature without accompanying his life with a moral judgment of the world. This is portrayed in Goethe's poetry in a grandiose and tragically manner. But at the same time it shows us how everything that is realized in the field of what is so often referred to as clairvoyance - we will talk about these things again in more detail tomorrow - what could be called somnambulistic clairvoyance, which arises from the consciousness being , that in addition to the powers of cognition, the corporeality of the human being is altered and used in this, even if it is a subtle change; how all that is achieved in this area is on exactly the same level of human nature as the blind nature of drives and passions. This result, which for many people is a terrible one, emerges from the way in which Goethe presents the aforementioned clairvoyance, somnambulism, as arising when one transforms into powers of knowledge what lives in the drives of the human being, in those instincts that have not yet been clarified into normal human cognitive ability, in the blind, unconscious instincts that follow impulses, but impulses not interwoven with the realm of moral judgment. And Goethe wants to show that such a view of the world, as expressed in the witches' kitchen on Walpurgis Night, is only the opposite of the blind rule of the drives, where man rules with his morbid soul life. This intimate connection between the lower human instinctual life and what is often seen as clairvoyance and which is believed to lead to higher knowledge of human nature, because one has no trust in normal human nature, is dramatically characterized in the first part of Faust. And it is stated with sufficient clarity that the person who attains such clairvoyance does not rise above normal people, but sinks below what are ordinary scientific powers of knowledge, into the same regions of human existence where blind drives prevail. If one wishes to study the physiology of blind instincts in greater detail, one can delve into the revelations of somnambulists, hypnotized subjects, and mediums. But if one wants to penetrate to the real higher secrets of existence (and we will talk about this in more detail tomorrow), one must realize that with such clairvoyance one does not rise above normal people, but sinks below them human being, — a clairvoyance that Goethe, not preaching morality but artistically depicting, dramatically interweaves into the aberrations of the human subconscious being. This is what Faust had to go through during that world wandering, which is presented to us in the first part.

And now we see how Goethe, in a remarkable way, at the very beginning of the second part, has Faust face both natural and spiritual life. He interprets this very clearly, I might say magnificently clearly, not, of course, with philosophically abstract words, but through the power of creation. We shall not concern ourselves today with the question, which has also been raised by some commentators on Faust, as to whether a personality such as Faust can really recover from the serious crimes he has committed in the events depicted in the first part when, as has been said, he goes out into the wide expanse of nature and experiences what is depicted at the beginning of the second part. To what extent the guilt that he has incurred continues to prevail in Faust's soul is not something we want to dwell on today. It can continue to prevail. What Goethe wants to show, however, is how Faust rises out of his entanglement in the sub-sensible humanity. And there we see Faust at the beginning of the second part, I might say, placed in the healthiest way in nature and see the spiritual world working on him in the healthiest way. For what Goethe presents by having the chorus of spirits act on Faust is really only an external dramatic representation of a process that can be described, more or less accurately, as an internal process that takes place in exactly the same way as it does when the genius seizes the poet, when it is not something in the external sense that has a magical effect on the person, when it is not human consciousness is dulled, as in some kind of somnambulistic vision, but rather where something flows into human consciousness, which is indeed a spiritual influence, but which does not flow into a consciousness that is tuned down, into a consciousness that is dulled, but into the consciousness that is most healthily immersed in the natural and historical life of humanity. And has Faust progressed on his journey through the world since he beheld the sign of the Macrocosm and addressed the world as a spectacle? Yes, Faust is further along, quite considerably further! And Goethe wants to show that Faust's healthy nature has withstood the temptations that Mephistopheles has brought upon him so far, and which have consisted in his wanting to push him down into the sub-sensible, into that which lives in man when instinctive forces and not elevated powers of knowledge are brought to some world-view. At the moment depicted at the beginning of Part One, Faust has opened the book of Nostradamus. The sign of the macrocosm appears before his soul. He tries to put himself in the place of that which can be represented to him through the words and signs of this macrocosm. “What a spectacle! But alas! Only a spectacle!” At this moment, one might say, Faust aspires to a kind of morbid mental life, in which he then also remains, although the word “morbid” should not be understood here in a philistine sense.

Now that Faust has been placed in the midst of a healthy experience of nature and spirit, and the spirit has had its effect on his normal consciousness, he utters another word, a parallel word, I would say, to the word “What a spectacle! But alas! Only a spectacle!” Faust confronts the phenomena caused by the sunshine; but he turns away and turns to the waterfall, which reflects in colors what the sun can do. “So let the sun remain behind me,” says Faust. He wants to look at the reflection of what the sun causes. ‘We have life in the colored reflection’ – a wonderful intensification compared to the first word: ”What a spectacle! But alas! Only a spectacle!” Now Faust can grasp how what appears to him as nature is truly spiritual, because he knows how to relate to what lives in nature in the sense of the word with which the second part of Faust concludes: “All that is transitory is but a parable” - grasping in the parable what lives spiritually in nature. And so we see how, at the beginning of the second part of Faust, through an effect of the spiritual world on normal consciousness, Faust is brought to a healthy position in relation to the world; how he is now really no longer, I would like to say, in the belief that one can achieve something by going back to the old magic, and how he has now also learned that one can achieve nothing with all that is false clairvoyance, that is somnambulism. Now he faces the world as a healthy person. He can nevertheless attain life in a colorful reflection, that is, attain what lies behind the world of nature and history.

And truly, we now see how Faust develops more and more into what Goethe himself wanted to develop into. Of course, when we look at Goethe's development of world view, everything appears to us, I might say, more in an abstract, philosophical form. But that is precisely, as I said, the great thing that Goethe has succeeded in doing, to shape it dramatically on the outside, which other people can only rise to in philosophy. And so we see that Faust is now able to place himself in the world of historical development, that he is able to find the eternal-meaningful, the spiritual-real in this historical development. But for this it is necessary that Faust now really experiences in his soul an increase of his powers of knowledge. Through what he has experienced with Mephistopheles, he has not experienced an increase, but a damping down of his power of knowledge; he is not seeing, he has been blinded. Now, out of historical becoming, he longs to have a figure like Helen of Troy brought to life before him again. How can he achieve this? Precisely by developing something within himself, which is so beautifully and profoundly portrayed in the scene that represents the “walk to the mothers”. Goethe himself confessed to Eckermann that he got the inspiration to include this mother scene in the second part of “Faust” from reading Plutarch, where it is described how a personality of ancient times, who went around in a difficult situation as if he were insane and spoke of the “mothers,” of those mothers who were referred to as goddesses, who were deeply revered in the secrecy of ancient mysteries. Why should Faust descend to these mothers? Goethe speaks to Eckermann in a strangely mysterious way. He says that with regard to this scene, he betrayed himself the least. We may well assume that Goethe did not express this in full, clear, abstract terms, but that which really lived in his soul as his path to the mothers in full, clear realization. I have often spoken about this path to the mothers, but today I would just like to hint: When we immerse ourselves in the ancient world view into which Goethe places Faust, into the classical age of Greek civilization, into which he has already placed us when he encounters Helen, when we immerse ourselves in this ancient world, into which Faust is now also supposed to plunge, we find that this ancient world brought forth something out of itself with the powers that were still peculiar to ancient man: powers of knowledge that, one might say, penetrate more deeply into the workings of the world because they were even more deeply connected to the nature of existence than the powers of knowledge of the souls of the time in which Goethe lived, which had already become more separated from the direct life with the natural existence and had to find the way back into the natural existence. But it has already been indicated that when man delves into the life of his soul, he can find something that is not the same as what was indicated earlier as the sub-sensible driving forces, as those impulses that leave a person blind, but still work as impulses; but that a person can dive down into the depths of their soul life with full consciousness, with nothing other than their normal consciousness, which only dives deeper into their soul. Then, through this immersion in his deeper soul powers, he attains something quite different from the sub-sensible soul powers of somnambulism or hypnotism or similar phenomena of human life, as just described. He has the possibility of descending so deeply into his soul that he really brings up powers that are just as conscious and that he masters just as much as the powers of normal consciousness, to which he is not a slave as in somnambulism or in ordinary mediumship. And that Faust descends to the mothers, after he has recovered as far as it has been indicated, that is precisely the dramatic representation of this descent to those powers of the soul, which, when we grasp them in our soul, bring an inner higher man to the outer world, so that we can also see more in the outer world than what the mere senses or the mind bound to the senses see.

And now we see how Faust can continue his journey through the world by consciously descending into the depths of the soul; and how, in contrast to this, Wagner is presented with his Homunculus , who only arrives at the abstract idea of humanity, which must merge with life, which cannot sustain itself, which, before an insight, if it merely remains mechanistic, is scattered. This is contrasted with what Faust achieves in the ascent of his world wanderings. But there is something else! We are also clearly shown how Mephistopheles really brought those forces to Faust that are below the senses, in that Mephistopheles, one might say, morally ends, if the word may be applied here in the classical Walpurgis Night, when he unites with the Phorcys, with those entities that are born out of the darkness and the abyss, out of that abyss that represents the lower human nature. If we really go into what Goethe, in his own words, has incorporated into 'Faust', it is presented to us quite clearly and distinctly. The forces that Mephistopheles now feels are with him on the classical Walpurgis Night are not superhuman, they are subhuman. One cannot arrive at a different view of the world with those powers of perception that go beyond the ordinary powers of perception, except by enhancing and enriching what one has in the ordinary powers of perception. But with the supersensible powers of perception, one arrives at something that is fundamentally poorer than normal human life. And it cannot be emphasized often enough that it was also said in Faust that the life that is attained through a dimming of human consciousness, whether through somnambulism or mediumship, is poorer than what man attains with his normal consciousness of the world. When man looks at the world with his normal consciousness, he has his two eyes through which he looks out into the world. This is a certain richness in the sensory world. Where Mephistopheles is with the spirits of darkness, they have only one eye between them and have to pass it from one to the other. They are poorer. Mephistopheles belongs to a world — at least he feels a kinship with this world — that is poorer than the normal human world. This world has nothing more to offer Faust, now that he has begun the descent to the mothers, that is, to the deeper forces of the human soul, to which Mephistopheles can still pass the key, but to which Mephistopheles himself cannot lead him.

And now we see how Goethe, at a higher level of his world wanderings, is able to place Faust in the right way in relation to the real, truly surviving spirit of the past. Indeed, Goethe has the following written next to the title of the third act of the second part: Classical-Romantic Phantasmagoria. This is not presented as reality, but he has life “in a colorful reflection”. He grasps it with the deeper but conscious powers of the human soul and then strips it away again, as we are shown in the fourth act of part two. And so, if time allowed, we could still teach many more things that would make it clear to us how Goethe lets his Faust undergo a world journey, out of the aberrations that arise when one has no faith in normal human consciousness. The old magic that Faust first falls prey to and surrenders to has no trust in what consciousness is able to give, and separates the events that are supposed to take place magically out there in all kinds of ceremonies from consciousness. What takes place in the weaving and working of the spirits outside of full consciousness is supposed to reveal the spiritual world; but not what takes place in normal consciousness, but what takes place in the subconscious, in the dark drives, is supposed to explain what flows through the world as a secret. From this Goethe had to lead his Faust to that which can be recognized as the spiritual world without any impairment of normal consciousness, through a further development of normal consciousness. This is, it seems to me, very clear, if not as an idea - Goethe himself said this - but as an impulse that is shaped entirely artistically, in Goethe's “Faust” among many others, it is also embodied. From this point of view, if I may use the trivial word, it really appears to be entirely in the role of Goethe's Faust when, after he has found the deepening of normal consciousness, he has really come to has really come to the point of rejecting all false seeking along false, magical, somnambulistic paths, and wants to face the world as a human being who seeks to know the higher only through an elevation of the soul forces.

Thus we read in the second part of “Faust”:

Unhappy phantoms! Thus you treat
The human race a thousand times over;
Even indifferent days you transform
Into hideous confusion of web-enmeshed torments.
Demons, I know, are hard to get rid of,
The spiritual bond cannot be severed...

And further: I have not yet fought my way into the open.
If I could remove magic from my path,
Unlearn the spells altogether,
I would be a man alone in front of you,
Then it would be worth the effort to be human.

Faust wants to be a person who, through neither outer magic nor inner clouding of consciousness, faces the world of the spirit and is also able to introduce this world of the spiritual from this consciousness into social human life, into the life of 'deed'. And this is portrayed towards the end of the second part of 'Faust' in such a wonderful, in such a grandiose way. So Goethe has tried in his own way to show how man, through a development of the powers within him, can truly penetrate to the secrets of existence, by also clearly and dramatically portraying the aberrations that stand in man's way.

One would like to say that the human being who wants to come out of human forces themselves to a coexistence with the spiritual world really stood in a Faustian form - not by being called Faust, but really in a Faustian form - already opposite Augustine, who indeed attributes to the Manichean bishop Faustus the possibility of coming close to the secrets of the world through an inner elevation of human powers of knowledge. Goethe, in allowing the medieval Faust to have an effect on him, found himself in a world that had already passed judgment on this kind of Faust. The judgment was that a person who wanted to come to the secrets of existence out of his own powers in such a way must fall away from the stream of humanity as an evil element. Goethe could not agree with this view. Goethe was clear about the fact that a human being can only be a complete human being when he is capable of realizing the striving of Faust, even if not in the old way in which the Faust of the folk tale or that of the sixteenth century wanted to realize it. And Goethe was able to arrive at this view because he was deeply imbued with what, as I have often said here, can be called idealism, world-view idealism in the development of German thought.

In these lectures, I have tried to present figures such as Fichte, Schelling and Hegel in their - albeit only philosophical - striving to grasp the spiritual world. I have also sufficiently emphasized that one need not be a dogmatic adherent of any one of the Fichtean, Schellingian, or Hegelian schools in order to be truly impressed by the greatness of these figures, who stand at the center of German idealism. One should take them as seekers of knowledge, as human beings with a certain kind of inner life. Disregarding the details of their specific world-view, But they do stand there in a striving for a world-picture that is closely akin to Goethe's striving for a world-picture and that, when it is seen in its deeper inter-connections, shows itself to be fundamentally the same as the striving for a world-picture in Germany at the end of the eighteenth and the beginning of the nineteenth century. This striving is destined to continue to work within the process of German evolution.

We know that Kant developed a world view that was not related to Goethe's. I have often pointed this out. It cannot be justified here, I just want to mention it. Kant came to the view that, fundamentally, man cannot see into the deeper sources of nature and spirit. And he stated that if man really wanted to delve into the workings of the world with his ideas, he would need a completely different faculty of perception than he actually has. Then, not only concepts and ideas that depict things would have to flow into his knowledge, but the living stream of existence itself. We can see that Goethe felt this, for example, in his idea of metamorphosis with the primal plant, the primal animal, which Kant excluded from human cognition. And Kant said: “The one who wanted to embrace faith – I am quoting inaccurately, but it roughly corresponds to the wording – that he really looks into the sources of existence, would have to embark on an adventure of reason, to a kind of contemplative judgment; he would have to not only comprehend, but inwardly experience and contemplatively experience the stream of world existence itself.

In the beautiful little essay on “Contemplative Judgment,” Goethe expounds on this Kantian idea, and explicitly says: If one can rise to a higher region with regard to the ideas of freedom and immortality, why should one not also dare to take on the adventure of reason with what the human soul can otherwise experience in nature, in itself? What does Goethe actually want? That means nothing other than: Goethe wants to stir up such knowledge in himself that makes it possible for him, with what he has in his soul, to truly immerse himself in the living world, not just to know the world, but to experience it. Goethe himself strove for such knowledge and for such a position in relation to world phenomena, as he dramatically embodies them in his “Faust”. And Goethe had developed within himself the conviction that man can not only acquire knowledge that reflects a world outside of him, but that he can also awaken within himself a world of ideas that experiences the stream of the existence of the world; but that this is possible only by undertaking what Kant still calls an adventure of reason: to draw up from the depths of the soul the powers that can cognize more than the senses and the understanding limited to the senses. And that is the great thing, that Goethe, who regarded what he did as the nerve of his own cognitive faculty, at the same time understood as a vital impulse, that he felt compelled to solve the problem of knowledge not only philosophically, but as a living man; that for him the question of what can be known of the world and how one can work within the world of deeds, what one can hold in one's soul as the content of knowledge and as an impulse for action in the world of deeds, becomes a life problem. That is the great and significant thing, that for him the happiness and ruin of man depends on it; that for him the satisfaction of a longing depends on it, which concerns the whole person. But it is through this that the problem of knowledge could become for Goethe an artistic, a dramatic, a vital problem in the widest sense of the word. And because Goethe conceived knowledge as something that really leads to life, Faust, in his presentation, was truly satisfied in what he sought by growing together, as it were, with Goethe's world-view itself. For has not his soul, from the very beginning, sought to live in communion with what is spread out spiritually in nature? In Faust it is a quest from the very beginning. In order to realize it to some extent within himself, he needed his wanderings in the world. While he is still in his world, in the “cursed, dull wall-hole,” what kind of longing does he have there?

Oh, would you, full of moonlight,
For the last time on my pain,
Which I so many a midnight
At this desk herangewacht:
Then, over books and paper,
Trübsel'ger friend, you appeared to me!
Ah! could I but on mountain heights
In thy dear light go,
Around mountain caves with spirits hover,
On meadows in thy dawn weave,
From all knowledge smoke unburden,
In thy dew healthy me bathe!

He wants to get out with his soul, to unite with what lives in nature. He has come there, he has been reborn after his world wandering in that which Goethe has imbued with his soul and lives through as what can be called: the highest, most beautiful flowering of German intellectual life.

Therefore, it can be said that Goethe really did incorporate into his “Faust” what he had gained for himself in a struggling life of knowledge and the world throughout his entire life, for “Faust” accompanied him throughout his entire life. Many secrets are still contained in this “Faust”. But it also contains the fact that Faust's journey through the world has brought him to the point where, through the experiences of his own life, he has matured to take in what Goethe had acquired for himself, not as an adventure of reason, but as something that can be attained by descending to the 'Mothers', that is, by attempting in a healthy way to develop the normal spiritual powers already present in one's soul. In this way one finds not something below the soul nor something outside of it, but something truly super-sensuous. And the fact that within the development of the German soul a work like Faust has become possible characterizes the whole of this development, and determines the position which it must hold in the evolution of the world.

There was always an awareness that more is given with “Faust” than merely that which lived in Goethe. Of course, there were always Mephistopheles-like natures in the outer world as well; they cannot comprehend anything like that which lives in Goethe's Faust. And finally, I would like to point out to you just such an external Mephistophelean nature. I would like to read a critique of Goethe's “Faust” that was written in 1822, from which you can see that “Faust” was also judged differently from the way it is judged by those who try to immerse themselves in it selflessly. One would like to say, a criticism that comforts one that so very often the Mephisto natures in the world confront that which honestly and convincingly seeks the sources and reasons for existence. For such natures as that which wrote on Faust in 1822 are not so rare in the present day either. Now that I have tried to lead you on a journey through Faust's experiences, let us also hear something of the echo that Faust has found in a Mephistophelean nature. I shall omit those passages that are not suitable for a public lecture because they are too cynical. The prologue in heaven, where the Lord discusses Faust's nature with Mephisto, shows this man, after he has established “that Mr. von Goethe is a very bad versifier,” the following:

“This prologue is a true model of how one should not write in verse.”

And now the critic continues – in 1822, ladies and gentlemen! –:

"The ages that have passed have nothing to show that could be compared to this prologue in terms of presumptuous wretchedness... But I must be brief because I have taken on a long and unfortunately also boring piece of work. I shall show the reader that the infamous Faust enjoys an usurped and undeserved celebrity only due to the corruptive collective mind of an associatio obscurorum vivorum... I am not motivated by any rivalry for fame to pour out the lye of strict criticism on Mr. von Goethe's Faust. I do not walk in his footsteps to Parnassus and would be glad if he had enriched our German language with a masterpiece... Among the crowd of bravos, my voice may indeed fade away, but it is enough for me to have done my best; and if I manage to convert even one reader and bring him back from worship of this monster, then my thankless effort will not be regretted... Poor Faust speaks a completely incomprehensible gibberish, in the worst rhyming nonsense ever written in Quinta by any student. My preceptor would have beaten me if I had made verses as bad as the following:

Oh, full moon, thou that dost sow
On me my punishment,
For many a midnight
At this desk I have watched.

I will not dwell on the inferiority of the diction or the wretchedness of the versification; the reader has enough evidence from what he has seen that the author cannot compete with the mediocre poets of the old school when it comes to verse construction.

Mephistopheles himself recognizes that Faust was already possessed by a devil before the contract. But we believe that he does not belong in hell, but in the madhouse, with all that is his, namely hands and feet, head and so on. Many poets have given us examples of sublime gibberish, nonsense in grandiose words, but I would call Goethe's gallimathias a genre nouveau of popular gallimathias, because it is presented in the most vulgar and bad language...

The more I think about this long litany of nonsense, the more likely it seems to me that it is a bet that if a famous man comes up with the shallowest, most boring nonsense, , there will still be a legion of silly writers and gullible readers who will find and exegize profound wisdom and great beauties in this flat-footed nonsense.

And so it goes on. Finally, he says:

"In short, a miserable devil who could learn from Marinelli in Lessing. After him, I, in the name of common sense, reverse the judgment of Mrs. von Staël in favor of the aforementioned Faust and do not condemn him to hell, which could cool this frosty product, since even the devil feels wintery inside, but to be hurled into Cloaca Paranassus. By rights.

The world ignores such judgments. And the world sees in Faust one of the deepest attempts of the human spirit, not only in a philosophical way, but in a dramatic, very lively way, to present the problem of knowledge and humanity in the broadest sense to people, to fathom it at all. And there was always an awareness that Goethe succeeded not only in expressing the Goethean world view and Goethean sentiments in his Faust, but, as Herman Grimm says so beautifully, the entire world view of the entire century. And Herman Grimm was right to use this word. “We have,” he says, “a literature of our own, the purpose of which is not only to prove Goethe's credo, but also the credo of his entire century in Faust.”

I could also point out how deeply rooted the rebirth of Faust is in the entire German intellectual life after his world wandering. The depth to which this German spiritual life itself has sunk is shown by the fact that the whole wealth of this spiritual striving could find expression in a work such as Goethe's Faust, and Herman Grimm's words will certainly prove true: not only Goethe's Weltanschhauung, but the Weltanschhauung of the whole century. And a Weltanschhauung such as will live on in the coming centuries in the very broadest sense has been expressed in Goethe's Faust. That German intellectual life was able to produce this work will be a fact for all future times, which, despite all prejudices about German intellectual life, will be recognized by those who can grasp this German intellectual life impartially and objectively. By expressing the deepest striving of the German spirit through Goethe in Faust in such a great way, this German spirit has spoken for all time to all people of the development of the earth an imperishable word of knowledge of human life in being and in free will and in work, a word that will remain, just as will remain that which is the true, deep fruits of German spiritual life. Among these deepest, truest, most imperishable fruits will be found what we can find in Faust. And so we may say: by immersing ourselves in Goethe's Faust, we become acquainted with a part of the imperishable nature of the German spirit itself. And this German spirit has spoken to the whole world by being able to express such things as are hidden in an obvious secret in Faust, to use another of Goethe's words – obvious if one only seeks it. In the face of Faust, we may apply Goethe's own saying: “All that is transitory is but a parable.” But we may also expand on this saying: in works that, out of the transitory, incline towards the eternal, as Goethe's Faust does, the immortal speaks at the same time in an eternal way to the eternity of human existence.