The Rudolf Steiner Archive

IN 1913 on the hill in Dornach near Basel, Switzerland, construction had begun on the building then known as the Johannesbau and later to be called the Goetheanum, the central headquarters of the anthroposophical movement. Members of the Anthroposophical Society from all parts of the world had been called upon to work on the building, and they were joined by a growing number of others who moved to Dornach, either permanently or temporarily, on their own initiative. Thus a unique center of anthroposophical activity developed in Dornach, a center that was, understandably enough, burdened with the shortcomings and problems unavoidable in such a group.

In the summer of 1914, these difficulties escalated when World War I broke out, since people from many different nations, including those at war, had to work together and get along with each other. Isolation from the rest of the world and, last but not least, both local and more widespread opposition to the building and the people it attracted, further complicated the situation. In spite of all obstacles, however, the building continued to grow under the artistic leadership of Rudolf Steiner, who was well-loved as a teacher and felt by all to be a bulwark of constancy. But in the summer of 1915 all this changed as a result of incidents that threatened to test the Dornach group, and thus the Anthroposophical Society as a whole, to the breaking point.

Rudolf Steiner's marriage to Marie von Sivers at Christmas of 1914 had provoked not only general gossip, but also some bizarre mystical behavior on the part of a member named Alice Sprengel. [ Note 1 ] Heinrich Goesch (see below) and his wife Gertrud seized upon her strange ideas and made use of them in personal attacks on Rudolf Steiner. Since this was done publicly in the context of the Society, Rudolf Steiner asked that the Society itself resolve the case. This resulted in weeks of debate, at the end of which all three were expelled from the Society. Rudolf and Marie Steiner did not take part either in the debates or in the decision to rescind their membership.

The documents that follow reconstruct the events of the case in the sequence in which they occurred.

Alice Sprengel (b. 1871 in Scotland, d. 1949 in Bern, Switzerland) had joined the Theosophical Society in Munich in the summer of 1902, at a time when Rudolf Steiner had not yet become General Secretary for Germany. She joined the German Section a few years later. In a notice issued by the Vorstand of the Anthroposophical Society in the fall of 1915 informing members about the case, Miss Sprengel is described as having undergone unusual suffering in her childhood. At the time of her entry into the Society, she still impressed people as being very dejected. In addition, she was unemployed at that time and outwardly in very unfortunate circumstances. For that reason, efforts were made to help her.

Marie Steiner, then Marie von Sivers, sponsored her involvement in the Munich drama festival in 1907 and arranged for her to be financially supported by members in Munich. In order to help her find a means of supporting herself in line with her artistic abilities, Rudolf Steiner advised her on making symbolic jewelry and the like for members of the Society. It was also made possible for her to make the move to Dornach in 1914. She, however, interpreted this generous assistance to mean that she had a significant mission to fulfill within the Society. Having been given the role of Theodora in Rudolf Steiner's mystery dramas fed her delusions with regard to her mission, as did the fact that toward the end of the year 1911, in conjunction with the project to construct a building to house the mystery dramas, Rudolf Steiner had made an attempt to found a “Society for Theosophical Art and Style” in which she had been nominated as “keeper of the seal” because of her work as an artist. She imagined having lived through important incarnations and even believed herself to be the inspirer of Rudolf Steiner's spiritual teachings. In addition, having been asked to play Theodora gave rise to the delusion that she had received a symbolic promise of marriage from Rudolf Steiner, and she then suffered a breakdown as a result of Rudolf Steiner's marriage to Marie von Sivers at Christmas 1914. Her letters to Rudolf Steiner and Marie Steiner, reproduced below, clearly reveal that she was deeply upset.

Letter from Alice Sprengel to Rudolf Steiner
(undated; received December 25, 1914. Cf. p. 159.)

“Seven years now have passed,” [ Note 2 ] Dr. Steiner, since you appeared to my inner vision and said to me, “I am the one you have spent your life waiting for; I am the one for whom the powers of destiny intended you.”

You saw the struggles and doubts this experience occasioned in me; you knew that in the end my conviction was unshakable—yes, so it is. And you waited for my soul to open and for me to speak about this. Yet I remained silent, because my heart was broken. Long before I learned of theosophy, but also much more recently, I had had many experiences that made me say, “I willingly accept whatever suffering life brings me, no matter how hard it may be. After all, I have been shown by the spirit that it cannot be different.” But this is something that seems to go beyond the original plan of destiny; I lack the strength to bear it, and so it kills something in me, destroys forces I should once have possessed. These experiences were mostly instances of people deliberately abusing my confidence, and all in the name of love. But I had the feeling that this was not only my own fault; it seemed as if the will of destiny was inflicting more on me than I could bear.

I had some vague idea of why that might be so. Once, some years ago, I heard a voice within me saying, “There are beings in the spiritual world whose work requires that human beings sustain hope, but they have no interest in seeing these hopes fulfilled—on the contrary.” At that point I was not fully aware of what we were later to hear about the mystery of premature death, of goals not achieved, and so forth.

Then, however, I bore within me a wish and a hope that seemed like a proclamation from the spiritual world. This wish and this hope had made it possible for me to bear the unbearable; they worked in me with such tremendous force that they carried me along with them. My soul was in such a condition, however, that it could neither relinquish them nor tolerate their fulfillment, or, to put it better, it could not live up to what their fulfillment would have demanded of it. Thus I could not come to clarity on what the above-mentioned experience meant for me as an earthly human being. Neither the teaching nor the teacher was enough to revive my soul; that could only be done by a human being capable of greater love than any other and thus capable of compensating for a greater lack of love.

I can no longer remain silent; it speaks in me and forces me to speak. Years ago I begged you for advice, asked for enlightenment, and your words gave me hope and comfort. I am grateful for that, but today I would no longer be able to bear it. Why did you say to me recently that I looked well, that I should persevere? Did you think I was already aware of the step you are taking now, and that I had already “gotten over it”? I was as far from that as ever.

In conclusion, I ask that you let Miss von Sivers read this letter.

Alice Sprengel

* * *

Letter from Alice Sprengel to Rudolf Steiner

Arlesheim
February 3, 1915

Dear Dr. Steiner,

This will probably be my last letter to you; I will never turn to you again, neither in speaking nor in writing. I only want to tell you that I see no way out for myself; I am at my wits' end. As the weeks gone by have showed me, it is inconceivable that time will alleviate or wipe out anything that has happened; it will only bring to light what is hidden. Until now I have more or less managed to conceal how I feel, but I will not be able to do so indefinitely. I feel a melancholy settling in on me; being together with others and feeling their attentiveness is a torment to me, but I also cannot tolerate being alone for any length of time. I feel that everything that was to develop in me and flow into our movement through me has been buried alive.

My life stretches ahead of me, but it is devoid of any breath of air that makes life possible. And yet, in the darkest hour of my existence, I feel condemned to live—but my soul will be dead. Desolation and numbness will alternate with bouts of pain. I cannot imagine how the tragedy will end. It is likely, though, that I will show some signs of sorrow in weeks to come, and it may well be that I will say and do things that will surprise me as much as anyone else. I do not have the feeling that my words will arouse any echo in you. I feel as if I were talking to a picture. Since that time early on in those seven years when I stood bodily in front of you and you appeared to me as the embodiment of the figure that had been revealed to my inner vision, you have become unreal to me. Then, your voice sounded as sweet and comforting as my own hopes. You restored my soul with mysterious hints and promises that were so often contradicted in the course of events. And when my soul wanted to unfold under that radiant gaze of yours in which I could read that you knew what had happened to me, something looked at me out of your eyes, crying “This is a temptation.”

The most terrible thing was to have what stood before me in visible human form become unreal to me. And yet, I had the feeling that there was something real behind all this. I do not know what power makes your essential being a reality for me. You know that I have struggled for my faith and will continue to do so as long as there is a glimmer of life in me. You also know how I have pleaded with that Being whose light and teachings you must bring to those who suffer the terrible fate of being human, pleaded that whatever guilt may flow on my account may not disturb you in your mission, and I have the feeling that I have been heard. Nevertheless, the shadow of what has happened to me will fall across your path, just as it will darken my future earthly lives. That shadow will also fall across the continued existence of our movement and upon the destiny of our building. If the mystery dramas are ever performed again, you will have to have another Theodora, and since I will never be able to come to terms with what has happened, the very doors of the temple are closed to me in future. I wonder if, under these circumstances, there will ever again… I do not need to finish the sentence.

I sense that, on an occult level, this is a terrible state of affairs. Is there no way out?

Only a miracle can help in this case.

I am well aware that deliverance is possible, and if it were not to come, it would be terrible, and not only for me.

Let me tell you a story by way of conclusion, the story of the “sœur gardienne.” [ Note 3 ]

During the preparations for the plays during the summer of 1913, I noticed that you were not satisfied with me, and when it was all over I felt like a sick person who knows the doctor has given up on her. That feeling never left me from then on, and I could tell you of many instances, especially in recent months, when I felt a deathly chill come over me although your words actually sounded encouraging. The feeling grew stronger whenever I encountered anyone who knew what lay ahead. Why do I feel as if someone had slapped me in the face? Don't they all look as if they were part of a plot? That's what came to mind on many occasions, but I was relatively cheerful then and put it out of my mind. But all this is just a digression.

Two summers ago, shortly before the rehearsals began, I read La Sœur Gardienne. I had always assumed that Miss von Sivers would play the title role. On reading it, however, I began to doubt that the role would suit her; in fact, it seemed to me that she would not even want to play that part. And then I noticed how the figure came alive within me—it spoke, it moved in me. It was my role. If only I were allowed to play it! I saw what it would mean to me, and it was too beautiful to be true. Then invisible eyes looked at me, and I heard, “They will not give you that part, so resign yourself.” In my experience, that voice had always been correct. In view of the existing situation, I said to myself, “Dr. Steiner knows as well as I do that I had this experience; he must have good reasons for arranging things this way in spite of it—and as far as Miss von Sivers is concerned, I must have been mistaken—the whole thing must simply be another one of the incomprehensible disappointments that run like a red thread through my life.”

My soul collapsed; I behaved as calmly as I could, but that did not seem to be good enough. Your behavior as well as Miss von Sivers' was totally incomprehensible to me. They were looking everywhere for someone, anyone, to take the title role, and no one seemed to think of me; anyone else seemed more desirable. And yet people were making comments about how strange it was that I had nothing to do in that play. I held back, because at one point I was really afraid I would have to play a different role. Performances have been more or less the only occasions in my life where I could breathe freely, so to speak, where I could give of myself. But that was only true when I played parts that lived in me, like Theodora and Persephone. But when a role didn't sit well with me, it increased the pressure I was living under for quite some time. That is why I was not as unconcerned about these things as others might be; for me it was a matter of life and death. In the midst of all this tension something befell me that I had already experienced countless times before in many different situations and against which I have always been defenseless. My soul crumples as soon as it happens. Once again, “it” looked at me and said, “This is a lesson for you!” (or sometimes it said “a test” or “an ordeal”).

I felt the effects in my soul of countless experiences, repeated daily, hourly, going back to my earliest childhood. I do not know why my surroundings have always been tempted to participate wrongfully in my inner life. Only here and only very recently have I been able to ward this off, but it has forced me into complete isolation. What my foster parents, teachers, playmates, friends, and even strangers used to do to see what kind of a face I would make or to guess at how I would react! And much more than that. As I said, these experiences were so frequent that I could not deal with them; they suffocated me. Mostly I took it all calmly, thinking they didn't know any better. Now, however, in the situation I described, these semi-conscious memories played a trick on me—and I was overcome by anger. And then this summer, a year later, I had to relive the whole thing. And it occurred to me that I should have told you about what went before it.

As I said, those words “This is a lesson for you” always made me stiffen and freeze. When I look back on my life, it seems as if a devilish wisdom had foreseen all the possibilities life would bring to me in these last few years, and as if this intelligence had done its utmost to make me unfit for them. I could watch it at work, and yet was powerless to do anything. Much could be said about why that happened. But nothing in my own soul or in any single soul could ever help me over this abyss. Only the spark leaping from soul to soul, the spark that is so weak now, so very weak, can make the miracle happen now…

February 5

I have just read over what I wrote, and now I wonder, is it really all right for everything to happen as I described? That is how it would have to happen if everything stays as it is now. But don't we all three feel how destiny stands between us? Can it really be that there is one among us who does not know what has to happen next? That will bring many things to light; the course of events to come depends on what had been one person's secret. This is truly a test, but not only for me. What was hidden shall be revealed.

I still have one thing to say to you, my teacher and guide: even though the tempter looks out of your eyes, there have been times when I experienced with a shudder that what was revealed to me also meant something to you, something that has not been given its due. However, this must happen and will happen—you know that well, and so does

The Keeper of the Seal

* * *

Excerpt from a letter from Alice Sprengel to Marie Steiner
(undated; received on August 21, 1915. Cf. p. 139 and p. 160.)

I know that people who have “occult experiences” are a calamity as far as the people in positions of responsibility in our movement are concerned, and understandably so, but still, that is what our movement is there for—to come to grips with things like that.

The relationship between you and Dr. Steiner is not the point right now; no, it is the relationship between you and myself. However, your civil marriage unleashed a disaster for me, one that I had feared and seen coming for years—not in its actual course of events, you understand, but in its nature and severity. That is to say, for years I had seen something developing between my teacher and me, something to which we can indeed apply what we have heard in the last few days, though not for the first time. It has a will of its own and laws of its own and cannot be exorcised with any clever magic word. As I said, I had sufficient self-knowledge to know what had to come if nothing happened to prevent it.

Three years ago, like a sick person seeking out a physician, I asked Dr. Steiner for a consultation. There was something very sad I had to say during that interview, and I have had to say it frequently since then: Although I could follow his teachings, I could not understand anything of what affected me directly or of what happened to me. I must omit what brought me to the point of saying this, since I do not know how much you know about my background and biography. I was not able to express my need, and Dr. Steiner made it clear that he did not want to hear about it. The following summer, however, we were graced with the opportunity to perform The Guardian of the Threshold; in it a conversation takes place between Strader and Theodora, a conversation that reflected in the most delicate way the very thing that was oppressing me. Perhaps Dr. Steiner did not “intend” anything of the sort; nevertheless, it is a fact. Perhaps it was meant as an attempt at healing. I do not understand…

* * *

The next letter, written by an Englishwoman who was living at the Goetheanum at the time, characterizes Alice Sprengel from a different point of view:

Letter from Mary Peet to Alice Sprengel [ Note 4 ]

Arlesheim,
October 1915

Dear Miss Sprengel,

I cannot let the time pass without writing to tell you how greatly shocked I am at your disgraceful behavior to Doctor Steiner—and also to Mrs. Steiner.

I have truly always thought of you as a rather delicate and hysterical looking [sic] person, but I little imagined to what depths your evidently hysterical nature could lead you.

Your illusive hope of becoming a prominent person in our society not having been realized has been too much of a disappointment for your nature. This kind of thing happens every day, in that disappointed young women fall into all sorts of hysterical conditions, which give rise to all sorts of fantastical dreams. In this case the most holy things have been mixed with false illusions arising from much vanity, self-pride, and the desire for greatness!

To one who pictures herself to be the reincarnation of David, and of the Virgin Mary, very little can be said, for if one starts with such suppositions, one necessarily places oneself almost beyond the pale of reason and logic.

A dog will not bite the hand that has fed it for years—you have not shown the fidelity of a dog in that you have turned all your hatred and spite against the one who has given you all that has brought life into your existence, both spiritually and physically, for you have been beholden to him and his friends for your subsistence.

And now, because you are thoroughly disappointed, you have tried and are trying your best to injure him with every subtle untruth and insinuation, engendered by those thoughts which have entered your imaginative brain.

Doctor Steiner is beloved, revered, and respected; his life is an example to all. He has been able through his power of logic and clear and right thinking to feed us with the bread of Wisdom and Life, and has truly been a Light-bringer to us all.

I implore you to listen to reason before it is too late! Try to examine yourself for one hour and perceive the cause of all the fearful self-deception from which you are suffering. Beware of the awful figure of HATE, called up by your jealousy and consequent disappointment!

You cannot undo the past, but you can try to redeem the lost opportunities you have had by refraining from showing more and more clearly the picture that many can see—to which you are apparently quite blind up till now—namely, that of jealous woman suffering from ingratitude, disappointment, and hysterical illusions!

O Man! Know Thyself!

Truly,

[signed Mary Peet]

* * *

Heinrich Goesch (b. 1880 in Rostock, d. 1930 in Konstanz) was a man of many talents and interests who was already a Ph.D. and LL.D. at age twenty. His name also appeared once in December 1900 on the list of those present at a meeting of the Berlin literary society Die Kommenden. Financial support from parents and relatives enabled him to lead a life that allowed him to pursue numerous interests. Except for the last years of his life, when he lectured on art at the Dresden Academy of Arts and Crafts, he had never actually practiced a profession, presumably for reasons of health. According to a report by the psychiatrist Friedrich Husemann, Goesch had suffered from a very early age from epilepsy or seizure substitutes (absences). An expert witness reports having experienced one of Goesch's heaviest seizures. [ Note 5 ]

Goesch had come into contact with psychoanalysis in 1908 or 1909 while living with his wife (a cousin of Kathe Kollwitz) and his brother Paul, a painter, in Niederpoyritz near Dresden, where they were engaged in studying architecture, aesthetics, and philosophy. Paul Fechter, a journalist who was a friend of the Goeschs at that time, reports the following in his memoirs: [ Note 6 ]

Such was the world that greeted the dawning of psychoanalysis. One day Heinrich Goesch made the acquaintance of one of its earliest adepts, the son of a professor in Graz, who had made the teachings of Sigmund Freud, which at that time had not yet been widely popularized, the basis of his whole life. Goesch took him along to Niederpoyritz, where in endless nightly sessions the young doctor initiated the two brothers into the secrets of the new doctrine. As a result, Heinrich and Paul Goesch, consistent and logical in all their intellectual pursuits, were not content with the theory, but set about putting it into practice. They not only listened to what their guest had to offer, they tried it out on themselves and anything else they could get their hands on. They analyzed themselves and others and staged complex-resolutions by night until Niederpoyritz rebelled and their reputation rivaled that of young Schlegel in Jena.

All that would have made no difference; rumors get started and then fade away again. The effect on Paul Goesch, however, was disastrous—his thin-skinned psyche cracked under these experiments. Analysis, it seems, had eliminated certain inhibitions he needed in order to maintain a secure hold on life. Shortly after the doctor's visit, he entered a mental hospital for the first time…

The “doctor” whose name Fechter does not reveal was Otto Gross, private lecturer in psychopathology at the University of Graz and one of Freud's first pupils. Unlike Freud, who used psychoanalysis simply as a method of medical treatment, Gross, by applying it in social and political contexts as well, tried to make it the underlying basis of everyday life. His efforts eventually brought him into conflict with all existing social structures. As a drug addict, he became a patient of C. G. Jung at the Burghoelzli in Zurich and in that capacity played a certain role in the professional disagreements between Jung and Freud. Later, at the instigation of his father, Hans Gross (professor of criminology at Graz), he was declared legally incompetent and spent most of the rest of his life in mental hospitals. [ Note 7 ]

In his obituary of Heinrich Goesch, Fechter has this to say about Goesch's relationship to psychoanalysis:

When Otto Gross first introduced him to the as yet relatively unknown psychoanalytic method of Sigmund Freud, Heinrich Goesch recognized it immediately as a means of extending his personal experience into unfathomed depths. He took up this new subject passionately, not as a theoretical, conceptual, or abstract object of study and experience, but plunging with his whole being and all the strength he possessed into this stream that opened up before him and led into new depths. He did not study psychoanalysis, he experienced it through and through, making himself the object of his own analysis, descending into the shocks and ecstasies of the darkness that opened up in front of him with a total disregard for how it might affect his everyday existence. At once, he began to pull the theory out of the realm of science and into his immediate personal experience. It was a very dangerous experiment… [ Note 8 ]

Goesch became acquainted with Rudolf Steiner's anthroposophy around 1910. Shortly thereafter, he became a member of the German Section of the Theosophical Society, led at that point by Rudolf Steiner as General Secretary. He had been recommended by the physician Max Asch, who wrote to Rudolf Steiner on April 27, 1910. [ Note 9 ]

For the last two weeks or so, I have been involved in a lively and personal exchange of ideas with a Mr. Heinrich Goesch, Ph.D., who seems to me predestined for occult training. He is one of the most highly gifted people I have ever met, and about one year ago had unusual inner experiences that occurred as part of a state of ecstasy lasting about a week, which leads me to assume that his case would be of particular interest to you, too. He has recently immersed himself in the study of your works Theosophy, An Outline Of Occult Science, etc.), and the unbelievable quickness with which he grasps these things leads me to suspect that he has undergone some form of occult schooling in an earlier incarnation—apparently a specifically Christian one, given the nature of his ecstatic experiences. Mr. Goesch will attend your lecture tomorrow evening; if you wish, I will introduce him to you. He wants to become a member of the Theosophical Society immediately.

The lecture in question took place on April 28, 1910, in the Berlin House of Architects. Its title was “Error and Mental Disorder.” [ Note 10 ] On April 30, 1910, Asch wrote to Rudolf Steiner again:

Heinrich Goesch, Ph.D., about whom I wrote to you, would be very grateful if you would find an opportunity to speak with him soon. He would like to attend your lectures in Hamburg, since they are related to an area he has researched with particular interest in the last few years. Therefore, he would like to become a member of the Theosophical Society as soon as possible. Mr. Goesch lives in Charlottenburg…

A short time after Heinrich Goesch and his wife Gertrud became members, the construction of a building to serve as its central headquarters became a focal point of the Society's activity. Goesch was very interested in architecture and in 1912 made some suggestions about the design of the building. This interest, it seems, was also what led him to come in the spring of 1914 to Dornach, where work on the Johannesbau (first Goetheanum) had begun in fall of 1913.

These facts from the biography of Goesch, who, as Paul Fechter puts it, displayed “a personal and unique combination of logic and mysticism,” make it somewhat understandable why he would jump into the Sprengel case with typical passionate energy. According to the psychiatrist Friedrich Husemann, epileptics characteristically combine egocentricity with a disproportionate sensitivity to personal affront and a tendency to complain. On the basis of these changes in their affective life, it is easy for them to develop delusions, and a certain affinity must have developed between Goesch's delusions and those of Alice Sprengel. Goesch formulated his thoughts in a long and elaborate letter (dated August 19, 1915) to Rudolf Steiner, who read it to the Dornach circle on August 21, 1915, in place of his usual Saturday evening lecture.

My dear sisters and brothers,

Since the Christmas Conference an esoteric breath flows through the whole Anthroposophical Society. And those members of the Anthroposophical Society who have taken part in the general members' lectures will have noted how this esoteric breath flows through all the work within the anthroposophical movement now, and should do so in the future.

This was a necessity which, above all, flows from the spiritual world, from where the revelations come which should live in the anthroposophical movement.

Therefore, the necessity arose to create a certain nucleus for anthroposophical esoteric life, to create real esoteric life, and therewith the necessity arose to build a bridge to the spiritual world itself.

In a certain sense the spiritual world had to manifest the will for the creation of such a School. For an esoteric school cannot be created by human arbitrariness, nor from that human arbitrariness called “human ideals”; rather must this esoteric school be the body for something which flows out of spiritual life, so that everything that occurs in such a school presents the outer expression of an activity which in reality occurs in the spiritual world itself. Therefore, this esoteric school could not have been created without first asking the will of Michael, which since the last third of the nineteenth century has been guiding human affairs - something which I have often mentioned here in members' lectures.

In the course of time this will of Michael again and again cyclically intervenes in human affairs from the spiritual world. And when we look back in the evolution of time, we find that this same Michael-Will - which we can also call the Michael Reign - was active in the spiritual affairs of humanity, in the great questions of civilization before the Mystery of Golgotha, in the time of Alexander in Greece through the Chthonian and Celestial mysteries, and which was to spread to Asia and Africa. Where the Michael-Will reigns, there is always cosmopolitanism. What differentiates people on earth is overcome during the Michael age.

The most important influence, related to Aristotle and to Alexander, which was under the impulse of Michael, was followed by that of Oriphiel, and after Oriphiel came the Anael impulse, the Zachariel impulse, then the Raphael impulse, then the Samael impulse, then the Gabriel impulse, which extended into the 19^th century. And since the seventies of the nineteenth century we are again under the sign of Michael's reign. It is in its beginnings. But Michael's impulses must flow into all legitimate esoteric activities in a conscious manner - what can be clear to you, my sisters and brothers, through the general lectures for members.

And everything connected with the Christmas Conference leads to what is constituted as the basis of the anthroposophical movement's formation of this Esoteric School inspired and guided by Michael. It therefore rightfully exists in our times as a spiritual institution. All those who want to be rightful members of this School must accept this in their lives with the deepest sincerity. They must feel that they don't merely belong to an earthly community, but to a supersensible community, whose guide and leader is Michael himself. Therefore, everything communicated here is not to be understood as my words, insofar as they are the content of the lessons, but rather as what Michael communicates in an esoteric manner to those who feel they belong with him in this age. Therefore, what these lessons contain will be Michael's message for our age.

And it is because of this that the anthroposophical movement will receive its true spiritual strength. For this it is necessary that what membership in this School means be taken with the utmost earnestness. It is really necessary, my dear sisters and brothers, truly and deeply necessary, that it be indicated in the utmost earnest manner the sacred earnestness with which the School must be taken.

And here within the School it must be repeatedly said: in anthroposophical circles there is much too little earnestness for what really flows through the anthroposophical movement, and at least the esoteric members of the Esoteric School must be in the forefront of what humanity can gradually develop as the necessary earnestness. Therefore, it is necessary that the leadership of the School retain for itself the right to allow only those to enter as rightful, worthy members of the School who, in every aspect of their lives, want to be worthy representatives of anthroposophy; and the decision about whether this is the case or not must lie with the School's leadership.

Do not consider this, my sisters and brothers, as a limitation of freedom. The School's leadership must also have its freedom and be able to recognize who belongs to the School and who does not, just as each one is free to decide whether to belong to the School or not. So, a free, ideal-spiritual contract, so to speak, between each member of the School and the leadership must be agreed upon. In no other way could esoteric development be called healthy, especially not one which is worthy of the fact that this Esoteric School exists under the direct force of the Michael impulse itself.

Conscientious care of the mantric verses so that they do not fall into unauthorized hands is the first requisite; but also, to really be a worthy representative of the anthroposophical cause.

I only need to mention a few things to show how little the anthroposophical movement is still grasped with complete earnestness. It has happened that members of the School have reserved their seats by placing on them the blue membership certificates, which gives them the right to participate in the School. [1] It has happened in the Anthroposophical Society that whole piles of the News Sheets, only intended for members, have been found on the trolley cars that run from Dornach to Basel. And I could add many other examples to this list. And amazing things happen as a result of this lack of earnestness. Even with things that in everyday life are taken seriously, at the moment when those within the anthroposophical movement are expected to do so, they do not take them seriously.

These are things which must be considered in connection with the firm structure that this School must have. Therefore, these things must be said, because if they are not observed, one cannot worthily receive what is given here in the School as revelations from the spiritual world. At the end of each lesson, your attention is expressly drawn to the fact that the being of Michael is present while the revelations from the spiritual world are given, and are confirmed by Michael's sign and seal.

All these things must live in the members' hearts. And worthiness, profound worthiness must reign in all that is bound even in thought to the School. For only in this way what today is to be carried through the world as an esoteric stream can live. And that includes the duties incumbent on each individual.

The mantric verses written here on the blackboard can only be possessed, in the strictest sense of the word, by those who have the right to be present. And if a member of the School is unable to attend a lesson during which mantric verses are given, another member, who has the verses, may give them to him; but it must be for each individual case, that is, for each person to whom the verses are to be given, that permission must be requested, either from Dr. Wegman or from me. Once permission is granted in respect to a person, it remains valid. But permission must again be requested for each other individual. This is not an administrative rule, it is an occult rule that must be strictly adhered to. For every act of the School must be connected to the School's leadership: and that begins with having to request permission from the School's leadership for acts having to do with the School. Not the one who is to receive the mantras may ask, but only the one who is to give them, using the modality that I have just described. If someone takes notes on what is said here, except for the mantras, he is obliged to keep them for only one week, and then to burn them.

All these things are not arbitrary rules, but they relate to the occult fact that esoteric matters are only effective if they are embraced by the School members' attitude. The mantras lose their effectiveness if they fall into the wrong hands. And it is a rule so firmly inscribed in the cosmic order, that the following once happened and a whole group of mantras, which had been in effect within the anthroposophical movement, have been rendered ineffective.

I was able to give mantric verses to a number of people; I also gave them to a certain person, who had a friend. The friend was somewhat clairvoyant. And it happened that while the two friends were sleeping in the same room, the clairvoyant friend, when the other one merely repeated the mantra in thought, surreptitiously copied it and then did mischief with it by giving it to others as coming from himself. It was necessary to look into the matter, which revealed why the mantra became ineffective for all those who possessed it.

Therefore, my dear sisters and brothers, you must not take these things lightly, for esoteric rules are strict; and when someone has made such an error, he should not excuse himself by claiming that he was unable to avoid it. Of course, if someone runs through a mantra in his mind, and someone else copies it clairvoyantly, he certainly can do nothing about it. Nevertheless, the rules are applied with an iron necessity. [2]

I mention this so that you can see how little arbitrariness is involved, and how these things are being read from the spiritual world and that the practices of the spiritual world apply. Nothing is arbitrary in what occurs in a rightly existing esoteric school. And the earnestness from this esoteric school should stream out to the whole anthroposophical movement. For only then will this School be what it should be for the anthroposophical movement. But when something is done which only springs from personal motives and then it is pretended that it is because of devotion to the anthroposophical movement- well, I don't mean to say that it should not happen, because obviously, people today must be personal - but then it is also necessary that truth lives in what is personal, that for instance if someone comes here to Dornach for personal pleasure he should admit it and not pretend otherwise. There's nothing wrong with coming to Dornach for personal pleasure, in fact it is good. But one should admit it and not sidestep it by declaring pure dedication to spiritual life.

I mention this; I could just as well mention another example, which is more real, for it is really the case that when most of our friends come to Dornach, a will to sacrifice is involved, and that only in the least of cases is untruthfulness involved. But I've chosen this example because it is the least applicable and thus the least harmful. If I had mentioned other examples, what I would like to have as a calm prevailing mood in the hearts and souls of all who are sitting here now could not exist in the necessary degree.

After that introduction, I would like to start with the verse that is the beginning and end of Michael's proclamation to all unbiased human beings, and which contains what all entities in the world are saying, if one listens to them with the soul. For from all that lives in the mineral, vegetable and animal kingdoms, what sparkles down from the stars, what acts into our souls from the domains of the hierarchies, from all that crawls under and on the earth as worm-life, from what speaks in rocks and springs and fields and thunder and clouds and lightning; all these spoke to unbiased human beings in the past, speak at the present and will speak in the future:

O man, know thyself!
So resounds the Cosmic-Word.
You hear it strong in soul,
You feel it firm in spirit.

Who speaks with such cosmic might?
Who speaks with such depth of heart?

Does it work through distant radiant space
Into your senses' sense of being?
Does it ring through weaving waves of time
Into your life's evolving stream?

It's you yourself who,
In feeling space, in experiencing time,
The Word create, feeling foreign
In space's soulless void,
Because you lose the force of thought
In time's destroying flow.

The previous lesson ended, my dear sisters and brothers, with the Guardian of the Threshold giving the last admonitions before one passes over the yawning abyss of being; the Guardian of the Threshold spoke the weighty, moving words:

Come in,
The gate has opened;
You will become
A true human being.

Our souls and hearts have been exposed to the important, weighty, meaningful words spoken by the Guardian of the Threshold on behalf of Michael. And everything he said was to prepare us for the attitude we must have when we come over after the gate has been opened - over the yawning abyss of being, where one does not come walking with earthly feet, where one flies with the spiritual wings that grow when the soul is imbued with a spiritual attitude, with spiritual love, with spiritual feeling.

And now, now, my dear sisters and brothers, will be described what the human being experiences when he stands on the other side of the yawning abyss of being. The Guardian of the Threshold indicates to him: turn around and look back! Until now you have been looking at what appeared to you as black, night-cloaked gloom, about which you had to say that it will become inner light and will illumine your own Self. With the last admonitions—the Guardian of the Threshold says—I let it become lighter, at first most gently. You feel now the first light around you. But turn around, look back!

And now, when he who has crossed over the yawning abyss of being and turns around and looks back, he sees himself as an earthly human being, what he is during his physical incarnation, over there in the part of his being that he has left behind and which now lies in the earthly sphere. He observes his own human self there. He has embodied himself in spiritual being with his spirit-soul. The earthly environment is over there now. He stands there in the region, in which we first were with all our humanity, where we saw what crawls beneath and flies above, where we saw the sparkling stars, the warmth-giving sun, where we saw what lives in the wind and weather, and where, knowing that despite all its majesty, how the sun blazes and illumines, despite all the beauty and greatness accessible to the senses, we said to ourselves: our own humanity is not here; we must seek it on the other side of the yawning abyss of being, in what seems at first, to the senses, to be black, night-cloaked gloom.

The Guardian of the Threshold has shown, by the three beasts, what we actually are. Now will be described how in the gloom that is beginning to be light, we should begin to look back on what we as humans are in the sensory world, together with what was our only world in sensory earthly existence.

And now the Guardian of the Threshold points directly back there to the earthly man, which we ourselves also are during earthly existence, and to which we must continually return, into which we must always penetrate when we leave the spiritual world and return to our earthly duty. For we may not become dreamers and go into raptures, we must return completely to earth life. Therefore the Guardian of the Threshold directs us to look at the person who stands over there, who we ourselves are, in a way that at first draws our attention to what this person is. [An outline of a human being is drawn on the blackboard.]

He knows that he perceives the outer world through the senses, which are mostly situated in the head, and that he perceives his thinking through the impulse of the head.

But the Guardian of the Threshold now says: Look into this head. It is like looking into a dark cell, for you do not see the creative light within it. The truth is that what you had as thinking over there in the sensory world is mere seeming, mere images, not much more than mirror-images.

The Guardian of the Threshold admonishes us to be very aware of this, but also to be aware that what is only appearance in earthly thinking is the corpse - as we have heard in previous lessons - of a living thinking in which we were immersed in the soul-spiritual world before we descended to this earthly life. There thinking lived! Now thinking rests as dead thinking, as seeming thinking in the coffin of our bodies. And all the thinking we use in the sensory world is dead thinking. It was alive before we descended.

And what has this thinking accomplished? It has created everything that is within the head, within this dark cell - as it appears to the senses - that is light-creating essence. The brain, which rests within as thinking's support, has been created by living thinking. [The interior of the head, yellow, is drawn on the blackboard.] It is living thinking that creates the support for our earthly semblance of thinking.

Observe the brain's convolutions, observe what you carry within the dark cell that enables you to think, my sisters and brothers, observe the semblance of thinking in the dark cell, then you will find in what is felt above as thinking [drawing: red arrows] from out of which streams the force of will into thinking, so that each thought is streamed through with will. How the will streams into thinking can be sensed.

And now we look back from the other side of the threshold at how that other person, who we ourselves are, has waves of will streaming out of his body into the head, which create the will, and finally, when we follow them back to the turning points of time which lead to our previous incarnations, how they create the waves of thought from worlds past into our present incarnation and form our heads, all of which makes the semblance of thinking in this incarnation possible.

Therefore, we must be strong, the Guardian of the Threshold tells us, and imagine dead thinking being cast out into the cosmic nothingness, for it is only seeming. And the willing that then arises we should consider as what comes over from previous incarnations and interweaves and works, making us thinkers. Within [drawing: yellow] are the creating cosmic thoughts. These creating cosmic thoughts enable us to have human thoughts.

Therefore, the first words the Guardian of the Threshold speaks after he has let us cross the threshold, and after he has announced that the gate has opened, that we can become true human beings, the first words he speaks are:

See behind thinking's sensory light,
How in the gloomy spirit-cell
Willing arises from the body's depths;
Let be cast, through your strength of soul,
Dead thinking into the cosmic void;
And willing, it will arise
As cosmic thought's creation.

The first words we hear on the other side, as we look back at the figure, which we ourselves are:

[The first mantra is written on the blackboard, together with a heading. Blackboard writing is always in italics.]

The Guardian is heard in the brightening darkness:

I

See behind thinking's sensory light,
How in the gloomy spirit-cell
Willing arises from the body's depths;
Let be cast, through your strength of soul,
Dead thinking into the cosmic void;
And willing, it will arise
As cosmic thought's creation.

And then the Guardian of the Threshold adds - and one must strain to hear him: Now imagine that you are observing that figure on the other side who you yourself are; you turn around again and look into the darkness and try with all your inner imaginative force of remembrance - as one does when retaining a physical after-image in the eye. Try with all your strength to draw before you something like a gray outline of what you saw over there, but avoid drawing anything except the outline of the figure. [It is drawn.]

Then, if one succeeds in seeing this gray outline of a figure, behind it appears an image of the moon [a sickle moon, yellow, is drawn], the gray figure before it.

If one is able to keep inner calm, one sees the moon in the distance. The gray figure outline is also there, but it is active in us. And if we practice this over and over, we feel we have arrived at the spiritual figure of the head that we had over there, not the physical human figure, but at the spiritual figure of the head that we had over there, if we can feel what karma brings to us from previous earthly incarnations. [yellow arrow at the right of the sickle moon.]

Therefore, you should meditate on this picture that I have drawn here, the sickle moon with this arrow; let the mantra unfold, with this picture as the marker for the gradual familiarization with what forcefully comes over from previous earthly existences.

And secondly, the Guardian of the Threshold points with a stronger gesture to what feeling is to the person over there, who we ourselves are, and he admonishes that we are to see this feeling as a dim dream. In fact, we see feeling - which makes the person over there more real than thinking, for thinking is illusion, whereas feeling is half reality - we see the person's feeling enfold in numerous dream-pictures during the day. We learn by observing it that feeling, for the spirit and in the spirit, is dreaming.

But what kind of dreaming is feeling? In this feeling, not only the individual dreams, but within it the whole surrounding world dreams. Our thinking is our own. That's why it's illusion. The world lives in our feeling. The world's existence is within it.

Now we must achieve, to the extent possible, tranquility of heart, the Guardian warns, so that we can extinguish what lives and interweaves as feeling in the dream-pictures, just as dreams are extinguished in deep sleep. Then we can reach the truth of feeling, and we can see human feeling interwoven with the cosmic life that is present in spirit in all our surroundings. And then the real spiritual human being appears to us, who in his body lives at first in his half-existence. The human being appears to us from out of sleeping feeling. We feel ourselves to be on the other side of the threshold, on the other side of the yawning abyss of being, for feeling has fallen asleep and the cosmic creative powers, which live in feeling, have appeared around us.

See in feeling's weaving in the soul,
How in sleep's dim-like dawning
Life streams in from cosmic distance;
Let in sleep through tranquil heart
Human feeling waft away hushed;
And cosmic life spiritualizes
As the human being's power.

[This second part is written on the blackboard.]

II

See in

(Before it was “behind”, here it is “in”; all the words in a mantric verse are important.)

feeling's weaving in the soul,

(Before it was “thinking”, here “feeling”; there “sensory light”, here “weaving in the soul”; “weaving” is much more real than merely semblance of light.)

[In the first part “thinking” and “sensory light”, and in the second part “feeling's” are underlined.

How in sleep's dim-like dawning
Life streams in from cosmic distance;

(There it was “Willing arises from the body's depths;”, here “Life streams in from cosmic distance;”)

[In the third line of the first part “Willing” is underlined, and in the second part “Life”.]

Let in sleep through tranquil heart
Human feeling waft away hushed;

It is enhanced: Here [in the first part] it involved letting flow through the soul's force; here [in the second part] one must waft away human feeling. [the word “waft” is underlined.]

And cosmic life spiritualizes

—here [in the first part] it was the willing that is still in the human being; here it is cosmic

As the human being's power.

—the enhancement relative to cosmic thought's creation.—

[In the first part “cosmic thought's creation” and in the second part “human being's power” are underlined.]

The Guardian of the Threshold indicates to us that we should look back once again at the gray figure that stands over there, which we are ourselves in earthly life, but this time after having turned away, in our minds we turn it around in a circle. We will find, when we rotate the figure, that the sun appears behind it and rotates with it. [It is drawn - left, red]. And we will realize that at the moment we are brought into physical existence from the spiritual world, our etheric body has been compressed from the cosmic ether. Therefore, just as the first verse belongs to this [the drawing of the gray figure and the first verse are numbered “I”], this second verse belongs to this. [The drawing of the red rotating form and the second verse are numbered “II”.]

Then the Guardian of the Threshold refers us to our will, which is active in our limbs. And he strongly draws our attention to the fact that whatever relates to the will is in a sleeping state, even when we are awake. He explains how as the thought works downward - I explained it last time, so may say it now -, how as the thought carries warmth downward into our limbs' movement so that it becomes will: this becomes clear in spiritual cognition and spiritual seeing. Normal consciousness hides this when we are sleeping, as it hides life in general during sleep. Now we should observe the will in the limbs as though sunken in deep sleep. The will is asleep. The limbs are asleep. We should see this as a firm mental image. Then, when it is firm, we realize how thinking, the source of willing in earthly man, sinks down into the limbs. Then it becomes light in him. The will becomes bright. It wakes up. When we first see it in its sleeping state, we find that it wakes up when thinking sinks downward and light from below streams upward, which is the force of gravity. Feel the force of gravity in your legs and arms when you let them relax: that is what streams upward, and which meets with the downward streaming thinking. We observe human will transformed into its reality and thinking appearing as what ignites the will in man in an enchanting, magical way. That is the truly magical effect of thinking on the will. It is magic. Now we become aware of it. The Guardian of the Threshold says:

See above the bodily effects of will,
—in the aura—
How into sleeping fields of activity
Thinking sinks down from head forces;
Let through the soul's vision of light
human will transform itself;
And thinking, it appears
As the magical essence of will.

[This third verse, with underlining, is written on the blackboard.]

III

See above the bodily effects of will,

Now we imagine that the Guardian of the Threshold again points to the person over there, who we are ourselves, telling us to look and retain the picture, but not to turn around, but to let this picture sink below the surface of the earth beneath where the figure is standing. We look over there. There stands the one who we ourselves are. We make the picture and develop the strong force to look below, as though a lake were there and we were looking at this image as now being within the earth, but not as a mirror-image, but as an upright figure. [Draws.]

We imagine this picture: the earth [A white arc is drawn.] belonging to the third verse [This drawing and the third verse are given the number III.] We imagine: how the earth's gravitational forces rise, how the gravitational forces illuminate the limbs, feet and arms [white arrows]. In later observation, we acquire an idea of how gods and humans cooperate between death and a new birth to arrange karma.

That is what the Guardian of the Threshold admonishes us about when he speaks to us for the first time after we have crossed over the yawning abyss of being.

See behind thinking's sensory light,
How in the gloomy spirit-cell
Willing arises from the body's depths;
Let be cast, through your strength of soul,
Dead thinking into the cosmic void;
And willing, it will arise
As cosmic thought's creation.

See in feeling's weaving in the soul,
How in sleep's dim-like dawning
Life streams in from cosmic distance;
Let in sleep through tranquil heart
Human feeling waft away hushed;
And cosmic life spiritualizes
As the human being's power.

See above the bodily effects of will,
How into sleeping fields of activity
Thinking sinks down from head forces;
Let through the soul's vision of light
human will transform itself;
And thinking, it appears
As the magical essence of will.

The circle always closes. We are looking again at the starting point, listening to all the beings and all the processes of the world:

O man, know thyself!
So resounds the Cosmic-Word.
You hear it strong in soul,
You feel it firm in spirit.

Who speaks with such cosmic might?
Who speaks with such depth of heart?

Does it work through distant radiant space
Into your senses' sense of being?
Does it ring through weaving waves of time
Into your life's evolving stream?

It's you yourself who,
In feeling space, in experiencing time,
The Word create, feeling foreign
In space's soulless void,
Because you lose the force of thought
In time's destroying flow.

By this affirmation, Michael is present in this, his rightfully existing School. His presence is confirmed by his sign, which should loom over everything given in this School:

[Michael Sign - in red]

It is confirmed by his seal, that he has impressed on the esoteric striving of the Rosicrucian School, and which lives on symbolically in the threefold verse:

Ex deo nascimur

In Christo morimur

Per spiritum sanctum reviviscimus

And as Michael impresses his seal, the first sentence is spoken with this gesture:

[draws: Image 1, the lower seal gesture, yellow]

The second sentence with this gesture:

[draws: Image 1, the middle seal gesture, yellow]

The third sentence with this gesture:

[draws: Image 1, the upper seal gesture]

The first gesture means:[3]

I esteem the Father

It lives mutely as we say: “Ex deo nascimur”.

[lower seal gesture]

The second gesture means:

I love the Son

It lives mutely as we say: “In Christo morimur”.

[middle seal gesture]

The third gesture means:

I unite with the Spirit

It lives mutely in the Sign, which is Michael's Seal, as we speak: “Per spiritum sanctum reviviscimus”.

[upper seal gesture]

Thus, today's Michael affirmation is confirmed by means of his Sign and Seals:

[Michael's Sign]

[spoken with the seal gestures:]

Ex deo nascimur

In Christo morimur

Per spiritum sanctum reviviscimus.

Translator's notes:

[1] It is a fairly common practice in Germany and Switzerland for people who come early to a function to place a paper, notebook, or hat on a chair to reserve their places.

[2] It seems to me, although the editors of the German original say nothing about it, that Rudolf Steiner was being ironic here, that a School member gave the mantra to his unauthorized friend, who then passed it on to others, and that the member then used the “clairvoyant” story as an excuse.

[3] The Michael Sign and Seals: From the stenographic notes of the seven recapitulation lessons, it is not possible to determine when Rudolf Steiner only wrote the words on the blackboard or when he spoke the words and wrote them, or only spoke them.

---

This was the last Lesson for the Esoteric School. Rudolf Steiner was unable to continue because of illness. He died on March 30, 1925.

The musical element

When speaking of the arts, Rudolf Steiner (1861–1925) emphasizes that the musical element increasingly belongs to the future of humanity.¹ In the following words he points to the mission of music:

Fundamentally speaking, music is the human being, and indeed it is from music that we rightly learn how to free ourselves from matter. For if music were to become materialistic, it would actually be false: it is not ‘there’! Every other form of matter is present in the world and is insistent. But musical sounds are not to be found in the material world in their original form. We have to devise a means of producing them; they must first be made. The soul element that lives in the human being lies between the notes. But today, because the world has become so unmusical, people are scarcely aware of it.²

This passage also witnesses to Steiner's own particular mission at the beginning of the twentieth century: to sow seeds in the cultural life which could enable humanity to find its way from estrangement to cooperation with the world of spirit. This concept is of immense practical importance in a century which has allowed the forces of technology and finance to encroach into the realm rightly belonging to the free human spirit. About the time of these lectures, Steiner was responding to requests from many professional quarters for advice which would provide creative stimuli. Lecture courses were given to experts seeking renewal in their particular fields: science, medicine, agriculture, religion, the arts, education and therapeutic education. ‘The development of anthroposophical activity into the realm of art resulted out of the nature of anthroposophy.’ The art of eurythmy, however, occupies a unique position as the newly-born daughter of anthroposophy itself.³

For Steiner, it is not only music; all the arts are to become more musical. Steiner is concerned with living, creative activity. He communicated this vision most succinctly in a far-reaching lecture in Torquay. (See Note 1) Like J. M. Hauer (1883–1959), whose theoretical writings were known to him, Steiner uses the Greek Melos (‘tune’) for pure pitch (Melodie—‘melody’, of course, includes rhythm and beat. See also Steiner's own lecture notes, p. 10). Both Hauer and Steiner use Melos to indicate the actual creative principle in music. ‘Melos is the musical element,’ Steiner claims (Lecture 4). In this translation I have retained Melos where it is employed.

In speech, Melos only ‘peeps through’. But it ‘poured into’ oriental architecture, which ‘really did transpose music into movement’. ‘Oriental architecture has within it a great deal of eurythmy,’ we read in Lecture 5. The word ‘rhythm’ comes from the Greek rhuthmos (measured motion, time rhythm), from rhe-ein (to flow). The word ‘eurhythmy’ is an architectural term: ‘beautiful proportion, hence beautiful, harmonious movement’ (Oxford English Dictionary). Laurens van der Post mentions the ‘eurhythmic grace’ of certain beautiful animal movements in his African writings. ‘Eurythmy’ and Melos, accordingly, have existed and do still exist both in nature and in human culture. Both worlds unite in the art of eurythmy, which cultivates Melos, and was brought to birth through Rudolf Steiner. (Otto Fränkl-Lundborg claims the spelling of ‘eurythmy’ without the ‘h’ is philologically correct; rho as suffix loses its aspirate. See Das Goetheanum, 49. Jg., Nr. 30, 26.7.70, p. 246).

Steiner, like Hauer, uses the expression das Musikalische (‘the musical’) more often than die Musik (‘music’), and in this way emphasizes the inner activity before the technicalities of the craft come into consideration. This is a supremely important detail. In English we have to extend this to phrases like ‘the musical element’, or ‘the realm of music’, which may be clumsy, but they are accurate. What Steiner has in mind and continuously refers to is the musical essence. This is not only the concern of musicians but it is the underlying creative, transforming force of life itself, present in all vital human expression. Moreover, it bears a direct relationship to the path of mankind's inner development. This development can be prepared and assisted by the inner activity of individuals on the path of initiation, which is described by Steiner as a process of development through God's grace, involving Imagination, Inspiration and Intuition (spiritual vision, inner hearing and a higher life).⁴

Long, long before the human being enters consciously into the stages of initiation, he is able to express these individual experiences in images, and this is done through music! In the last analysis genuine music is essentially a developing drama of life taking its course in musical sounds, which are an external picture of what the soul consciously experiences in the life of initiation.⁵

We may sense that Steiner channelled his own musicality into his work as a teacher of humanity, and this he confirmed more than once:

It gave me particular pleasure to be told one day by one of our artistically-gifted friends that some of the lecture cycles I have given could be transcribed into symphonies purely on the basis of their inner structure. Some of the courses are indeed based in their structure on something very like this. Take for instance the lecture course given in Vienna on life between death and a new birth: you will see that you could make a symphony of it.⁶

The art of eurythmy has been given to us as a gift from the future. Its evolution depends upon each individual eurythmist, musician and speaker developing an inner listening with his or her artistic feeling. This must be developed, not in an ecstatic way, but as a spiritual path the individual undertakes while within the body. This inner activity, Steiner insists (in answer to Hauer), can be revealed in art by raising sensory experience.⁷ The present lecture course may prove to be the best companion on such a path, which is akin to the practising of a musician. This is a demanding exercise, but however small the progress, it forms the substance of true art, and can be offered as nourishment to a world in need.⁸

One of the questions today concerns recorded sound (see Appendix 6). After following the arguments concerning recordings, it can be refreshing to return to the present course of lectures. Though modestly described as ‘only a beginning’, Steiner begins where many of the great musicians of his time, and the ensuing decades, leave off.⁹

Music's turning point

Steiner characterizes music as the art which ‘contains the laws of our ego’.¹⁰ If we could consciously dive down into our astral body, the musician in us, we could perceive the cosmic music that has formed us: ‘... with the help of the astral body, the cosmos is playing our own being ... The ancients felt that earthly music could only be a mirroring of the heavenly music which began with the creation of mankind.’ Modern humanity has been led into the muddy, materialistic swamp of darkness and desire, which obscures this music. But there is a path of purification leading to perception of the music of the spheres once again. When we hear a symphony we dive with soul and spirit into the will, which is usually asleep in daytime consciousness. Art—‘even the nature of major and minor melodies’ - can bring life to the connection between man and cosmos (in other words, anthroposophy); to what might appear as dead form. Steiner warns ‘that these things are not a skeleton of ideas!’ hinting that his Theosophy was written musically, not schematically.

The present lectures on eurythmy represent Steiner's greatest contribution to musical studies. When he gave them in 1924, he advised the eurythmists to study Hauer's theoretical writings. Hauer was a musician who discovered atonal melody, or twelve-note music, at the same time (or even just before) as Schönberg did by a different route. Both composers endeavoured to get beyond the materialistic swamp through spiritual striving.¹¹ By 1924 Hauer had published his own attempt at a Goethean theory of music,¹² and his Deutung des Melos (Interpretation of Melos, questions to the artists and thinkers of our time) includes an appreciation of Goethe's Theory of Colour.¹³ In these eurythmy lectures, Steiner appears to agree with Hauer's diagnosis of the modern situation as ‘noise’; Wagner's music, for example, is ‘unmusical music’, though it has its justification. Steiner seems to agree with Hauer's spiritual principle of Melos, ‘the actual musical element’ (to Hauer ‘movement itself’, or the ‘TAO’, the interpretation of which is ‘the only true spiritual science’). He reproduces Hauer's correspondence of vowels and intervals, writing in his notebook Hauer's list of examples (Notebook, p. 10), and he retells the story of the Arab listening to a contrapuntal piece, who asks for it to be played ‘one tune at a time’. But Steiner certainly does not agree with Hauer's answer to the challenge of materialism. ‘Those who deride materialism are bad artists, bad scientists,’ Steiner declares.¹⁴ Instead of criticism, he offers help.

In his profound study on Bach, Erich Schwebsch suggests that eurythmy arrived just at the right time in the evolution of mankind.¹⁵ His justification of music eurythmy is unlikely to be supplanted. With the founding of music eurythmy, a new beginning opens up for the art of music too. This thought was also expressed by the musician and eurythmist Ralph Kux.¹⁶ It remains for me to draw attention to the counter-phenomenon accompanying this new beginning.

The counter-tendency, so strongly marked in Hauer's thought and life, artificially separates itself from the human roots of music. Steiner's answer to Hauer's dissatisfaction with western culture was to give a further impetus to music eurythmy (already born but still in its infancy) by tracing the origin of music back to the human being. Through a conscious ‘turning inside out’ within the organism, at the point of departure in the collar-bone, the cosmic music that formed us (flowing in between the shoulder-blades) is released and made available for artistic ends.¹⁷ Music today, he implies, is not a purely spiritual, meditative affair, leading (as later in Hauer's career) a reclusive life. The music of the spheres sought along the old paths ‘out there’ in the cosmos leads to an abstract caricature today. The living connection is to be found on earth, in the human being.¹⁸ Steiner was in all things concerned with living, creative activity. The arts are the means whereby inner activity and experience become outer expression: ‘to present the soul and spirit in fullest concentration ... is basically the highest ideal of all art.’¹⁹ The arts remind us of the meaning in our earthly destiny. Steiner's meditative verse, written for Marie Steiner at Christmas 1922, begins: ‘The stars once spake to man’—but what leads to the future is ‘what man speaks to the stars’.²⁰

Albert Steffen expresses it clearly: there is a splitting of the way ‘concerning the life or death of music as such ... The whole of humanity stands before this alternative. There is no way back. Every individual has to go through it or come to grief.’²¹ In one of his most inspired articles, H. Pfrogner (a musicologist and authority on twentieth-century developments) characterizes the one path of experience as the way of ‘universal concord’, and the other as ‘ego concord’.²² The former path leads to universal spirituality, to a dissolving of the self. The latter path leads to a maturing of the self. Pfrogner accociates the former spirituality with the impulse emanating from the conspiracy of Gondishapur (seventh century AD - further details can be found in Ruland).²³ which echoes on in Islamic culture; the maturing spirituality he associates with the Christian west. All inclination to ‘dissolve the ego’, whose new richness of content was brought by Christ, spiritually subscribes to Arabism, whereas all steps toward strengthened responsibility follow the latter path. But this latter path leads to an extension of the diatonic system, ‘that resounding image of the human being pure and simple’ (Pfrogner).

The path to overcome materialism, further elucidated by Pfrogner,²⁴ will not be reached by avoiding the swamp of man's egotism and hastily ‘reaching for the stars’ (the arrangement of twelve) to the exclusion of the diatonic system (based on the number seven). Lurking in such a counter-reaction to romanticism (which, like Viennese classicism, arose in the age of materialism as a protest) is an implied denial of the Christ-event. ‘Christ Jesus inaugurated an evolution in human nature, based on the retention of the ego's full consciousness. He inaugurated the initiation of the ego,’ Steiner explains.²⁵ ‘With Christ,’ F. Rittelmeyer reminds us in his last book, ‘the whole orientation of humanity is changed. And from now on we no longer look back with longing to the past, to a "golden age" of the primal beginning, but look forward toward fulfilment, creating the future ...’²⁶ There is a path through the swamp which has been trodden by composers such as Bartok, Hindemith, Messiaen, Martinu, Sibelius, Vaughan Williams, Shostakovich, Britten, Tippett, Hartmann, Henze, Schnittke, Gubaidulina, Pärt and many others (following in their own ways the example of the modern ‘Prometheus’, Beethoven).²⁷

Musical art of the future

On more than one occasion, Steiner, speaking of the future of music, pointed to ‘finding a melody in the single note’.²⁸ In the eurythmy lectures he points out that this does not mean listening to the acoustic ‘chord of overtones’ in a single note—on which Hauer and Hindemith base their theoretical work. It is a supersensible experience. One of the climaxes of the investigations of Pfrogner and H. Ruland (one of the former's successors), is the working out of Steiner's hints of a development of our tonal system.²⁹

Here mention should be made of two other pioneers in musical studies whose work is acknowledged by Ruland in his Expanding Tonal Awareness. Ernst Bindel developed the relationship between mathematics and music.³⁰ (Without some mathematics there can be no responsible step towards a musical future.) The other pioneer is H. E. Lauer,³¹ whose account of the evolution of tonal systems has subsequently been considerably developed by Ruland.

We conclude with a suggestion regarding ‘artistic longing’, made by Steiner some months before the lectures translated here:

‘If someone feels that here on earth he does not fulfil what lies in his archetype, with its abode in the heavens, there arises in him an artistic longing for some outer image of that archetype. Whereupon he can gain the power to become an instrument for expressing the true relation of man to the world by becoming a eurythmist. The eurythmist says: All the movements which I ordinarily carry out here on earth do less than justice to the mobile archetype of man. To present the ideal human archetype I must begin by finding a way to unite with its movements.’ These movements, through which the human being endeavours to imitate in space the movements of his heavenly archetype, constitute eurythmy.³²

Steiner wrote in his Notebook (see p. 131 below) for the present eurythmy course:

In the musical element the spatial human being is transformed into the non-spatial human being—the spiritual human being is the inner origin of the musical element.

Artistic people often think more naturally in evocative images, rather than with philosophical or technical concepts about ‘the spiritual human being’ or ‘the heavenly archetype’. And ultimately the inner life cannot express itself other than in images. Artistic readers looking for direction to surmount materialism may be able to grasp the necessity for decisive action more directly in the form of a picture. It may be appropriate to recall a passage from one of Selma Lagerlöf's novels to show the precision of Steiner's statement. An image of the Christ-child is kept in a basilica run by Franciscan monks. An Englishwoman plans to steal this image and replace it with a cheap imitation.

When the copy was ready she took a needle and scratched into the crown: ‘My kingdom is only of this world.’ It was as if she was afraid that she herself would not be able to distinguish one image from the other. And it was as if she wished to appease her own conscience. ‘I have not wished to make a false Christ-image. I have written in his crown: “My kingdom is only of this world”.’³³

Stourbridge, Michaelmas 1993
Alan Stott

• 1. R. Steiner, True and False Paths in Spiritual Investigation, GA243, (RSP 1975). An accurate translation of the section on music (last part of the final lecture of 24.8.22) appears in Lea van der Pals, op. cit., p. 71ff. Compare: ‘The basic mood of the new world-conception [since the Mystery of Golgotha] is musical, whereas the basic mood of the old world was sculptural. The basic mood of the new age is really musical, and the world will become ever more musical. In order to continue rightly on the path of human evolution, we must know the importance of striving towards a musical element and not repeating the old sculptural one’ (R. Steiner, Der Baum des Lebens and der Baum der Erkenntnis des Guten and Bosen [‘The tree of life and the tree of knowledge of good and evil’], lecture Dornach 31.7.15, GA162 [translation A. S.]; see also Appendix 4, ‘R. Steiner, Torquay, 22.8.24’, in Vol. 2).
• 2. R. Steiner, Eurythmy as Visible Singing, GA278, Lecture 3.
• 3. The name ‘anthroposophy’ (‘wisdom of the human being’) is not used in any of Steiner's basic books. It appeared before the world for the first time one year after the founding of the Anthroposophical Society (1913), in the final chapter of R. Steiner, Riddles of Philosophy [original edition 1914, English translation AP 1973], ‘A brief outline of an approach to anthroposophy’. In this chapter, reference is made to the author's Truth and Science (1882), The Philosphy of Freedom (1894), and the lecture ‘The psychological foundations and epistemological position of spiritual science’, delivered before the Philosophical Congress, Bologna, 18.4.11.
  
  ‘Eurythmy has grown out of the soil of the anthroposophical movement, [originating] like a gift of destiny’ (R. Steiner, ‘Eurythmy, what it is and how it originated’, lecture Penmaenmawr 26.8.23 in Eurythmy as Visible Song [London and New York 1932], p. 1). ‘The artistic element will be an elixir of life of the anthroposophical movement’ (R. Steiner, introduction to a eurythmy performance on the occasion of the founding of the General Anthroposophical Society, Dornach 5.1.24, in GA277, p. 423). See also R. Steiner, Das Goetheanum in seinen zehn Jahren’ (‘The Goetheanum, ten years in retrospect’), essay of 14.1.24 in GA36, and Tb635 p. 131. For a detailed account, see R. Steiner, Die Entstehung and Entwicklung der Eurythmie (‘The origin and development of eurythmy’, translation in progress) GA277a (Dornach 1965), and R. Steiner, Eurythmie—die Offenbarung der Sprechende Seele (‘Eurythmy—revelation of the speaking soul’) GA277 (Dornach 1972), a collection of introductions to performances, and so on; a paperback mainly consisting of selections is published: Eurythmie, Tb642 (Dornach 1986). Some introductions are translated in R. Steiner, Eurythmy, an Introduction (AP 1984); the lecture 14.2.20 is translated in The Inner Nature of Music, op. cit.
• 4. Rational thinking is not jettisoned in favour of ‘mysticism’ or something else. The spiritual activity within thinking itself can be strengthened for investigating and creating within the realm of the spirit. The spiritual activity of pure thinking, the higher union of science and religion demonstrated by Steiner, was prophesied, for example, by Emerson: ‘No man ever prayed heartily without learning something. But when a faithful thinker, resolute to detach every object from personal relations and see it in the light of thought, shall, at the same time, kindle science with the fire of the holiest affections, then will God go forth anew into the creation’ (R. W. Emerson, tract on ‘Nature’, Chapter VIII, [1836]. See also a recent study on Emerson, Richard G. Geldard, The Esoteric Emerson [The Lindisfarne Press, West Stockbridge, Mass., 1993]).
• 5. R. Steiner, Art as seen in the Light of Mystery Wisdom, GA275, Lecture 30.12.14 (RSP 1984).
• 6. R. Steiner, Practical Advice to Teachers (RSP 1976), GA294. The lecture course referred to is R. Steiner, The Inner Nature of Man and the Life Between Death and a New Birth, Vienna 9-14.4.14, GA153 (RSP 1959). Steiner aimed at a marriage of form and content in his work, which is the lofty artistic ideal. After the Christmas Foundation of 1923/4, he reached a new level in this respect. In connection with the subject matter of GA153, compare: ‘Contrary to the works of architects, sculptors and painters, musical works must be repeatedly generated anew; they flow onwards in the surge and swell of their melodies, a picture of the soul, which in its incarnations always has to experience itself afresh in the progressive stream of time. The soul flows down from its spiritual homeland and returns thither—likewise its shadow-images: notes and harmonies. Hence the intimate effect of music on the soul’ (R. Steiner, lecture Berlin 12.11.06, The Inner Nature of Music [AP 1983]).
  
  Steiner confirmed that: ‘For anyone who would read my Occult Science as today one would read a novel or any other book, passively giving oneself to it, it is really only a thicket of words—and so are my other books. It is only someone who knows in every moment of reading that he must create out of his own soul's depths, and through his most intimate will—which the books should stimulate—only this person is able to regard these books as musical scores from which he can experience the true music. This active experience of the individual soul, moreover, is what we need’ (R. Steiner, Heilfaktoren fir den sozialen Organismus, lecture Dornach 2.7.20, GA198). See also R. Steiner, The Gospel of St John, Lecture XI, Hamburg 30.5.08, GA103 (RSP 1978); GA278, Lecture 6, Endnote 39 in Vol. 2.
  
  The implications for the musician are discussed by Erich Schwebsch in his pioneer study on anthroposophy and music. He concludes: ‘The cosmology of Occult Science contains in its thoughts the best exercises for a meditative musician who is searching for new forms today’ (E. Schwebsch, J. S. Bach and Die Kunst der Fuge [Stuttgart 1988], Chapter 4 ‘Musik als Offenbarung des Geistes. Aphoristische Betrachtungen’, p. 193 [J. S. Bach and ‘The Art of Fugue’; translation of Chapter 4 in manuscript, ‘Music as revelation of the spirit. Aphoristic observations’]).
• 7. In his first lecture, before the Goethe Society, Vienna 1888, Steiner said: ‘Beauty is not the divine in a cloak of physical reality; no, it is physical reality in a cloak that is divine. The artist does not bring the divine on to the earth by letting it flow into the world; he raises the world into the sphere of the divine’ (R. Steiner, Goethe as Founder ofa new Science of Aesthetics [Rudolf Steiner Pub., Co., London c.1927]). Steiner claims that this lecture, already in 1888, contains ‘a sound foundation for anthroposophy and the anthroposophical way of thinking’ (Preface to the second edition, 1919). The lecture suggests an acid test for what is truly new. Movements exist today which bear the adjective ‘spiritual’ but do not attempt any transformation. Indeed, it is often stated that ‘no musical knowledge is necessary’! Is not the call for courage against despondency and inadequacy met right here with every individual?
• 8. See Schwebsch, Endnote 6. Pfrogner, in the chapter ‘und was nun? (‘and what now?’) in his extensive study on The living world of music’, presents a clear vision of tasks for the future: ‘No longer l'art pour l'art, but simply and solely: l’art pour l’homme will be the saying of the hour. This “art for human beings”, however, will have to be an art totally “from human beings”, an art in the above-mentioned sense “raised” from the human being, if it should be true “nourishment for life” ’ (H. Pfrogner, Lebendige Tonwelt [Langen Müller, München/Wien 1981], p. 474, trans. A.S.).
• 9. For example: Bruno Walter, Theme and Variations (Hamish Hamilton, London 1947), and On Music and Music-Making (Faber, London 1957); W. Furtwängler, Concerning Music (Boosey and Hawkes, London 1953); Artur Schnabel, My Life and Music (C. Smythe, New York and Gerrards Cross 1988), and Music and the Line of Most Resistance (Princeton 1942); Edwin Fischer, Reflections on Music (Williams & Norgate, London 1951); R. Vaughan Williams, National Music and other Essays (OUP 1987); J. Ma. Corredor, Conversations with Casals (Duddon, New York 1956).
• 10. R. Steiner, Art as seen in the Light of Mystery Wisdom, lecture 29.12.24, GA275 (RSP 1984).
• 11. For the best introduction to this perspective, see H. Pfrogner Zwölfordnung der Töne (Zürich/Leipzig/Wien 1953), reprinted in H. Pfrogner, Zeitwende der Musik (Langen Müller, München/Wien 1986), translation in manuscript, ‘Music's turning point of time’.
• 12. J. M. Hauer, Vom Wesen des Musikalischen (1920, later editions Robert Lienau, Berlin-Lichterfelde), translation in progress, ‘The essence of music’.
• 13. J. M. Hauer, Deutung des Melos (Tal & Co. Verlag, Leipzig/Wien/Zürich 1923), translation in manuscript ‘The interpretation of Melds’.
• 14. R. Steiner, The Arts and Their Mission, lecture Oslo, 18.5.23, GA276 (AP 1964), p. 111.
• 15. Schwebsch presented his eloquent conclusion already in 1930: ‘But all inner experience of the soul when it is ripe to that end, wishes to become visible, perceptible. The soul world desires to become objective. The first beginning for this becoming visible of vitally filled musical movement, from the All rising up behind the Nothing [an echo from Goethe's Faust, Part 2, 6256. Translator's note.] of the vanishing past, at the exact nadir of time, is the art of music eurythmy: visible singing, newly created by Rudolf Steiner’ (E. Schwebsch, op. cit., p. 211). Chapter 4 is more than the title suggests. It is an anthroposophical musician's ‘credo’, which applies to Steffen's essay (see Endnote 21 below), too.
• 16. R. Kux and W. Kux, Erinnerungen an Rudolf Steiner and R. Kux, Eurythmie and Musik (Mellinger Verlag, Stuttgart 1976), translation in manuscript ‘Recollections of R. Steiner, and eurythmy and music’.
• 17. See R. Steiner, The Essentials of Education, lecture 10.4.24 a.m. (RSP 1982), p. 58. The physiology is explained in A. Husemann, The Harmony of the Human Body (Floris Books, Edinburgh 1994; German edition, Der musikalische Bau des Menschen [Verlag Freies Geistesleben, Stuttgart 1989]). Note, for example, with what careful scholarship Dr Husemann explores what ‘beim Aufireten’ (‘by stepping’, or ‘with the first step’) from Lecture 7 must mean (Section 31, p. 189ff.). See also Endnote 43 on Ansatz, in Vol. 2.
• 18. Compare Steiner: ‘Since the Mystery of Golgotha we cannot speak of the music of the spheres as did Pythagoras, but we can speak of it in another way. An initiate might even today speak as Pythagoras did, but the ordinary inhabitant of the earth in his physical body can speak of the music of the spheres and of the cosmic life only when he experiences in his soul, "Not I, but Christ in me", for the Christ within him has lived in the music of the spheres and in the cosmic life. But we must go through this experience in ourselves; we really must receive Christ into our souls’ (R. Steiner, lecture Norrköping, 16.7.14, in Christ and the Human Soul GA155 [RSP 1984], pp. 69-70). The harmony of the spheres is heard ‘in deep sleep’ by the initiate ‘as if they were the notes of trumpets and the rolling of thunder’ (R. Steiner, An Esoteric Cosmology GA93a [St George Publications, Spring Valley, New York 1978], lecture Paris 30.5.1906, reported by E. Schure, p. 45. Steiner's proclamation of Christ rests on knowledge. By the turn of the century, he could say: ‘The unfolding of my soul rested upon the fact that I had stood in spirit before the Mystery of Golgotha in most inward, most earnest solemnity of knowledge’ (R. Steiner, The Course of my Life [New York, 1951], closing sentence of Chapter XXVI, p. 276). ‘Spiritual science is concerned not merely to talk about the Christ, but to declare what the Christ wishes to say to people in our time, through the medium of human thoughts.’ R. Steiner, lecture Zürich 4.2.19., in The Inner Aspect of the Social Question GA193, (RSP 1950), p. 16.
  
  Steiner indicates what amounts to 84 (= 7 x 12) meditations for musicians: ‘You have in the fixed stars a wonderful cosmic instrument, and the players of this instrument of the zodiac and fixed stars are the gods of the planets beyond’ (lecture Dornach, 2.12.22, in The Inner Nature of Music GA283 [AP 1983], pp. 42-3); see also R. Steiner, The Gospel of St Matthew (especially lectures Berne, 3,4, 10 and 12.10.10), GAl23 (RSP 1965); R. Steiner, Universe, Earth and Man, lecture Stuttgart 12.8.08 [RSP 1987], p. 118ff. See also Appendices 3 and 5 in Vol. 2.
• 19. R. Steiner, GA277, op. cit., p. 320.
• 20. R. Steiner, Verses and Meditations (RSP 1961), pp. 96-97 In this connection, compare Beckh's definition of ‘cosmic’: ‘the revelation of the spirit within the earthly realm’ (H. Beckh, Die Sprache der Tonart [Urachhaus, Stuttgart 1977], p. 20, English translation ‘The language of tonality’, in manuscript).
• 21. Albert Steffen, ‘Musik’ in Der Künstler and die Erfiillung der Mysterien (Dornach 1964), translation in the British Newsletter, forthcoming. An artist could base his life on this astonishing essay. 21
• 22. H. Pfrogner, Chapter 17 in Zeitwende..., op. cit.
• 23. Compare: ‘Absolute objectivity ultimately demands the sacrifice of the personality’ (Hauer, Vom Wesen des Musikalischen [Leipzig/Wien 1922], p. 40), with: ‘When the human being became a personality, God also had to become a personality in order to save him, to give him the possibility of rising again’ (R. Steiner, Egyptian Myths and Mysteries [AP 1971], p. 139). Another twentieth- century scientist, comparing his life to that of Goethe's, declared that his goal was ‘to penetrate into the secret of the personality’; the ‘central concept’ of his psychology is ‘the principle of individuation’ (C. G. Jung, Memories, Dreams and Reflections [Fontana, London 1967], pp. 232 and 235, italics original). Sir Julian Huxley summarizes Teilhard de Chardin, the scientist-seer: ‘persons are individuals who transcend their merely organic individuality in conscious participation’ (Introduction to Teilhard, The Phenomenon of Man [Collins 1959/Fontana 1965], p. 20/21). A vague pantheism is avoided: ‘Union differentiates’, and ‘the more "other" [grains of consciousness] become in conjunction, the more they find themselves as "self" as they make for the ‘Omega point’ of evolution (op. cit., p. 261/288). See Endnote 20 in Vol. 2.
• 24. See H. Pfrogner, Zeitwende..., op. cit., and Lebendige Tonwelt, op. cit., for informed views on musical development right up to the twentieth century.
• 25. R. Steiner, The Gospel of St Matthew, lecture Berne 9.10.10 (RSP 1965). Steiner explains the meaning of the atonement: ‘The One sufferred for all, so that through the world-historic initiation a substitute has been created for the old form of initiation ... Through inner vision, through true mysticism, community with Christ is possible’ (R. Steiner, Foundations of Esotericism, lecture Berlin, 27.9.05 [RSP 1983], p. 14)
• 26. F. Rittelmeyer, Christus (Urachhaus, Stuttgart 1936), p. 38 (translation in MS). Rittelmeyer's mature relationship to John's Gospel, with its hidden music, informs his major works. For Rittelmeyer on music, see A. Stott: ‘Friedrich Rittelmeyer and the "Song of the earth's perfecting"’ in The Threshing Floor, May/June 1988 (Floris Books, Edinburgh). Another study on the Christ- Impulse is C. E. Raven, Jesus and the Gospel of Love (Hodder & Stoughton, London 1931/49), see especially Chapter XV, ‘Christ in the Twentieth Century’.
• 27. The following reference to Beethoven's entelechy is the only one that has come to my notice: ‘I was deeply impressed when a while ago I heard from a famous musician that in a personal conversation Rudolf Steiner said "Beethoven is Prometheus"’ (E. Kolisko, ‘Beethoven’, from a series of articles under the title ‘Reincarnation’ in The Modern Mystic, September 1938).
• 28. See Endnote 17 in Vol. 2.
• 29. See H. Ruland, Expanding Tonal Awareness (RSP 1992).
• 30. Ernst Bindel, Die Zahlgrundlagen der Musik im Wandel der Zeiten (Stuttgart 1985); translation in progress ‘The numerical basis of music in its development’.
• 31. H. E. Lauer, ‘The Evolution of Music through Changes in Tone-Systems’ in Cosmic Music, edited by J. Godwin (Inner Traditions, Rochester, Vermont 1989). Lauer also wrote Musik and Musiker (Selbstverlag, undated).
• 32. R. Steiner, The Arts and Their Mission, lecture Dornach 27.5.23, GA276 (AP 1964).
• 33. Selma Lagerlöf, The Miracles of Antichrist (Gay & Bird, London 1899), p. 14.

Dr. Steiner: We need to look more closely at the ninth grade. After I more thoroughly considered yesterday’s discussion, I do not think we can take care of that class if we burden one teacher like Dr. Schubert, which is what would undoubtedly happen. I think we need to hire another teacher for the 1b class, and, in my opinion, Dr. Plinke would do well as a Waldorf teacher. She was here just today. I asked about her a few days ago, but could not obtain any real information about her stay here. I think she should take over the 1b class, and then Dr. Schubert’s work could be done differently.

Concerning the curriculum of the tenth grade, we need to take into consideration German language and literature. That would be a continuation of what was done in the ninth grade.

A teacher: I had them read Jean Paul.

Dr. Steiner: You had them read and complete Jean Paul.

A teacher: They completed the chapter about humor.

Dr. Steiner: What is now important is that you begin a comprehensive presentation of meter and poetics. Upon the basis of what they have learned from Jean Paul, the children will be able to learn a great deal here. In any event, we must avoid normal pedantic school methods. We must teach living poetry in a living way and treat it in a reasonable manner.

The class could then study The Song of the Niebelungs and Gudrun. Where possible, you should study it in Middle High German. As time allows, go through it in Middle High German, but also speak about the entire context of the poem, its artistic and folk meaning and, aside from the passages that you read, go through it so that the children learn the entire content. Of course, with The Song of the Niebelungs, you could do some Middle High German grammar and compare it with that of modern High German. That would be sufficient for the tenth grade, but begin with meter.

A teacher: Could you perhaps recommend a German book about meter?

Dr. Steiner: They are all equally good and equally bad. Take a look at Göschen’s anthology, one of the worst methods, but you will find the concepts there. There isn’t a good book on meter and poetics—Bartsch, Lachmann, and so forth. Simrock attempted to maintain that in his Germanized version of The Song of the Niebelungs.

I gave the basics in a lecture in Dornach and showed how meter is connected to the interactions of the pulse and breathing look at the caesura when you study hexameter. You can see it as a harmony of the pulse, and, breathing. Today, we can’t go into metric theory.

It would still be good if we could arrange things in the eighth, ninth, and tenth grades so that the class teachers would relieve one another.

A teacher: We did that.

Dr. Steiner: So, when one begins at 8 o’clock in the tenth grade, the others would begin in the ninth and the eighth. It would not be good to change weekly. You need a longer period for each block. Our principle is to begin a block of learning and remain with it as long as possible. See if you can do that. We will also need to see that Dr. Schwebsch joins you as a fourth teacher when he comes. For the remaining classes, the plan will remain as it was. 1. Bartsch and Lachmann were more concerned with the scientific study of The Song of the Niebelungs. Simrock’s translation was published in 1827. Now Schubert can take over the whole subject of history, since he no longer has the 1b class.

Now we have history in the tenth grade. In order to teach economically, it will be important to be well-prepared. In the eighthand ninth-grade classes, do the same as before. In the tenth grade, we should return to the earliest period of history. Beginning with the earliest period, take history through the fall of free Greece, that is, beginning with the earliest Indian Period, go through the Persian, the Egypto-Chaldeaic and Greek until the end of Greek freedom, that is, until the battle of Charonea in 338 B.C.

For tenth-grade geography, describe the Earth as a morphological and physical whole. In geology, you will need to describe the Earth so that the form of the mountains is presented as a kind of cross, that is, the two rings of mountains in the east-west and north-south directions that cross one another. In morphology, discuss the forms of the continents, the creation of mountains, everything that enters into the physical realm, and then the rivers. Take up geological questions, physical characteristics, isotherms, the Earth as a magnet, the north and south magnetic poles. You need to do this in morphology. Continue on with the ocean currents, the air currents, the trade winds, and the inside of the Earth. In short, everything encompassed by the Earth as a whole.

How far have you come in mathematics?

A teacher: In algebra, exponents and roots, geometric drawing, and the computation of areas. We also did simple equations, equations with multiple unknowns, quadratic equations, and the figuring of the circumference and area of a circle.

Dr. Steiner: You could also teach them the concept of __. When you teach that, it is not important that you teach them about the theories of decimal numbers. They can learn the number __ to just one decimal place.

A teacher: We studied the number __ by looking at the perimeters of inner and outer regular polygons.

Dr. Steiner: What lines do the children know?

A teacher: Last year we studied the ellipse, hyperbola, and parabola from a geometrical perspective.

Dr. Steiner: Then, the children will need to learn the basics of plane trigonometry. I think that would be enough for now. How far did you come in descriptive geometry?

A teacher: The children learned about interpenetrating planes and surfaces. The children could certainly solve problems involving one triangle penetrated by another. They can also find the point of intersection of a line with a plane.

Dr. Steiner: Perhaps that is not necessary. You should actually begin with orthogonal projections, that is, from a point. You should go through the presentation of a plane as a plane, and not as a triangle.

You should then go on to the theory of planes and intersection of two planes and then, perhaps, to the basics of projective geometry. It is important to teach children about the concepts of duality, but you need to teach them only the most basic things.

A teacher: In trigonometry, wouldn’t it be necessary to go into logarithms?

Dr. Steiner: What? They don’t understand logarithms yet? You must do that in mathematics, it belongs there. They would know only the basic concepts of sine, cosine, and tangent, you need to say only a few sentences about that. They should learn only a couple of the relationships, for instance, sin 2a + cos 2a = 1, but they should understand that visually.

A teacher: Should the goal be to teach logarithms in the ninth grade?

Dr. Steiner: They should know enough about logarithms to be able to perform simple logarithmic computations.

Then we have physics.

A teacher: I was supposed to teach them to understand the locomotive and telephone.

Dr. Steiner: Yes, that was the goal, so that the children would have a preliminary overview of all of physics.

The teacher then describes what was done.

Dr. Steiner: With a grain of salt, it appears you did go through most of physics. That was when we should have gone through all that. It is sufficient if the children have an idea of it.

A teacher: I covered mechanics the least.

Dr. Steiner: Now is just the right time for that. You need to begin with mechanical forms [perhaps formulas]. It is best if you treat it mathematically. You need to go only far enough for the children to have a basic understanding of simple machines.

Then we have chemistry.

A teacher: The main thing we attempted to do was to present the differences between acids and bases.

Dr. Steiner: That is, of course, good. Do the children have a clear idea about the importance of salts, bases, and acids? Such things need to be done first. It is really terrible to speak about organic chemistry. We need to get away from that and expand our concepts. We could accomplish a great deal if we simply did what belongs to this year and did it by observing in detail basic and acidic substances as well as salts. We should, therefore, look at alkalines and acids, and then subsequently at the physiological processes so that the children understand them. We could begin with opposite reactions which we can see in the contrasting behavior of bee’s blood and digestive juices, since they are acidic and alkaline. In this way, we would touch upon physiological processes. You only need to work through the concepts of bitter and sour, base and acid with them. That is, take up the blood of the bee and its stomach acid because they react in opposite ways. Stomach acid is sour and the blood is bitter. Bees have these opposites of blood and stomach acid in their digestive organs. The same is true of human beings, but it is not so easy to demonstrate. It can be easily done, however, with bees in a laboratory.

How far have you come in natural history? Remember, we now have fourteen- and fifteen-year-olds.

A teacher: I have not done much there.

Dr. Steiner: Well, we will need to assign classes differently and have a fourth teacher.

A teacher: I will have at most a third of the year available to do all of this.

Dr. Steiner: You can do it in a third of a year. You could save some time if, in the future, we had two and a half hours in the morning for these three classes and compress the material somewhat. Then we could include a fourth teacher. We need to begin these three classes a little earlier and end them a little later.

A teacher: But then we will have difficulties for the other subjects because they change classrooms at the 10 o’clock recess.

Dr. Steiner: In the future we will not need as many hours of language instruction in all the grades as we have had. We do not need as much English and French in the tenth grade, that is absolutely unnecessary. We use too much time for modern languages. If we do languages so much in the lower classes as we have, we will not need to do so much in the upper grades. We can limit foreign languages somewhat in the upper grades.

It is important to consider minerals in natural history. In the tenth grade, we should also discuss the human being. We should also do mineralogy.

A teacher: What should we do about anthropology in the tenth grade?

Dr. Steiner: You will need to make the human being understandable, in a certain sense. Of course, you have to create a context in which you can make the human being as an individual understandable, so that you can later go on to ethnology. In making the individual human being understandable, you can take a great deal from Anthroposophy without getting the reputation of teaching Anthroposophy. That is the objective truth. Teach about the physical human being and its organs and functions in relation to the soul and spirit.

We also need to create a transition from shop into what is truly artistic. You have already done that with modeling, but now you can alternate that with painting. Paint with those children who are adept. We can look at the tenth-grade children as though they were in a college preparatory school, and thus we can move them into the various arts. I think we need some sort of class on aesthetics, and that is something that Dr. Schwebsch could do since he created an aesthetic connection between sculpture, painting, and music. He has done a great deal with music. In connection with musical aesthetics, you need to form a kind of sub-faculty: shop classes that move into the artistic and then into the musical, so that the aesthetic, but not musicology, is of concern. I think we should give the children as early as possible an idea of when a chair is beautiful or when a table is beautiful. You should do that in such a way as to stop all this nonsense about a chair needing to be pleasing to the eye. You should be able to feel the beauty of a chair when you sit upon it. You need to feel it. It is just the same as I said yesterday in the handwork class that the children need to be able to feel one way or another about what they have done, for instance, in cross-stitching. I think that in general, these things will all merge: handwork and shop with a feeling for art and music. Of course, this all must be done properly.

That has all been done in the most horrible manner in the college preparatory schools. Herman Grimm always complained that when people came to him, and he showed them pictures, they couldn’t tell whether a person was standing toward the front or back in the picture. People did not have the slightest idea about how to view them. The high-school students could not tell whether someone was standing toward the front or toward the back. We will see how things move in regard to instrumental music in the tenth grade.

A teacher: We need to begin it earlier.

Dr. Steiner: For the tenth grade, in any event.

A teacher: In the tenth-grade class, all of the children are doing instrumental music and I want to put them together and form a small orchestra. Most of the children belong.

Dr. Steiner: For those who are not participating, you would need to be certain that they willingly participate.

A teacher: We would certainly need two periods for the tenth grade, otherwise we could hardly do anything in choir.

Dr. Steiner: In the tenth grade, we could teach some harmony and counterpoint, so the children would want to perform. But, don’t force the issue. Wait until they come to it themselves.

In eurythmy, we need to work toward an ensemble. There are already some young men and women who can do complete ensemble forms. In music, it is important that when we begin working on something, we bring it to a certain degree of conclusion. It is better to complete three or four things in the course of the year than to simply begin all manner of things. You will soon get past the hurdle of boredom.

We must also teach children the simplest concepts of drafting. We could do that in the periods we otherwise use for languages. We need only one period per week for drafting and for surveying, also only one hour per week. We could do drafting for a half year and then surveying. In drafting, you should begin with screws, something that is not normally done. We should do that because we should begin with the character of what is material, with the poetic in drafting, and only later go onto dynamic subjects. You will certainly have enough to do in a half year without that, so teach all about the screw in drafting. You will, of course, have to guide the children so that they can draw screw forms. Work on drills and screws and worm gears.

In surveying, it will be enough if you bring the children so far along that they can determine the horizon and then simple landscapes, vineyards, orchards, and meadows, so they have an idea of how they are drawn.

Concerning spinning, you should begin with the tools, like the spinning wheel or hand loom and so forth, and first teach primitive spinning and weaving. They won’t be able to do much more than learn the simplest things and ideas. They do not need to come much further than to understand how a thread is created and how a piece of cloth is woven. You should be happy if they acquire some skill in the years. They should have some understanding of the fibers, also. And, in addition, you should teach them the historical development. To give it some spice, they should also learn about more complicated forms, since the simpler forms are no longer used.

In health class, teach simple bandaging, roughly what is needed in first aid. Let the boys do it also, tenderly and decently, and things will move along. It is not important whether they think they can do it, it is sufficient if they simply acquire an idea about it. For this, you will need one period a week for half a year.

You should see to it that the girls watch the tomboys and the boys, the more effeminate girls. The boys should not do it, they should simply become accustomed to it. They could talk a little bit among themselves about which girls do it best.

While the boys are drawing screws, the girls should talk about that in a more theoretical way. One problem with drafting is that it takes so much time to do so little. You do all kinds of things, use a great deal of time, but not much gets done. You could make the period quite exciting since the boys won’t do very much otherwise. There is certainly a lot we could do in this period of life to make things more exciting. I have noticed that they are a little bit sleepy, the boys and girls.

Tenth-grade French: Do literature and culture. I would do it by beginning with the more modern and going backward to older things, that is, in reverse. What can the children do in French?

A teacher: Simple conversation.

Dr. Steiner: They could read Le Cid. The children should begin to have some concept of classical French poetry. Do Molière later. I would prefer that you do not rush from one thing to another. If you like Le Cid, then do all of it. We can add other things during the year.

A teacher: What should I do in English? I have covered all of the background information about the text.

Dr. Steiner: Continue with that. Then see if the children can freely write a paragraph. There are some students in the language class who think they can do it better than the teacher. That is easy to see. Foreign language teachers are seldom accepted if they are not foreigners and speak with an accent. You need to pay a little attention here. This is a difficult problem, but we will need to stick with the principle that things will come with time.

When we do not teach efficiently, we burden the students. We should avoid wasting time for that reason. We should not do everything as though we had an endless amount of time. It is apparent that we too often assume we have an endless amount of time.

A teacher asks if he should do Dickens.

Dr. Steiner: Our plans are good enough. Now we have only Latin and Greek. What can the children do there?

A teacher: Ovid, without always translating.

Dr. Steiner: Continue that. They need to be able to understand at least simple things in Greek.

We should give as much Latin and Greek as we can. It is not so important that we use the encapsulated methods used at the college preparatory schools. That is nonsense. We should give somewhat more emphasis to Latin and Greek and somewhat less to modern languages. In the lower grades, we need to come so far that later we do not need to use so much time. Our job is to make it clear to as many students as possible that it is something beautiful. I cannot understand why more boys do not want to learn it. Use more time in the upper grades for Latin and Greek.

A teacher makes a remark.

Dr. Steiner: Such problems come up. If we add stenography to our curriculum, we need to start now.

A teacher: Most of them already do it.

Dr. Steiner: That doesn’t concern us. We need to ask ourselves if we should use these two periods a week to teach stenography in the tenth grade and, then, which system. Gabelsberger? The boundary for that is here. Gabelsberger predominates here and in Bavaria also. I think the Gabelsberger method would do the least damage. If only stenography had never been created! But now that it exists, people cannot live without it, just like the telephone. Well, Gabelsberger it is. Two periods of stenography.

We can no longer address the girls in the tenth grade with the informal “you.” It’s bad enough when a teacher is not old enough.

Evening lectures: One or two hours for those who have completed the eighth or ninth grades and have left the school. The children will learn the practical things they need to know outside. It would be good for the health of the children, though, if they were taught about aesthetics and art and literary history.

In the independent religious instruction, we have not yet taught the children the Psalms. The ten-year-olds could understand the Psalms. Discuss everything in the Psalms. Give a kind of inner contemplation of the Psalms so you can crown it by singing them.

A teacher: What should I do now? I am getting past fairy tales.

Dr. Steiner: Use the symbolism that comes from the material, for instance, the meaning of the festivals. There is so much information in the lectures about Christmas, Easter, and Whitsun. You could discuss most of what those lectures contain. If you present it properly, it would be quite good for children, particularly at that age. Try to stay connected with the times of the festivals. You could begin a little earlier and end a little later, though. Spend four weeks on Christmas.

A teacher: Could we use Michelangelo’s statues when we do the prophets?

Dr. Steiner: Yes, that is possible.

A teacher: Should we work from the sculptural perspective?

Dr. Steiner: It would be good to know how far you have come, and how you would continue.

Transition to consideration of the Psalms. Then take up the Laocoön group, so that the tragic and lofty are expressed. It is the moment of death.

A teacher: Can I continue teaching religion in the same way in the third and fourth grades?

Dr. Steiner: You should not believe you can leave out Christ.

A teacher: I have done Old Testament history.

Dr. Steiner: Do not limit yourself to Old Testament history.

A teacher: How should I begin with the first grade?

Dr. Steiner: In the past, we have always tried to begin with natural phenomena. That was even the theme of the lower grades. Then, we slowly went on to stories and to tales we made up. From that, we went on to the Gospels and created scenes from the Gospel of St. John. We began with a kind of natural religion. It is important that we create a religious feeling in the children in a natural way by connecting all things together.

Comments are made about a religion teacher’s teaching methods. He was unable to keep the children under control, so they just walked around in class.

Dr. Steiner: That cannot occur again. That is a tremendous setback. Things certainly cannot be the way they were in Haubinda. Some of the students were lying about on the floor and stretching their legs up into the air, others were lying on the window sill, and still others on the tables. None of them sat in their chairs properly. A short story by Keller was read aloud, but there was no hint of a religious mood. That was in 1903.

A teacher: We have done Jean Paul in the ninth grade. We were also to do Herman Grimm. What should we read in the eighth grade?

Dr. Steiner: Also Herman Grimm.

A teacher: I am beginning with Jean Paul. You suggested doing the chapter on humor.

Dr. Steiner: You have to do the whole thing, including the historical context and literary history.

A teacher: What should I read in seventh-grade French class? I chose poetry.

Dr. Steiner: Read stories, La Fontaine.

A teacher asks about anthropology in the fourth grade.

Dr. Steiner: You should do what is appropriate there. In the fourth grade, you will have to remain more with external things. That is possible in nearly every class. The skeleton is, of course, the most abstract thing. I would not consider it for itself, but include it with the entirety of the human being. I would not handle the skeleton by itself, even in the tenth grade. I would begin more with the picture of the whole human being. The way Dr. von Heydebrand did it was good. You should try to make a plausible group of ideas about the human being.

A handwork teacher: Should we try to teach the new children knitting, or could we simply integrate them into the regular classwork?

Dr. Steiner: It would be best to have them learn to knit first, and then have them do the same thing as the rest of the class.

A teacher: Is it best to study commerce and finances in connection with mathematics?

Dr. Steiner: Yes, do it with mathematics, and also in other areas. A question is asked about business writing.

Dr. Steiner: I recently asked that The Coming Day do something and received the reply yesterday. I told them I could not accept it as it was. I have to be able to understand what happened. Usually you can’t tell what happened. In the first case, the address was incorrect, and secondly, instead of what I wanted to know, namely, if something had been moved to a different location, other things were included. The third thing it included was something that did not interest me at all, namely, the charges they had incurred. I could not find out what I wanted to know, namely, whether the task was done, from what was written in the reply. A different address was given. That comes from a superficiality because people do not believe things need to be exact.

You only need to say what happened. You should try to understand the course of a business relationship, and then write from that perspective. That can best be done in a critical way. You should try to probe, to get behind all this gibberish, and see if you can’t bring some style into it.

Concerning business writing: If you need an expert opinion about something, then that opinion is a business report. Information of various sorts, sales reports and so forth, those are all business reports. It is not so terribly bad if you do something wrong. Someone who can do something will find their way better than someone who can do nothing. Those who do things are the ones who most often cannot do them.

Using simple expressions is better than normal “business style.” Some of the things I have experienced myself, I could not repeat here, they were so terrible. It is really not so bad if you simply summarize the situation and repeat it. Everyone can understand that. This is not connected with business alone. You need only read some legal opinion or legal judgment. I once read that a railway is a straight or curving means of movement on a plane or a number of planes with greater or lesser degree of elevation from a particular goal, and so forth. It was sixteen lines.

When you create your lessons, always consider how you can draw them out of the nature of the children.

Be careful when a school inspector comes that he does not leave with his questions unanswered. He may ask questions in such a way that the children cannot answer them. We should work so that the children can handle even the most surprising questions. We certainly want to hold good to what our official plan is, namely, that the children know what they might be asked at the end of the 3rd and sixth grades without preparing them for that specifically. We certainly do not want to work like those teachers do who drill the children about specific questions. The school inspector comes and asks a child if he believes in God. “I believe in God.” The inspector then asks if he believes in Jesus Christ. “No. The one who believes in Jesus Christ sits behind me.” That must not happen here.

We should also be careful that the class teachers do not enter the classroom too late. That is one of the main reasons why the children get into such an uproar, namely, that they are left to themselves because the teacher is not there.

A comment.

Dr. Steiner: (Speaking to a teacher whose class is to be divided) You should try to make the division yourself. It’s best, since you know the children, that you try to do what is best according to your feeling. Otherwise, you could simply take the children who have been here the longest, and the new teacher would take the new children.

A comment concerning the student library.

Dr. Steiner: Do Grillparzer, Hamerling, and Aspasia as late as possible. Do König von Sion as soon as you have done history. You can let them read Ahasver and Lessing at fifteen. Recently, you could have had them read the Zerbrochenen Krug (The broken pitcher). You don’t need to emphasize the Prussian dramas. You could have them read Shakespeare in English. Your goal in such things should be to have them read such things as Shakespeare in the language in which they were written. When the children are so old that they normally do not learn a new language, they should read things in translation, things that are as important as Shakespeare is for English. You should not have the children read Racine and Corneille in German except when they can’t read it in French. Include Fercher von Steinwand and also the twenty-four volume history by Johannes Müller. They should become accustomed to that style. You can also include other things for the children. Fairy tales and mysteries about good and evil are good for children, but you cannot give them the whole book.

We need to consider the faculty. We need a new teacher, and Dr. Plinke might be good. It would be good—you will excuse me—if we alternate, man, woman; man, woman, as otherwise this school will become too feminine.

A teacher is suggested.

Dr. Steiner: He is only “half grown” and will still grow. Isn’t it true that we have men and women equally?

A teacher: There are more men.

Dr. Steiner: I am certainly in favor of equality, but not in a forced way. That is also dangerous. We should have Miss Michels come as a gardener. We could telegraph her.

A comment about the opening ceremony on the coming Saturday is made.

Dr. Steiner: I could speak first, and then all the teachers. I think we should take all the class teachers beginning with the higher grades downward, one after another, and then representatives of the different subjects. We could begin with the top, that is, with the 10th grade. The subject teachers should also speak. We could present the 10th, 9th, and 8th-grade teachers, then the eurythmy, music, foreign language, handwork and shop teachers. We should invite somebody from the ministry, though I don’t think he will come. But, that is another question. Others will also be here.

Someone asks what they should say.

Dr. Steiner: You will find that your goals and intentions for your class at the beginning of the school year fill you with inspiration. Perhaps I should say more about what you should leave out. Everyone is thinking about their goals and intentions. I don’t think it would be proper for me to tell you what to say. It is too bad we cannot do something original in eurythmy, that would certainly be a nice thing to do. The ceremony should be very dignified. It is a problem that we have to hold it in the hall in the botanical gardens. It is a problem that we cannot have the ceremony here. We could not even fit all the children in here, let alone the other people. They could only stand. The faculty should do something at the beginning of school. We will divide the children into the 1st through sixth grades, and seventh through tenth. We’ll have to do that next year.

Today I would like to follow up on the things I discussed a fortnight ago. In the near future, we may also have the opportunity to talk about our experiences in Amsterdam. But today I would like to talk about some specific things that reach into our physical plan – something we already started the other day.

I have often emphasized that the events that take place in our physical world are nothing more than a kind of shadow reflection of what is happening on the higher planes. It is clear to the occultist that he can only understand the events in the physical world if he knows what is happening on the supersensible planes. To the occultist who has insight into the higher planes, it appears as if people are pulled by threads that emanate from the higher planes. This could seem to be an infringement of human freedom. But today I would like to show that this is not the case. Some examples may show us how the higher planes affect us.

First of all, I must refer back to something I have already said earlier: that in principle there is no absolute good and absolute evil. Evil is only a kind of “displaced” good. If something has happened, let us say in the lunar epoch of development that preceded our epoch, and it has been transmitted into our development, then it appears as out of place in the present time. It was good during the lunar epoch, but it appears evil to us during the earthly epoch. During the lunar epoch, someone might have had the task of organizing the instincts in a harmonious way; but this activity was completed when the lunar epoch ended. The task of the earthly epoch now consists in controlling the instincts again from the level of the manas. If someone today were to live out their instincts as Pitri was forced to live them, they would be an evil person in our epoch, whereas in the lunar epoch he would have been a wise man.

People do not usually think about what such events as the appearance of Muhammad, the founder of the Muslim religion, mean in the sixth and beginning of the seventh century.

One must imagine that at first Christianity endeavored to grow into the various other forms of religion. At first we see only a small Jewish community in Palestine; it has remained quite small. The principle contained in Christian teaching is not easily imposed on the souls of the people. The Apostle Paul found the way to the Gentiles by first leaving the thoughts of the Gentiles as he found them and then using the pagan religious forms to infuse the Christian essence into them. In the southern regions of Europe, the Mithras service was cultivated; it was similar to today's sacrificial mass. The pagans there accepted Christianity because they were allowed to keep the Mithras festival that had become dear to them. It was similar with the Germans with the festival that became a Christian symbol as Christmas. Their sacred ancestors were accepted as Christian saints. In this way, Christianity grew into ever new areas and among new peoples. It was the adaptability of Christianity that made this possible. The Christian religion expanded more and more; but because of this diversity, it also needed a powerful central point: that is the Roman papacy. All the damage that was later caused by Christianity is linked to this world-historical mission of the papacy.

The Semitic peoples had to be approached differently. Mohammed did that. He formulated the first great doctrine when he said: All gods but the One are no gods. Only the one I teach you is the only God. This doctrine can only be understood as an opposition to Christianity. From the very beginning, Christianity's task in conquering the physical plane was to work its way into the human personality; it does not build on old forces, but seeks to work through manas.

We see that in Mohammedanism there is no conscious attempt to take up the old spiritual forms of paganism, but that the right way to conquer the physical plane is to be found only through physical science. We see how this physical science takes hold of the art of healing, which originated in Arabia and later spread to other countries. The Arab doctors only started from the physical plan, unlike the healers of the ancient Egyptians, the Druids and even the ancient Germans. All of them had come to their healing profession through developing their psychic powers through asceticism and other exercises. Today we still see something similar in the practices and processes of shamanism, only that these have degenerated today. So psychic powers were developed in these early healers. Muhammad introduced the art of healing that takes its remedies only from the physical plane itself. This art of healing was developed where they did not want to know about spiritual beings, but only about a single God. Alchemy and astrology in the old sense were abolished and made into new sciences: astronomy, mathematics and so on. These later became the sciences of the Occident. Among the Arabs who came to Spain, we see men educated in the physical field, especially mathematicians. The true followers of this school said: We respectfully revere what lives in plants, animals, etc., but man should not imitate in his work what only God is called to create. Therefore, we find only arabesques in Moorish art, forms that are not even plant-like, but are purely the product of the imagination.

The Greek power was replaced by Rome, but Greek education was passed on to the Romans. The Arabs received what they have from Muhammad. Muhammad introduced science, which is only interspersed with laws of the physical plane. The Christian monks received suggestions from the Moors. Although the Moors were repulsed by political power, monotheism, which brings with it a deepening of physical science, came to Europe through the Moors and led to a purification of Christianity from all paganism.

Through Christianity, the emotional life of man was led up to Kama-Manas. Through Mohammedanism, the intellect, the spirit, was led down from the spiritual life to the abstract comprehension of the purely physical laws. This physical science had to go through various stages to reach the level it now occupies. It had to go through the science of the Vedic priests and all the following stages to reach the achievements of our present time. Some of this had already been achieved by the Atlanteans, albeit through psychic powers. Since the Atlantean times, this orientation towards physical laws has been in preparation.

The Chinese are a remnant of the Atlantean Mongol race. When we hear the word TAO in Chinese, it is something difficult for us to understand. The Mongols of that time had developed a form of monotheism that went as far as the psychic tangibility, the feeling of the spiritual. When the old Chinese, the old Mongols, pronounced the word TAO, they felt it when they pronounced it. Tao is not “the way”, as it is usually translated, it is the fundamental power by which the Atlanteans could still transform plants, by which they could set their remarkable airships in motion. This basic power, also called “vril”, was used everywhere by the Atlanteans, and they called it their god. They felt this power within themselves; it was “the way and the goal” for them. Therefore, every Mongolian considered himself to be an instrument in the hands of the great vril power.

This monotheism of the Atlanteans remained with those races that survived the great flood. From this form of religion, which was still spiritual, the fifth root race emerged. These old spiritual forms of religion, the worship of a unified God, gradually degenerated into polytheism. Monotheism was only present among the most highly developed priests. At the beginning of Christianity, the monks behaved cunningly: they said that Baldur had become human in Palestine. In the early centuries, one would have found Christianity mixed with paganism, even in Arian Christianity. This development took place at the same time as a particularly vivid glimmering of religious feeling in the old Mongolian races was being prompted by highly developed shamans. We see, as a reaction to polytheism, on the one hand, the emergence of a new unified religion in Arabia through Mohammed. On the other hand, we see, somewhat earlier, an initiated shaman rising up in his TAO consciousness, taking revenge on those who have fallen away from the old monotheistic idea of God. Attila was called “God's scourge.” We see the princes he deposed living in splendor and pomp all around his kingdom, but he, the shaman, lives in the greatest simplicity. It is said of him that his eyes glowed and the earth trembled when he raised his sword. This great initiate would have been fully justified in the Atlantean era; in our time, he would look like a criminal. The same power that is an expression of the divine fire in its time appears as divine wrath in another period. Why does this happen? It is necessary to make further development possible at all. If development is to continue, the individual threads must reconnect harmoniously, seen from the higher plan.

We had also spoken of the Druid priests who taught the people through fairy tales and myths. They were healers, priests and astrologers at the same time; they had inspired knowledge. When the Celtic element was replaced by the Germanic tribes, the belief in the old form of inspiration also receded. The conquest of the physical plane was entrusted to man; he became a warrior. The intuitive and productive power comes to us in the feminine. The woman became a priestess, who was also a healer, for example the Weleda. All healing arts were in the hands of women at that time; the man was pushed out onto the outer, physical plane. We still encounter this in the time of the Merovingians and Carolingians. It was only through the science learned by the monks from the Moors that the spiritual element was increasingly suppressed. And from the 16th to the 19th century, the material way of thinking increased more and more. The psychic healers gave way; they were discredited and despised as magicians or witches. The loss of the ability to work with psychic means of healing is connected with this; healing in this way is no longer as effective. Paracelsus still possessed these abilities completely.

This is connected with the transition of the leadership of humanity from a Dhyan Chohan of a higher kind to another Dhyan Chohan. The Christian esoteric calls the healing Dhyan Chohan “Saint Michael”, which is the archangel who guides the psychic idealism of man. Man only becomes free by realizing that everything that happens on the physical plane is caused by higher forces. He must enter into a relationship of discipleship with the archangel Michael.

Two entities played a role in the Old Testament: the leading spirit is harmonious. Beelzebub, also a Dhyan Chohan, is disharmonious. He is the leader of all disharmony on the physical plane. He must be understood in order to know why one form can have a destructive effect on another. Since the 16th century, the hosts of Beelzebub have gained the upper hand over the hosts of Michael. Mammon is the god of obstacles, which holds man back from pursuing his straight path. It would be out of place if this were to continue into the next century.

All physical events are the shadows of supersensible events. The battle between spiritual forces and materialism is a reflection of the battle between the hosts of Beelzebub and Mammon and Michael. This battle first had to be fought on higher planes; it was decided there thirty years ago for Michael, and the present battle here on the physical plane is a reflection of it. The battle has been decided above, but for the individual human being the battle has not yet been fought. If people today are not up to it, we must all perish and new people would have to come. This shows the path, the place where the individual human being has to enter today.

This book is the transcript of a shorthand report of nine lectures given by Rudolf Steiner in the early part of 1924, about a year before he died. Although his audience consisted very largely of people who had been studying for many years the spiritual science which is Steiner's legacy to the world (and which he also called Anthroposophie), he himself described the course as an ‘Introduction’. The German title of the book is Anthroposophie: eine Einführung in die Anthroposophische Weltanschauung. ‘We will begin again,’ he observed in Lecture IV, ‘where we began twenty years ago;’ and he may well have had in mind that the Movement itself had, in some sense, begun again only a month or two before with the solemn Foundation of the General Anthroposophical Society under himself as President at Christmas 1923. Though he proceeded ab initio, assuming no previous knowledge on the part of his hearers, this course is not an elementary exposition of Anthroposophy. We are gradually led deeply in, and the path is steep towards the end.

There are many very different approaches to the general corpus of revelations or teachings which constitutes Spiritual Science. As with Nature herself, it is often only as the student penetrates deeper and nearer to the centre that any connection between these different approaches become apparent. A reader of Christianity as Mystical Fact, for example, which dates from 1902 and of Steiner's lectures on the Gospels might well be surprised to find that it is possible to read Theosophy (1904) without ever discovering that the incarnation of Christ and the death on Golgotha are, according to him, the very core of the evolution of the universe and man. The truth is that the mastery of Anthroposophy involves, for our too stereotyped thinking, something like the learning of a new language. It would be possible to learn to read Greek and only afterwards to discover that the New Testament was written in that tongue.

From this point of view the present book is in the same category as Theosophy, yet even within this category the two approaches are made from such diverse directions that one might almost suppose the books to be the work of different men. Nevertheless it is best to look on the following lectures—as Steiner himself makes it clear that he does—as a supplement or complement to what is to be found in Theosophy.

The book Theosophy is the most systematic of all the writings that Steiner has bequeathed to us. Its whole basis is classification and definition and, taken by itself, it undoubtedly gives (quite apart from the dubious associations which the word ‘theosophy’ has for English ears) a false impression of the nature of Anthroposophy. It is as indispensable to the student as a good grammar is indispensable to a man engaged in mastering a new language, and it contains as much—and as little—as a grammar does of all that the language can do and say. Its method is that of description from outside. And this approach, essential as it is as one among others, is perhaps the one most likely to lead to misunderstanding and misrepresentation. Such terms as ‘soul world’, ‘spiritland’, ‘elemental beings’, ‘aura’, are liable to be taken literally in spite of the author's express warnings to the contrary. The descriptions are taken as reproductions of the reality that underlies them instead of as similes—attempts, that is, at making clear a purely spiritual reality in words which have received their stamp of significance from their relation to the physical world.

No one who studies the teachings of Rudolf Steiner seriously remains in any real danger of succumbing to this sort of literalness. But anyone reading hurriedly through the book Theosophy—or even through Theosophy and the Occult Science—and inclined to judge the value of Anthroposophy from that single adventure may well do so. That is why the present book seems to me to be an important one—not only for ‘advanced’ students of Anthroposophy, to whom it is perhaps primarily addressed, but also to the comparative beginner. It is condensed and difficult for most readers, and above all for those who have never dipped into the broad unbroken stream of books and lectures which flowed from Rudolf Steiner during the twenty years that elapsed between the publication of Theosophy and the delivery of this Course. But even if the content is far from fully understood, it cannot fail to give the reader some idea, let us say, of the sort of thing that is really signified by the spatial and other physical metaphors in which the systematic exposition of Theosophy is couched.

For here the approach is from within. It is no longer simply the objective facts and events, but the way in which the soul tentatively begins to experience these, which the lecturer makes such earnest efforts to convey. We have exchanged a guide book for a book of travel. The one who has been there recreates his experience for the benefit of those who have not, trying with every device at his disposal to reveal what it actually felt like. Of course the difficulty is still there; it can still only be done by metaphor and suggestion; but the difficulty is much less likely to be burked by the reader's surreptitiously substituting in his own imagination a physical or sense-experience for a purely super-sensible one.

Compare, for instance the description of the astral body given in Theosophy with the characterisation of it in No. V of these lectures:

One says to oneself: What I am observing as the astral body of this person is not really present today, i.e. on the 2nd February 1924. If the person is twenty years of age, you must go backwards in time—let us say, to January 1904. You perceive that this astral body is really back there, and extends still further back into the unlimited. It has remained there and has not accompanied him through life. Here we have only a kind of appearance—a beam. It is like looking down an avenue; there, in the distance, are the last trees, very close together. Behind them is a source of light. You can have the radiance of the light here, but the source is behind—it need not move forward that its light may shine here.

So, too, the astral body has remained behind, and only throws its beam into life. It has really remained in the spiritual world and has not come with us into the physical. In respect to our astral body we always remain before conception and birth, in the spiritual world. If we are twenty years old in 1924, it is as if we were still living spiritually before the year 1904 and, in respect to our astral body, had only stretched forth a feeler.

‘Thus,’ he adds a few pages later, ‘if you describe the astral body as I have done in my Theosophy you must realise, in order to complete your insight (my italics)’:

that what is active here is the ‘radiance’ of something far back in time. The human being is really like a comet stretching its tail far back into the past. It is not possible to obtain a true insight into man's being unless we acquire these new concepts. People who believe one can enter the spiritual world with the same concepts one has for the physical world should become spiritualists, not anthroposophists.

In the same way one could compare the description of the etheric body in the earlier book with its treatment here in Lecture IV. The etheric body is not a vehicle of any such ‘life-force’, as is understood by the creative evolutionists. It is totally incompatible with the assumptions of positivist science. If it can be described as a ‘formative forces’ body, it can equally well be described, from another approach, as a thought-body. This is the approach which is required for all the teachings which Steiner developed later concerning the descent of the Cosmic Intelligence and its progressive embodiment in the personal intelligence of man. And it is this approach which is chosen in the book which follows.

He begins by describing the practical steps needed to develop the ‘strengthened thinking’ which is the first stage of higher knowledge. And he continues:

If you strengthen your thinking the supra-terrestrial spatial world begins to concern you and the ‘second man’ you have discovered just as the earthly, physical world concerned you before. And, as you ascribe the origin of your physical body to the physical earth, you now ascribe your second existence to the cosmic ether through whose activity earthly things become visible. From your own experience you can now speak of having a physical body and an etheric body ... I stretch out my physical arm and my physical hand takes hold of an object. I feel in a sense the flowing forces in this action. Through strengthening my thought I come to feel that it is inwardly mobile and now induces a kind of ‘touching’ within me—a ‘touching’ that also takes place in an organism; this is the etheric organism; that finer, super-sensible organism which exists no less than the physical organism, though it is connected with the supra-terrestrial, not the terrestrial.

Equally important is the exposition in this lecture of the way in which astral and etheric find outward expression in the physical constitution of man, the etheric in his fluid organisation, which can only be understood with the help of the concept of the etheric body, and the astral in that ‘third man’—who is physically the ‘airy man’ and who can be experienced as ‘an inner musical element in the breathing’. The nervous system is shown to be the representation of this inner music.

The matter in this book is extremely condensed and one feels one is maiming it by arbitrary selections such as I am making for the purpose of this Introduction. I have, for instance, said nothing of the extensive and detailed discourse on dreams contained in Lecture VII, and VIII, which some readers may even find the most enlightening thing in the book. One final selection may however perhaps be made. In these lectures Steiner approaches the life after death by speaking of ‘four phases of memory’. The theme is first heard in Lecture VI, where, after speaking of the nature of memory he emphasises that it is not the concern of the remembering individual alone, but is there for the sake of the universe—‘in order that its content may pass through us and be received again in the forms into which we can transmute it’.

The universe needs us because, through us, it ‘fulfils’ itself—fills itself again and again with its own content. ... The universe gives its cosmic thoughts to our etheric body and receives them back again in a humanised condition.

It receives them back when we die. The moment we die, the world takes back what it has given. ‘But it is something new that it receives, for we have experienced it all in a particular way.’ Then, in the ninth and last lecture, the last three phases of memory lead into—indeed become—in a miracle of condensation—all that is presented so differently in Theosophy under such titles as ‘The Soul in the Soul-World after Death’.

Is this an esoteric or an exoteric work? Certainly it will be more readily appreciated by readers who have worked through other approaches to be found in the books and lecture-cycles and perhaps especially in the Leading Thoughts. Yet it is the whole aim and character of Spiritual Science, as Rudolf Steiner developed it, to endeavour to be esoteric in an exoteric way. For that was what he believed the crisis of the twentieth century demands. And I doubt if he ever struggled harder to combine the two qualities than in these nine lectures given at the end of his life. Thus, although he was addressing members of the Anthroposophical Society, I believe that he had his gaze fixed on Western man in general, and I hope that an increasing number of those who are as yet unacquainted with any of his teaching may find in this book (and it can only be done by intensive application) a convincing proof of the immense fund of wisdom, insight and knowledge from which these teachings spring.

OWEN BARFIELD

London,
August 1960.

Protocol Record Stuttgart

After various speakers have expressed themselves in the general debate, Rudolf Steiner takes the floor:

Rudolf Steiner: It seems necessary to me that we now move on to the special debate. Mr. Leinhas has already made some comments not to derive things from gray generalities and to bring them into the realm of the necessary. And Mr. Molt has also made certain suggestions. But it seems necessary to me that the following be said in order to give a truly practical side to our endeavors.

First of all, it is necessary for this cultural council to address the task of propagating the whole idea of the threefold social order so that it penetrates into broader sections of the public and is understood there. Without propagandizing for the idea of the threefold social order, one naturally does not get ahead in a single specific area.

But then it would be necessary for this Cultural Council to do a second thing, through which it could actually carry out practical work as quickly as possible. So far, we have tried - just recapitulate what has happened - to create understanding for the idea of the threefold social order. Of course we were told: That is utopian, that is ideology, that has nothing to do with reality! But we did not let ourselves be deterred from continuing to work for this understanding and at the same time to bring it to a certain result: to the propagation of the works council idea.

And now that the idea of works councils has actually been presented to the world as a real thing to be worked out, people are beginning to see the idea of the threefold social order not so much as a utopia. Now they are beginning to take it seriously. The industrialists are up in arms about the works councils, the trade unions are up in arms about the works councils, in short, there is a lot of agitation against them from all sides. I don't know whether they would agitate so strongly against something they found to be completely harmless. This shows the transition from the original germinal idea, which already contains the fact, to real life practice. But the practice of life must then also be maintained with the appropriate strength. The question of works councils also originated in Russia, only it ended in failure there because all sorts of other things poured over it and fought against it. With regard to economic life, it is therefore a matter of the works councils providing the basis for economic life and its members to emerge from the current conditions themselves. I just want to show you that we are moving on to real practical work. First, there must be an understanding of the basic idea, then you can move on to the practical work.

The cultural council should first of all be aware that its first task is, of course, in the field of education in the broadest sense and of those suggestions that must come from the rest of the intellectual life for the education system. Today, it cannot be a matter of taking socialization in the abstract again. Entertainments which have gradually become distinctly capitalist entertainments in modern times – such as the theater and, to the highest degree, the cinema, which is, after all, only a concomitant of the very extreme capitalist-bureaucratic age – will only be able to achieve their socialized form when the foundations of intellectual life are first socialized. I really fear that we will soon also be hearing about the “socialization of purebred dog breeding, the distribution of Christmas trees to families” and the like. If socialization were to be understood in this way, we would not get anywhere.

What we have to deal with first of all, if the Cultural Council is to develop its activities, is, firstly, the elementary school question. Look at the elementary school question from a practical point of view. The Anthroposophical Society itself is a spiritual movement that has emerged from contemporary spiritual life and placed itself on an independent footing – at least in terms of its intentions. It could achieve a great deal if people had the courage to do so and did not rely too much on the forces that stand in the way of such courage. But the important thing is to grasp the right approach from the point of view of threefolding. The School of Spiritual Science has been founded in Dornach. It is certainly not located on any state property; it works independently in one branch of spiritual life. A number of our members have now expressed the wish to educate their children from the bottom up, in accordance with the principles and impulses of true spiritual life. I do not need to emphasize the fact that anthroposophists also have children; so we already had the children. In Dornach we might even have had the teachers. And the parents were highly motivated. We had everything, really. So what did we lack? Why did we not found such a school? Because the state, free Switzerland, does not give us the right to do so, because it does not recognize a school that is not established by the state itself.

My dear friends, the main thing is to fight for recognition of what is achieved in such a school on the basis of purely spiritual and educational principles. It is a matter of abolishing any kind of state school supervision and any kind of law that only allows teaching to be given by this or that teacher appointed by the state, and the like. That is the first thing. And here we have to struggle with the objections that are always raised today, especially by the Socialists, under the banner of the unified school, when it comes to a healthy basis for the elementary school system.

Let us take the example of Dornach again. Dornach is in the Canton of Solothurn. When I first spoke there about the threefold social order, the chairman of the Social Democratic Party of Arlesheim soon came to me and said: It will be very easy to see in the canton of Solothurn how difficult it is to accommodate such an endeavor, because it took a great effort to wrest the school from the school “brothers” and school “sisters” of the canton of Solothurn, and it took a great effort to secularize the school. If the right to found schools were granted to any kind of endeavor, then clerical schools would probably arise, perhaps even schools for the nobility. In short, people were terribly afraid that these things might take hold.

These are things that must be dealt with first. The discussion must be entered into with the public: How does the Cultural Council, with its idea of the threefold social order, relate to the so-called state-run comprehensive school with compulsory education? This is the issue that must be clarified in public. So the first task is: How does the Federation for Threefolding relate to what a member of the majority socialist party and member of the state parliament in Reutlingen recently said: What do you want then? We have now created a school law that is absolutely in line with the most ideal views! – Then the Federation for Threefolding has to show through its cultural council: Even if you were angel-like beings, we would never accept a school law from the hands of the state! – because the point is to wrest the school from the state. It must be shown that people will not become illiterate again if schools are freed from state control, that new classes of students will not emerge, and so on. That is the first positive question, the elementary school question. And until it is shown [in the cultural council] that there is an understanding of such a question in the face of today's political currents, the cultural council will only be a wild beating around the bush.

The second thing is to show that we can only get rid of the higher schools if we get rid of the awful system of qualifications. Everything that stands between elementary school and university can only be determined by the fact that it is preparation for university. The universities have to say: We want to get these or those people into our ranks, for this we make the demand that the secondary modern schools and the secondary schools – which must also become something completely different according to these or those principles – are managed. Consider that the secondary modern school has long since existed only to prepare students for the one-year voluntary military service by granting them the right to do so, to become future civil servants. So here, too, it is important: Get the schools out of the state!

Then we must fight for the autonomy of the university. It already had that in the old days. We have only just destroyed the last remnants of the university's autonomy in recent times. The university must be an autonomous corporation. It must regain what has particularly ventured in recent times. What the universities used to consider as self-evident was what they awarded when they granted a doctorate in any faculty. That was the expression for it: the university here and there, which is regarded as an autonomous body, gives XY the right to call himself a doctor in a certain field; it therefore awards him the diploma. This meant that the autonomous body had established the right for people, which it could guarantee as an autonomous body. And the state has conquered this whole thing, because today the awards of the faculties are only decorative pieces, titles without any rights, and the states have introduced their state examinations for this, that is, they have extended their tentacles to the universities. They are no longer autonomous. You can't find anything like in the past, where someone could be said to be a doctor who studied at the University of Montpellier; that's a good school! Today everything is abstracted. So the demand is: autonomous universities, abolition of all state exams. If the state needs people, it should test them. If it needs someone for a position, it can test them according to its own criteria. Such a test is only meaningful for the state, not for what must be free from the state in the areas of teaching and education.

The following positive questions arise:

Firstly, a free comprehensive school without state supervision, justified by the demands of the time;

secondly, the abolition of the so-called system of qualification for secondary schools,

thirdly, the reduction of state examinations and the autonomy of universities.

These things must be presented to the world as a clear program. If we start with this, we begin at a similar point as in business life with the question of works councils. If we start with this, the others, who of course need this or that, will follow. The point is to start by tackling things where they are universally human: in lower and higher education, which is generally also universally human.

That is what I wanted to say first about the transition to the special debate, so that this comes out. Certainly a committee should be elected. But it should deal with the most current issues and I wanted to point out to you that the most current issues and positive ones are important. Initially, no value should be placed on the content of the individual worldviews. What matters is not whether Catholics, Protestants and so on want to found their schools, but [that] we achieve the very next practical thing in a positive way – initially in the field of intellectual life, which concerns all people: the position of the school on its own feet.

These are the issues that must be vigorously discussed in the coming days and must crystallize into very specific individual points. And with these individual points, those who are truly able and have the will to do so must then go before humanity to implement these things. For this upheaval in spiritual life is more important than anything else. Because without this upheaval in spiritual life, none of the rest will come about.

Dr. Steiner: I think it would be good if we took care of the formal things today. If there is still something to say about the beginning of school, it might be better to do that after we have taken care of the formal things. We will probably need to meet again tomorrow to speak about the beginning of school from a more spiritual perspective. Today, I think we should try to take care of the various needs that have arisen from the faculty.

The classes and the foreign language classes are assigned.

Dr. Steiner: The question now is if anyone has a particular wish regarding these assignments.

Changes are made to meet some expressed desires.

A teacher: I would like to ask if we can define an order of presentation for art. I thought that I would begin tomorrow in the ninth grade with those things connected with the curriculum as a whole, that is, related to history and literary history. I want to show how art arose from mythology.

Dr. Steiner: It would be good to bring the art class into step with history and literary history. You could try to make a transition from Germanic mythology to art and then remain with that for a time. Then, perhaps you could show how the Germanic myths reappear in a different artistic form as aesthetics. You could certainly show, for example, the connection between Dürer and German mythology. They are fifteen-year-old children. You could use this as an occasion to show how the old Germans painted their gods just as Dürer painted his figures later.

You could then go on into the tenth grade, since the curriculum depends upon the previous year. In the tenth grade, we have Goethe’s poems and style, and that can stay. In the eleventh grade, summarize music and poetry.

Dr. Steiner confirms the teacher’s understanding about art instruction in the previous grades. The same teacher now proposes artistically treating what is done in the twelfth-grade German class, literature beginning in 1740, in preparation for the final examination.

Dr. Steiner: Then, we would no longer need a special literary history class. We need to see to it that the students learn the things they may be asked. In connection with modern literary history, they will certainly be asked about things that began with Gottsched and Bodmer and what followed them. German and art class can certainly cover the same material.

In order not to make compromises, I think it would be good to recognize that a large number of Goethe’s works are based upon impressions of paintings, and also that we can trace back much romantic art to musical impressions. Try to develop how the arts are intertwined.

An essay by Burdach, “Schiller’s Chordrama und die Geburt des tragischen Stiles aus der Musik” (Schiller’s choral drama and the birth of the tragic style from music) in the Deutschen Rundschau (German review) is mentioned.

Dr. Steiner: Burdach’s research has a problem in that it has an underlying tendency. He wants to show that somehow certain themes arise out of some primal forces, and then he follows them further. This is really very contrived. Schiller was certainly not as dependent upon earlier streams as Burdach claims. We certainly cannot ignore Schiller’s dramatic experimentation and the fact that he created a choral drama after many attempts. In Demetrius, he created a romantic drama in a style much like Shakespeare’s. You cannot ignore the details Burdach cites, since they may be useful. However, you will probably arrive at a different conclusion, probably that Schiller would have created something quite different from The Bride of Messina had he really swum in that stream.

That essay belongs with the series of things Burdach has produced. He has an idée fixe. He wants to show that a theme arises out of a subhuman source. All these things are similar, so you need to be cautious with Burdach. He also wrote other things where he derives the minstrel from Arabic provincials by finding the original impulse in the middle of the Middle Ages and using it as the beginning of the literary stream. Faust and Moses also belong in this group, as do Shakespeare’s dramas.

A teacher speaks about his tenth-grade class in Western history and Middle High-German literature.

Dr. Steiner: You need to do that harmoniously. Even if you do not like the material, we have to begin with what you have already done as a basis. There is nothing from the present we could use as a basis. We have to use an older historical picture as our basis and then present our perspective as history. Couldn’t you use Heeren as a basis? You could just as well take Rotteck, though he is a little bit old-fashioned and one-sided. It would also be good if you brought out the correspondences with artistic styles. Young people today could learn a tremendous amount if you were to read some chapters from Johannes Müller’s Vierundzwanzig Bücher allgemeiner Geschichte (Twenty-four books of history) with them. That is historical style, almost like Tacitus. Such attempts to work in a unified way have been made time and again, something that needs to be renewed from our perspective.

If you lean too heavily upon geology, you are in danger of taking the basement, leaving out the ground floor, and then taking the second floor, whereas you should actually begin with what geology offers for historical themes, such as the Great Migrations and dependence upon territory. My public lectures in Stuttgart could be helpful for that. Of course, you cannot present that in class. It was intended for enlightened older people in Stuttgart. You will need to translate it for the students and, in the future, be sure to leave out the Chymical Wedding.

If you begin preparing for this now and immediately begin with literature, you will have to use something like Heeren, Rotteck, or Johannes Müller. It is certainly not right to transform history into religious history alone. That is something for the religion teachers. I will give you the curriculum tomorrow.

A teacher: Where should I begin in this class?

Dr. Steiner: You said yourself you wanted to begin with the dependence upon the Earth. Therefore, you should take the climates of the various regions, today’s cold and temperate zones, and geological formations as a basis for history. Show how a people changed when they moved from the mountains down into the valleys, but do all this from a historical perspective, not a geographical one, so that you speak about a particular people during a particular period. Show, for example, why the Greeks became Greeks. Here, you could use Heeren as a guide. What is important is that things be done properly.

A teacher (who is to take over teaching history and German in the ninth grade): I would like some guidance for ninth-grade history. What should I particularly emphasize?

Dr. Steiner: You need to deepen their understanding.

The previous class teacher: In the eighth grade I presented history in pictures and biographies. I particularly emphasized cultural history in the nineteenth century.

Dr. Steiner: According to our curriculum, the children in the eighth and ninth grades should gain a picture of the inner historical themes, the major movements. They should learn how the fifteenth and sixteenth centuries brought an enlarged viewpoint to human beings, an increase in all directions, geography and astronomy. They should learn how that played out historically. Then they should learn how the effects of the seventeenth- and eighteenth- century enlightenment played out in history and how, in the nineteenth century, the integration of peoples and nations had an effect. Taking each century, you can present the facts from these perspectives.

Regarding your preparation, it would be very good if you could create a picture for yourself of what story would result if Schiller’s History of the Thirty Years War were continued to the present time, that is, what modern history would be like. In regard to Middle Europe, Treitschke’s summaries are very good. In the first chapter of his German History, he brought all the threads together. A teacher wants to begin the twelfth grade with series and then go on to integral and differential calculus.

Dr. Steiner: Differential and integral calculations are not really demanded. If you want to do this efficiently, you can begin integration earlier, and use series to explain both. I would try to get far enough that the students can use differential and integral computations with curves. That is sufficient for the final examination. If the students can work with second- and third-degree equations, that is enough. The problems that will be given are published.

Dr. Steiner learns that there are also more difficult problems.

Dr. Steiner: I would certainly like to know what is left to learn at college. There is really not much more. In any event, you can begin tomorrow with series.

A teachers asks about chemical formulas.

Dr. Steiner: We will have to find out what is required for the final examination. That is the problem; we start making these compromises, but we need to go far enough that the students can pass the final examination. This is terrible.

There would be some sense in it if they at least used stereometric formulas, but they mostly use planar formulas, which is quite senseless. The students need to know the processes. All this is senseless and very sad, but we have to take it into account.

Tomorrow, we can meet again at the same time to discuss questions concerning the curriculum, but for now I would like to take care of any other questions and desires.

A teacher asks about texts for English. Dickens’s Christmas Carol is too difficult for the eighth grade.

Dr. Steiner: You can be certain that you can read Dickens with children who know almost nothing, and what they need to learn, they can quite easily pick up. Tell them how the story goes on. Perhaps you could solve the problem if you first told the children about the content and selected some simpler excerpts for them to read. You can certainly overcome such difficulties. These texts are the very best for those children who cannot read English.

An eighth-grade teacher: E.B. is not very happy with me.

A teacher: One of his comrades would like to be in your class because it is more artistic.

Dr. Steiner: You could exchange the two.

There are problems with the class schedule, and the religion classes are too large.

Dr. Steiner: It cannot be any different than last year. There must be some way of solving the scheduling problem. I cannot imagine that we cannot solve it. There should be no more than fifty students in a religion class.

A teacher asks about a deaf-and-dumb child in the remedial class.

Dr. Steiner: She is not deaf. She can hear and can also be taught to speak. She is only a little slow. She does not respond, so you will simply have to try everything. You need to say something slowly, then have her speak it after you. Continue in that way; first speak slowly, then increase the speed so that she gradually needs to understand things more quickly. You could also do the exercise by speaking loudly, then having her speak softly, and then the other way around. You could do it slowly and have her do it quickly. Do variations of that. If possible, use a series of words that have some connection. Do them forward and backward in order to develop the center of speech. I would also have her do the curative eurythmy exercises connected with the head. She should do them daily, even if for only a short time.

(Speaking to the school doctor) She should also receive edelweiss at 6X potency, which is an effective means for healing the connection between the hearing nerves and the hearing center. It has a strong effect and is effective even when the hearing organs are hardened. The hardening has a relationship to edelweiss; it absorbs the flowers. You will find that the relationships that exist within this mineral, but not mineralized, material are within the flower also, and that they have an extreme similarity to the processes that constitute the hearing organ. We have used this remedy for ten years. Be sure to soak the flowers well first. A teacher asks about decorating the room for religious services.

My dear Friends,

It is my intention today to add something to our previous studies that will, I believe, help you to a deeper understanding of dramatic art. For, as I indicated at the end of yesterday's lecture, that is the direction in which our studies are leading us—to an esoteric deepening of our whole conception of drama and of our own part in it. For the community at large, the situation is of course different; we shall be dealing with that later. But speaking for those of us who want to take a share in the work of the stage, we are called upon to fulfil a mission (if I may use such a word in this connection)—a mission on behalf of art and on behalf also of mankind. And before we can begin to have a true perception of that mission, we must learn to see how deeply our art is grounded in man as he is today, and we must also look a little more closely into the whole process of human evolution, in one phase of which we are now living.

The actor must be able to experience for himself how the word, the artistically formed and spoken word, can reveal the whole being of man. This penetrating insight that can behold the word as a revelation of man cannot fail to give him a more spiritual conception of his calling; and once he has that, he will be able to arouse within him the necessary energy to make his work increasingly artistic, gradually bringing more and more artistic form into every detail of his acting. I will give you an example.

An essential factor in the speaking of consonants is the part played by palate, tongue, lips, etc., in the forming of the word. And by looking a little deeper into the matter, we can see how the word on its part, in order that it shall acquire a fulness of content, catches hold of the experience which is associated with the region of each of the specified organs. We can quite well detect this, if we do not disdain to give our attention first of all to what presents itself to immediate perception, in order to pass on afterwards to its more spiritual aspect.

Suppose we take our start from the ordinary physical sense of taste. There is positive ground, you know, for the fact that appreciation of art goes also by the name of taste; although when today we speak of taste in matters of art, and then again of the taste of a cucumber or of a veal cutlet, we have no longer that feeling of necessity which led men of an older time to label both with the same word.

Consider how it is when you take some food or drink that can be described as bitter, that ‘tastes bitter’ in the ordinary material sense. Your palate and the back part of your tongue do the sensing of the bitterness for you. While the bitter substance is passing from your mouth into your oesophagus, and you are having the purely physical experience of bitterness, it is the palate that is engaged, in conjunction with the back part of the tongue. It is also possible to feel that something you eat tastes sour. The consumption of such a substance will lead you into a different physical experience. The task of mediating for you this perception of sourness you assign to the edge of the tongue. It is the edge of the tongue that is actively engaged in the experience of sourness. Or again, some food may taste sweet; then the tip of the tongue is mainly concerned. As you see, our relationship to the external world is in strict accordance with laws underlying our organism. We could never cajole the tip of the tongue into communicating to us the sensation of sourness or of bitterness; such foods leave it passive and inert. The tip of the tongue enjoys the distinction of coming into operation only when we take something sweet into our mouth.

Now it is, as I have said, not without very good reason that we transfer the expressions sour, bitter, sweet, to the realm of the soul. We apply these terms to impressions that are of a moral nature—and we do so with careful discrimination. For we are not ordinarily inclined to picture, for instance, something sour before us as a result of the words another person speaks in our presence; his countenance however, may well cause us to speak of a sour face, and that out of a perfectly natural instinct. Whilst we do not readily feel a sentence to be sour, we have no compunction about calling a face sour. The fact is, the experience that makes you describe a face as sour calls into action exactly the same region in the mouth—namely the back part of the tongue where it goes toward the throat—as is engaged when you swallow vinegar. The experience is somewhat more spiritual, but it works in the same way. For there is an inner relationship between the two, and the relationship makes itself felt—instinctively, but unmistakably. The unconscious in us knows quite well the connection between vinegar and a sour face. There is just this slight difference in their working, that vinegar lays claim to the small and more passive organs of the tongue, whereas there are occasions when a sour face will call upon the more active parts of the same!

We are here verily becoming able to behold the mysterious transition from inner perception or feeling to speech. For there is undoubtedly this real and living connection between them. When something makes an impression upon us in the moral sense and moves us to speech, then what happens is exactly the same as when some physical substance excites our sensation of taste. If you know this, then the knowledge will, evoke in you the power also to dive down into the more hidden regions of external reality. It will, for example, become possible for you to know that supposing you have to speak a sentence that refers, not without artistic feeling, to So-and-so's sour countenance, you will do well to carry in your soul at the same time a distinct after-taste of vinegar. Careful observation of life teaches that this will help; for there is a road that leads straight across from one experience into the other.

Or, let us suppose, in the course of my part, I have to say, or am to overhear, that someone has a complaint against me. Then it will be good if I can instinctively arouse in the depths of my soul a sensation that resembles the after-taste of wormwood.

Or again, let us say, I have to present on the stage some high official into whose presence a man is admitted who wishes to obtain for himself some office or other. The latter adopts a cringing attitude, and pours out on me words of the most fulsome flattery. This is a situation that may well occur in a play. In addition to all else that it will require—and the ‘all else’ will be substantially helped thereby—I shall do well to carry in me, while speaking, the sweet taste that sugar leaves in the mouth. And that will help with my listening too. If I am there in front of him, feeling in my soul, as it were, the after-taste of sugar, I shall—as the listener—instinctively assume the appropriate gesture.

The question might well be raised: In expressing ourselves in this way, are we not adopting a rather realistic and materialistic point of view? Let me tell you, however, that the inducement to speak in this way follows as a direct result from that other study to which I have already alluded—the study, namely, of the historical evolution that has led up to our present drama.

If we trace drama right back to the place of its birth, we come ultimately to what are known as the Mysteries. It is, in fact, not possible to have a worthy conception of dramatic art unless we are able to see its origin in the art of the Mysteries. Now, the art of the Mysteries had this aim in view: that what took place on the stage should proceed from those impulses that make their way into man from the spiritual world. But the art of the Mysteries sought also to follow how these spiritual impulses work right down into the details of the material world; so that, for example, those who had to take part in the ancient Mystery Plays would actually be given vinegar or wormwood, or some other substance, in order to prepare them for finding the right words and mime and gesture. And we, on our part, only begin to take our art seriously when, in our quest for artistic form, we do not hesitate to take account also of bodily experience. Otherwise our performances, where the acting must needs, from the very nature of the art, be carried right down to the fingertips—I might even say, to the tip of the tongue, for I have seen actors put out their tongue before now !—can never be more than superficial.

Such revivals of primitive drama as can be met with in our time—the sort of drama to which I alluded the other day, for instance, when I told you of the Oriental performance I had witnessed in London—do certainly take us back to quite early stages of dramatic art, but not so far back as to give us any idea of the way things were done in the Mysteries. Plays of that kind we will therefore leave for the moment, we shall return to them later; just now we want to race back the art of drama to its source in the art of the Mysteries. If once the actor of the present day can come to understand the Mystery character of the great and noble art that he is following, he will begin to look on his work in a new way, he will begin to take it seriously.

Fundamentally speaking, what the Mystery Play had to do was to show, through the agency of human beings, how the Gods intervene in the life of man on earth.

Had we still today a number of plays of Aeschylus that have been lost, we would not, it is true, be able to learn from them the nature and character of the very most ancient Mystery art, but we would have in them echoes of this original art of the Mysteries. And then we would be able to ee that those who had to take part in the plays approached them with a certain awe and reverence. For these plays did not set out to represent events taking place among men on earth. Supersensible events were enacted, events that had indeed connection with human life on earth but took place among the Gods. The object was to show events that happen in supersensible realms among supersensible beings—to show these events in their influence upon the life of man on earth.

In the most ancient times men shrank with awe from any direct representation of the supersensible. Rather had they the feeling that their part was to create a kind of framework on the stage for the Gods; everything must be so designed and ordered as to enable the spectators to feel that the Gods themselves have with a part of their being come down upon the stage. How was it sought to bring this about? To begin with, by having not individual actors that should represent Gods or human beings, but Choruses. These Choruses performed a special kind of recitative that was between speaking and singing, and was accompanied by instruments. In this way a form was brought into being and hovered over the stage, a stylised form that was absolutely real and was created out of sound and syllable and sentence, moulded and fashioned with an artistic sensitiveness far surpassing anything known in ordinary life. This form was conjured forth before the spectators, or rather the listeners, conjured forth from the word—the word with all its qualities of music and sculpture and painting. And the listener who lived in these older conceptions perceived—that is to say, did not merely have an idea of what was happening, but saw for himself that these Choruses gave the Gods the possibility of being themselves present, of being present in the musically and plastically formed word.

Thus was the forming of the word in all its music and colour, in all its sculpted moulding, brought to such a degree of individualisation that it was able to betoken Divine Beings. This was in very truth attained in the Mysteries of ancient times. And while it was proceeding, the whole space was pervaded with what we today would call fear of the Divine, awe and reverence in the presence of Divine Being. This mood hovered there like an astral aura, mediating between what went on upon the stage and what the spectators were experiencing. The human being felt himself to be in the presence of a supersensible world. And that was what was intended.

And it was further intended that in union with this feeling, another should rise up in the human being; he should feel that he is living in his soul together with the Divine. An inner life lived in close relation with the Divine was thus tho second aim that was cherished in these ancient Mysteries. First, fear of the Gods, in the best sense of the word; and then that man should have this experience of living together with the Divine.

But now a new development. As time went on, men gradually lost the power to perceive spiritual reality in a form that was not outwardly tangible. The consequence was, it became necessary to put the human being on the stage. In earlier times, men had been able to perceive the contours of the Gods in the word—the word with its colour and its music, the plastically moulded word, the recitative. When they could do so no longer, the human being had to be there on the stage to present in his form and figure the contours of the Gods. But the people must not be allowed to forget that the human being on the stage is a God.

Think, for instance, of the Egyptian Gods. Unless there were some special reason for it, they were not given insipid human countenances (I explained in an earlier lecture how I mean this to be understood). The Gods of Egypt, more especially the higher Gods—that is, those who ascend farther into the spiritual—had animal faces, bearing always in their countenance what was intended to typify the eternal. The human countenance is eternal in its mobility; it is eternally changing! Mobility had to be expressed in the gestures of the rest of the person, apart from the head. But there must needs also be duration, constancy; and that must be shown in the physiognomy. A human being cannot let his countenance remain permanently immobile; it would take on the expression of death or look as though he were afflicted with tetanus. If you want to show in the world of the senses that which endures and belongs to the spiritual, if you want to present this in bodily form in contrast to that which is continually changing, then there is no other way, you must have recourse to the animal countenance And so we find in the cult of the Egyptians the supersensible Gods with animal faces.

When now the human being begins to appear on the stage, he too comes before us with a mask that is reminiscent of the animal. This development that we can observe on the stage is an outward expression of the inner development that was taking place in man's spiritual life.

At his first appearance on the stage, the human being did not present man, he presented the God, and most often the God who stands nearest to man, Dionysos. And we begin then to have, in addition to the Chorus, the actor standing in their midst; first one, then two who carry on a dialogue, and gradually more.

Only when we have learned to discern in the whole art of dramatic representation something of the magic of its birthplace in the Mysteries—only then is it possible for us to stand up before an audience as we should, carrying in us the knowledge of how drama has grown up out of the cult of the Mysteries, out of that cult whose whole purpose was to present what belongs to the supersensible world.¹

In the Middle Ages there was still an understanding for this. If we go back to the time before worldliness began to get the upper hand on the stage, we shall find that dramatic performances were always in connection with worship, with the cult. The Christmas ritual which was intended to lead the people up to a lofty height where they might verily behold the Divine—this Christmas ritual we find continued, either still inside or in front of the church, in the form of a play. The acting was nothing else than an extension of the ritual that was performed inside the church. The priest who celebrated would afterwards appear as actor and take part in the play.

We do not find in these plays the same holy feeling that pervaded the ancient Mysteries, where the drama was an integral part of the cult itself, directly belonging to the Mystery. In mediaeval times it was different; the ritual and the drama had each its own distinct character. One could nevertheless feel that they belonged together. And the sane kind of development went on in connection with the other festivals of the year.

Having thus come to see that drama has a sacramental origin, we may now go on to consider the other, more worldly, factor that was brought in later on, and that has not the same close relation to cult and ritual. It has nevertheless a similar origin.

When in very early times man looked out into the great world of Nature, he felt there the presence of the Divine, with whom he himself was connected; he felt the God in tho clouds, the God in the thunder and lightning. And still more did he feel the God entering into the word, into the artistically formed and musically modulated word, which the Chorus in the Mysteries placed out into the world as objective, created form. And now, as time went on, this very experience led man to perceive another secret. He began to learn that there is something in himself that is Divine, and that responds like an echo to the Divine that comes to meet him from the far reaches of the universe. And this led man to develop a new feeling about drama which we may describe in the following way.

The ground had been prepared in far-off times by the Chorus, who produced the word wherein the God was able, not of course to incarnate, but to be incorporated. That was how it was in the Mystery Play, the original Mystery Play. Then came the time when, man being no longer equal to this experience, the actor was brought forward, not yet, however, for any other purpose than to represent the God. But now, as evolution proceeded further, the perception began to dawn upon man that when the human being presents his own innermost soul, then too he is presenting something Divine; if he can present on the stage the Divine that is in the external world, he can also present the Divine that is in himself. And so, from being a manifestation of the Gods, dramatic art became a manifestation of the inner being of man; it presented on the stage the human soul. And this inevitably led to the need to bring innermost human experience into the forming of the speech, to bring this same intimate human experience into the gesturing also that was done on the stage.

And then there developed, in a time when its significance could still be instinctively felt, all that way of working with voice and gesture which I have been putting before you in these lectures, impressing upon you the need to renew it in our day, to put your whole will into getting it restored to the technique of the stage. We have seen how it takes us, on the one hand, to such things as Discus-throwing, and on the other hand to a sensitive perception of the after-taste, for example, of sour and bitter. Yes, we have to go on paths that may seem at first to lead us far afield, in order to find again the foundations upon which alone can be built the drama that portrays man.

It will be helpful if at this point we make a kind of picture of how the evolution of drama has taken its course. Contemplate the picture, meditate upon it, and it will inspire you to enter with deeper understanding into the things that I have been expounding in these days in considerable detail and that will, I hope, become much clearer to you as I help you now to see them in a larger perspective.

We can for the moment imagine that we have before us the stage of the present day (only, obviously no more than its barest outlines, if we are thinking of primeval times); and in the centre of the stage the word, produced by the Chorus in all its fulness of colour and tone and form. In the word men feel the presence of the God. The God appears in the word—in the music, in the painting, in the sculpture of the word. It is His will to appear to those who are present there, beholding. That is the first phase.

The next phase is that in amongst the Chorus the human being begins to take a place, the real and actual human being. Before, it was the God—the God who was only `incorporated’ in the formed word. Now, man stands there; yet we still have the God, for man is only there to represent the God. He will accordingly have to learn how to speak from the Chorus, who used even to employ instruments in order to give greater strength to the voice. Man will have to learn from the Chorus; for his voice must not reveal what is within him, must not utter forth any human experience, no, it has to imitate what the Chorus places out objectively into the world. His recitative is to be a continuation of what was in the Chorus. In comparison with the mighty development of voice that was striven for here and that was rendered yet more powerful by the use of all manner of instruments (and this was not simply because they were acting in the open air and needed on that account to reinforce the voice, but for the reason I have explained, namely, that upon that stage should be heard speak the voice of the Gods)—in comparison, I say, with this development of voice in the earliest Mystery Plays, the speaking on our modern stage would sound to some Greek of ancient times who had understanding for these things like the squeaking of a mouse. Yes, it would indeed! For through what took place upon that stage of olden time, the Divine World rushed storming like a mighty wind.

But now comes this further development, where man begins to grow aware that the Divine is also within himself. Representation of the God gives place to representation of man.

It follows as a necessary consequence that man will have to learn to stylise his prose; for he has to carry into the external world the revelation of his own inner experiences. But for this it is by no means enough that we should behave on the stage as we do in real life. After all, what occasion is there to show that on the stage? We have enough of it around us all the time. No one with artistic feeling will be interested in a mere imitation of life, since life itself is always far richer than the poor husk which is all that imitation can produce.

Consider for a moment how it is with some other art—say, the art of landscape painting. There would not be much sense in a painter's setting out to paint trees with the object of painting them so as to show whether they had needles or leaves, and then putting in some clouds up in the sky of various shapes, adding below a meadow and carefully reproducing there the colours of the different flowers. No one with artistic feeling could bear to look at such a picture. And why not? Because there are much more beautiful views to look at outside in Nature. Landscape painting of this kind does not justify its existence. No question but Nature can show us pictures of far greater beauty.

But now suppose you have a painter who begins by feeling all around him a mood of evening time. The tree that stands there in the landscape is nothing to him, but the light on the tree, how the tree catches the light of the setting sun—that has a mood of its own, a mood that comes and goes in a moment. It will probably make no great impression on the dry and prosaic passer-by, but the painter can seize upon the momentary experience and hold it fast, if he have sufficient presence of mind (I mean that in the best sense of the word²). Then landscape painting begins to have meaning. For if we have before us such a painting, we are looking at the momentary inspiration of a fellow human being, at the momentary spiritualising of his sight. Through and beyond the painted landscape, we are looking into the very heart of the painter's temperament. For according as is a man's temperament, so does the landscape show itself to him, down to the very colours he finds there. With a genuine and elemental painter, it will really be so, that if the fundamental mood of his soul is melancholy, he will show us the shadow side of things with their darker nuances of colour. If again in his deepest being he is of sanguine temperament, then shades of red and yellow will dance for him upon the leaves wheresoever the sunshine strikes them. And if you should happen to look at paintings where these bright colours are seen dancing in the sunshine, and on making the acquaintance afterwards of the man who painted them discover that he is a melancholic, then that man is no painter; he has merely learned to paint. And there is a vast difference between being a painter and learning to paint—although one who is a painter must also learn to paint! This last fact is too often forgotten nowadays, and people jump to the conclusion that one who has learned to paint is no painter, and that he alone is a painter who has never learned to paint. That is, however, not correct.

If you want to characterise the true painter, he is the one of whom you are bound to say when you see his pictures: He must indeed be a painter! And then you have to add, a little diffidently: And he must also have learned to paint! But if you meet with someone like I described just now, who paints. a picture that is entirely out of tune with his temperament, then you will have to say, taking care not to give offence (for one must always be polite): He has learned to paint!—adding, silently, to yourself: But he is, for all that, no painter !

I don't mean you to take this as a piece of advice! I am merely quoting what you will frequently hear people say in order to get out of the dilemma in which they find themselves when faced with the pretensions of would-be painters.

Well then, it will, I think, be clear to us all that there is no point in reproducing on the stage what we have immediately present before us in real life. What is wanted is that the one who is there on the stage shall for the time let his ordinary self be forgotten, and become the human being who lives in speech in the way I have described. The spectator will then instinctively perceive around the actor an aura; as he listens to the formed speech, he will see before him the auric contours—perhaps of the incisive word, or perhaps of the slowly spoken, or again of the word that is abrupt, or the word that is energetically flung out. Living in this way in the speech, the actor becomes something quite different from what he is in life.

In extreme instances you will recognise at once that this has to be so. Suppose you want to assign the part of a simpleton. It would never do to give it to an actor who is one already. A producer who allowed a rather silly, idiotic person to play the part would be the worst producer imaginable. To play the role of a simpleton requires the highest art; least of all is a simpleton equal to it. From a purely naturalistic point of view, it might, of course, seem best to look round for an actor who would play the part out of his own natural silliness. For the part to be played as it should be, however, something quite different is required. The actor has to know that the condition is due to an incapacity to let the forming of the speech make contact with the sour, bitter and sweet in the way I have explained. The simpleton does not succeed in building the bridge from these sensations to speech.

The dramatist ought to take this into consideration in his composition of the text; he ought to know that such a person remains at the sensation, cannot get across to the speech which should result from the soul experience that belongs to the sensation. What will a good dramatist do in such a situation? (And the actor, you know, should always have the insight to see what the dramatist is doing; it should be quite clear to him from the whole setting of the play.) A good dramatist will want the role to be played by an actor who is a true artist and possesses to a rare degree the gift of gesture in the way I have described it, so that his gestures come right out of inner experience, bringing this inner experience to expression in style, in true artistic style. The art of listening—that is what the actor of the part will have to develop particularly, the art of listening with gesture. It may be the dramatist will not help him here; for the dramatists of the present day are not exactly great artists. But, although it is true that one cannot ‘corriger la fortune’, one can ‘corriger’ life, which means in the present instance one can ensure that art appears on the stage in a genuine and worthy manner by having the ‘foolish’ part acted with full complement of gesture, and especially of those gestures I described yesterday for the listener or onlooker. The main point is that the simpleton, when he is conscious of some sensation within him, should show by his whole attitude and gesture that he expects his environment to tell him how he is to put it into words. Get your actor to make listening’ gestures and be all the time gazing open-mouthed at the people around him, in the position for a; and your audience will not fail to receive the impression of a simpleton. Let him even try to caricature this a position right from the back of the mouth, looking intently on the people around, as though it were they, and not he, who should really be doing the speaking. And if the dramatist has failed to do his part in the matter, the producer should none the less require the actor to employ the relevant gestures; even if something quite different is being said around him, the actor can still make as though he were hearing from the talk of the others what he himself has to say. You have only to let him be perpetually giving the impression of being the echo of those who are standing around and be making also at the same time appropriate gestures, and you will have placed on the stage a faithful presentation of a simpleton. In real life you won't find it exactly like that.

But now suppose you want to show on the stage the ‘wise’ man, generally a popular part with actors—but I myself would sooner play the simpleton. An actor who is playing the wise or ‘knowing’ man should show by his gestures that for his own understanding he is not very dependent on the others with whom he is conversing. His gestures will in fact be lacking in the very quality that I have said ought to characterise gesture; they will be lacking in life, being no more than lightly indicated, and containing always a subtle hint of the gesture of rejection that we saw must accompany the word of rejection or brushing aside. The wise man goes with the other speaker, follows what he is saying, but along with his gesture of understanding there will always be a touch of the gesture of rejection. And then, when his partner has finished speaking, he will wait awhile, and whereas before, when he was the listener, he inclined his head to hear what the other had to say, he will now perhaps throw it back; even the eyelids too can be held back a little. This will always >mean that the audience will instinctively have the impression that the ‘wise’ man is not going to enter fully into what the other has been saying, but intends rather to draw upon his own store of wisdom in order to show what is really essential in the matter. The audience will feel that he is talking more out of his memory than in response to what he has heard the other say. Your wise man should always give this impression. If he does not, the acting has been lacking in style.

A very different kind of gesturing will have to be employed if you want to represent on the stage a gossipy old lady. She has, let us say, just come from an afternoon tea-party, and brings with her the manners of the tea-table. This old lady will have to accompany what she hears said with a motion of stout resistance, indicating that nothing the other has to say is right. And then, before the other has finished speaking, she should break in, with complete corresponding accompaniment of gesture to accord with every shade of speech formation. She must break in so suddenly that you feel she has no need to stop to think; she knows right away, as soon as ever she is confronted with the situation, what she will say to it. She should be beginning with gesture and word while the other's last syllable is being spoken. One must, however, be careful to let this last syllable be heard, so that the audience do not lose the thread.

You must really ensure that such a scene is treated in the way I have described, for then it will have style. This gossipy old lady, coming in straight from the tea-table, is, you see, the exact opposite of the wise man. It could also quite well be a gossipy old gentleman, come straight from his evening glass with his pals; in that case the male quality of the talk would have to be brought out. And where the lady from the tea-party, before her partner has finished speaking, pokes out a finger, the old gentleman who also bursts in on the last syllable, will gesticulate with his whole hand, or his whole arm. That will be rendering the scene in style.

• 1. At this point Dr. Steiner made a coloured drawing on the blackboard.
• 2. The German word is Geistesgegenwart (presence of spirit)

[ 1 ] My dear friends! Last night I received a letter from Reverend Dr Schairer in Nagold which contains a number of theses regarding how Anthroposophy can conduct itself regarding religion, and religion conduct itself regarding Anthroposophy, and how a way must be found to initiate this behaviour. Dr Schairer thinks a discussion could be based on this. That also seems to be quite right following on from the first part of the letter—I couldn't read the whole thing, I haven't yet read the last pages—because a lot will be clarified in an exceedingly exact manner. Perhaps this could in some respects provide a good basis for a discussion because it will be a priority in our future work, if I may say so, to bring these fundamental issues in order.

[ 2 ] In addition to what I want to say to you today—everything is for the time being still introductory—depends from one side on the main issue of this question, certainly from one specific side. We have to be perfectly clear that Anthroposophy as such must arrive in a positive way at the Mystery of Golgotha so that the manner and way in which this happens regarding this event, can really be ascribed to a concept of knowledge, a knowledge which, if the term is taken seriously, this concept of "knowledge" is also applicable in the modern scientific sense. It is on the other hand right that this special way, first of all—I stress first of all—Anthroposophy needs to get to the Mystery of Golgotha, that at first the Protestant sense of religion from certain foundations need to be brought to consciousness, which can take offence. Only complete clarity about these things can lead to some healing goal.

[ 3 ] I must therefore, even if it appears somewhat remote, enter into what I want to say to you today. Anthroposophy or spiritual science actually creates out of supersensible knowledge, and rejects—in principle rejects—anything from older traditions, let's say, the oriental wisdom or historic Gnosticism, through somehow assembling a content, or expanding the content. Anthroposophy quite decisively rejects this because it focuses above all in its comprehensive task of practically answering the question: How much can a person today, who has in his soul, latent, or in ordinary life, not conscious forces in his awareness, how can he now in full consciousness and with full human discretion, recognise the supersensible world instantly?—Spiritual science would like to proceed with this cognition similarly to a mathematician who wants to prove the theory of Pythagoras. He proves it out of something which one can recognise today, and he doesn't reject purely from historical writers what he had encountered before, when he obviously later, in his historic studies, entered into the way the theorem had been found. If you research spiritual science in this way you will certainly conclude that an abyss lies between the way and manner in which current spiritual science arrives at its results through fully conscious research, and what still remains in Gnosticism or oriental wisdom, which has a more instinctive character on the other hand. Precisely what people want as unmixed knowledge brought to realization, even this, as I've said, needs to be researched. In the course of this research it becomes apparent that something is needed which makes an appearance as if one had reverted back to the old. In the course of research spiritual experiences take place namely for which modern people—the entire modern civilization—the concise words are missing. Our modern language has definitely connected to material thinking patterns; our modern speech has been learnt as linked either to mere outer material or intellectual matters—both these belong together.

Inner intellectualism is nothing other than correlations to the materialistic methods of observation of the external world. What can be recognised about matter is that when one uses the materialistic method, it reflects inwardly as intellectualism. It is like this, that any philosophy which wants to prove its spirit through mere intellect or a spirit comprised from the intellect, will be wafting around in the wind; these would hardly be able to acknowledge that the intellectual is quite rightly spiritual, but that the content of what is intellectual can be nothing other than that of the material world. One must always speak clearly about these things. By expressing a sentence like: "The content of the intellectual can be nothing other than that of the material world," I'm only saying it can be nothing other than the content of the world, which can be viewed as the sum of material beings and phenomena; whether this is what it is, is not yet agreed upon. The intellectual material world could be through and through spiritual and what comprises intellectualism could be an illusion. Therefore, it is important for spiritual scientific discussions there should already be an unusually powerful conscientiousness existing towards knowledge otherwise there will be no progress in spiritual science. This conscientiousness is also noticed by people of the present; they find it necessary to hackle through their sentences in all directions in order to be concise, and people of the present day who are used to the journalistic handling of a style, call this wrestling for conciseness a bad style.

[ 4 ] Such things we certainly must understand out of the peculiarities of the time. So, while current materialism and intellectualism have hassled speech/language to such a degree that language only operates in terms of the material, one can hardly find the right words needed to describe one's experiences and then one grasps for the old words which come from instinctive observation, to express that which needs expression. This results in the misunderstanding: people who cling only to words now believe that in the word one borrows what is contained in the translation of the word. This is not the case.

The words "lotus flower" is a borrowed expression from oriental wisdom but what I have indicated (in my book Knowledge of the Higher Worlds and its Attainment) is certainly not borrowed from oriental wisdom. This is what I'm asking, for you to always take this into consideration, when on occasion I need through necessity to borrow expressions from history, as I have to do today.

[ 5 ] You see, spiritual science first and foremost wants to gain human knowledge through Anthroposophy, modern physiology and biology need to some extent be considered as the most unsuitable instrument for acquiring real human knowledge. Modern physiology and biology unfortunately base their knowledge on what can be seen in man's corpse. Also, when living people are studied, they are unfortunately only studying the corpse. At most they indulge in a certain deception, which extraordinarily characteristically was revealed when Du Bois-Reymond held his famous lecture on the Ignorabimus. He is quite clear that nothing—because he was besides a scientific researcher also a thinker—of this modern manner of research of the soul—he called it consciousness—can be gained; so that one actually through natural science, according to Du Bois-Reymond, can't find out anything about the actual being of man. He is submitting himself to an ever-greater deception; he says that with outer scientific beings we will never be able to recognise conscious people, at most only those who are asleep. When a person lies sleeping in bed, according to Du Bois-Reymond, the sum of all processes is within the person, but at the moment of waking, when the spark of consciousness jumps in, the possibility of observation ends. It would be correct if one was able today, to scientifically understand the life and development of the plant world. The life and development of the plant world is still not comprehensible through science today because the method is not recognised through which this would be understood. So that too, is an illusion, what current science explains about sleeping people; it can only be in their domain to explain sleeping people, the corpse; further than this they don't go. They can only explain those who are sleeping; the ones who are lively they can't explain.

[ 6 ] Anthroposophy doesn't follow philosophic speculation about people, but the way which I outline in my book Knowledge of the Higher Worlds and its Attainment, in the withdrawal of the soul into observation, and then the attainment towards not remaining stuck in the mineral element in man, which is perpetually dead and is incorporated as a dead mineral element in the being of man, but that one gets to, through what could be called the ether body or creative force, observe what the real foundation of the sleeping human being is.

[ 7 ] Now people come along out of the current philosophic consciousness; I can refer to one case. When my Occult Science was published, there was talk about a Polish philosopher, Lutoslawski, in an old German monthly publication. In this discussion it was said, among other things, that it is only an abstraction to divide a human being into members of the physical body, the ether body, the astral body and the I, one can certainly as an abstraction divide man into these, but it goes no further.—As far as Lutoslawski at that time regarded it, he was correct in his assertion, but he remained in the field of abstraction, and this depends on the following: As soon as a one moves up to contemplate the ether body one can't remain in the physical body of the human being; as long as one only contemplates the physical body then one doesn't need anything but to investigate within the human skin and at most go as far as to examine the interaction with the outside world through breathing and so on; but nothing further is examined, basically nothing more than by beginning with the boundary of the human skin.

[ 8 ] This characteristic I'm offering, you will quite rightly find if you only think about it. One can, if one remains confined in examining the physical body only by what is enclosed by the skin, but one can no longer remain in what is contained by the physical skin when one thoroughly looks at the ether body. Obviously, the basic outlines need to be drawn first, as I have done in my Occult Science, so attention can be drawn to man's physical body, ether body, astral body and so on. However, Anthroposophy doesn't remain stuck here; Anthroposophy must now expand these things. As soon as knowledge of the ether body is extended one can no longer remain within the human being, but one needs to observe the human being as a single being in connection with everything earthy. One must examine the human being in connection with the earthly. This means as long as the human being is enclosed in his physical body, he leads a relatively independent life, a relatively independent life. To a high degree man is dependent on everything possible, air, light and so on, for the physical body; man is dependent on these to a high degree. You can see this in the following example.

When materialism was at the height of its blossoming, Wolff, Büchner and Czolbe very often referred to the dependency of man on the physical environment and one of these writers once listed everything, from gravity, light, the climate and so on and concluded that the human being was the result of every breath of air he breathes. He meant by this—the person concerned was a materialist—the physical organism is dependent on every breath of air. Yes, my dear friends, if one considers the depiction of materialism in this reference in all earnest and contemplate how the human being was as depicted by materialism, then one will become aware that the human being at its highest potency could be a hysteric or a cripple. The materialists have already described the material human being but not what happens in the world, a being who at its highest potency would be an hysteric. The hysteric at his highest power would be as dependent on his environment as the materialist has described him.—The actual human being in his highest power is independent on what the physical earth environment offers. One can't say this about the etheric man. As soon as one rises to the etheric in man, one can't observe the etheric body as isolated from the entire earth's etheric which needs to be examined, and here man lives in a far higher—naturally not in the physical sense higher—level as his physical body. When one comes to the realm of the etheric while observing the earth, then one can no longer hold on to concepts of chemistry, or mineralogy and so on, but one must now search for completely different conceptions; now one will be confronted with the necessity of wanting to say what one wants to say, at least prove it with expressions which the Greeks had, because it is not possible to do so in today's language.

[ 9 ] The (ancient) Greek would, if you demonstrated current chemistry to him, express himself in the following way. Just imagine we have on the one hand a really modern chemist and on the other hand a Greek, an educated ancient Greek, who would like to talk to the chemist, and the modern scientist would say something like the following: "You Greeks come from far back, you took the four elements of fire, earth, water and air. Those are for us at most, aggregate conditions: fire as all penetrating warmth, air as aeriform, the water as liquid and the earth in a solid physical state. We acknowledge that from you. However, we have placed some seventy elements in place of your four." If the Greek would study what has been presented as some seventy elements, he would say: "What we understand under the four elements will not touch many of your seventy elements. We have for what you have in your seventy elements, the collective name of 'earth': we call all of that 'earth.' With our four elements we are referring to something else, we indicate through it how some things express themselves from out of their inner being. What you are pouring out regarding your elements, that is for us aeriform and such further conditions of the earth. Something far more internal than what you acknowledge with your elements, describe for us the expressions of earth, water, fire or heat."

[ 10 ] Exactly to these four elements one is guided when one considers everything surging and weaving which has been spun into the earthy etheric and human etheric. Only when you follow this etheric, which lives in the four elements, as an experience within the circling of the earth's weaving existence, will you understand spring, summer, autumn and winter. In spring, summer, autumn and winter which exist as the foundation of the etheric processes of the earth—not merely as the physical processes of the earth—in this etheric weaving of the earth the human ether body is woven so that one, when one in a sense advances to the etheric body, one must find the etheric body rooted in the earthly-etheric.

[ 11 ] What we rediscover again—I have explained this whole relationship in detail in the Hague—sounds like instinctive wisdom of the ancients, which continued right into Greek times. We don't understand the continuity in humanity if we don't, in our way, discover what the content of these instincts were.

[ 12 ] Now we will go further and come to the astral body of the human being. The terminology doesn't mean anything to me; the astral body had been spoken about much later, right into the middle ages and even up to present time, but it must have some formulation. When one rises up into the astral body, the actual carrier of thinking, feeling and will in man, then you again come to realise that man cannot be regarded in isolation. Just as one makes the etheric a member of the etheric weaving of the earth, so one needs to make the astral—in quite a spiritual manner—as basically incorporated in what is expressed in the movement and positioning of the stars. The astral in man is simply the expression of the cosmic, the astral relationships; how the stars move and are positioned to one another, this is expressed in the human astral body. Just like the human being through his etheric body is interrelated to the earthly etheric, so man through his astral body is associated through his astral to the earth's surroundings; it lives further in the earthly surrounding, they continue to live in the events, in the processes of his astral body.

[ 13 ] You see, it is not an abstraction to structure the human being; we are required to structure the human being because in this structuring we rise from human knowledge to cosmic knowledge, quite naturally. Now we can go back in human evolution to more ancient times which had not actually reached into the Greek times any more. Here we find an instinctive awareness of people's relationship to the starry worlds. Not as if Astronomy was carried on in these ancient times, and if it was, that it could be considered serious, but the connection happened as a direct experience. Human beings experienced themselves in certain times of their earth evolution far less as earthlings than as heavenly beings. In our research we easily reach a time where people, certainly inwardly, lived into the growing and flourishing of the plant world, also in the animal world where everything offered in air and in water were experienced, but as being independent. Similar to how the human being in current times experiences inner processes of nutrition and digestion, processes taking place independently, so the human being once took in all that he experienced in the physical world, as independent, but he didn't take what he lived through in his astral body as independent from the influences of the heavenly worlds. That was something that differentiated itself, imposed itself too strongly upon him, to be taken as independently. When winter shifted closer, when nights lengthened and a person found frost had arrived all around him, he sensed in a certain way how he simply depended on his placement in the world, he felt something within him, like a memory of heaven. During winter he felt himself separated from heaven in a way, he sensed something within him which was like a mere memory of heaven. When by contrast spring approached and the warmth of the earth was interwoven with man, then he felt something dissolve within him as when he shares in the experience, I would call it, of a spreading out breath, the events of the heavens. Now he had heavenly reality, not just a memory of heaven which he had in winter. In this differentiated way he experienced the other seasons also; he actually participated in the seasons.

[ 14 ] Today in our inner reflections we have a weak memory of what at that time had been lived through instinctively. We celebrate Christmas and a historic glance reveals to us the connection of the inner memory life of individuals who, during winter, had felt abandoned by heaven, and so nursed their memories in solitude. We still have echoes of experiences, not at one time through astronomical speculation or astronomy, but direct experiences in the determination of the Easter spring celebration according to the relationship of the sun to the moon. What is revealed in our abstract minds and calculations to determine the Easter festival, this was a direct experience for earlier man; it was observed in the heavens after the completion of winter and the time of St John in the soulful feeling of the divine weaving in the heavens, to unite in divine blessedness with the truly Spiritual-Divine which had been only a memory at Christmas time and into which they lived at springtime. The old summer solstice was primarily celebrated as the inner search for the union with the Divine in which man could empathise with how, if the earth would not be enclosed, the earth would be an active being working in the cosmos together with the entire being of humanity towards this cosmic experience.

[ 15 ] In other words, what we refer to in spiritual science as an objective experience when we refer to the astral body, this would have been a direct experience for ancient mankind, but such that it didn't only occur in a moment but that it spanned time; from which one knew the stars worked here in their laws, in their movement. Not that man took much notice of sun and moon eclipses; that only happened when religion was transferred to science. In olden times people looked up to the heavens with religious simplicity, but also sensed the heavens within them, for a certain time.

[ 16 ] You see, my dear friends, consider what one can think when theology comes forward today and says: What human beings primarily experience through the senses can hardly lead over to the super-sensible; what we have in science, can hardly lead over into the super-sensible; something quite extraordinary must happen in a person if he wants to become accessible to the spiritual worlds.—Such an examination of current theology shows that people are advised to justify religion while life, because we participate in life in the outer world, has no religious character; in a sense it needs to be removed out of ordinary life and placed in a special life in order to feel religious. There once was a time on earth where religious feelings were direct, in the present, and independent, and where one had turned life on earth out of religion. Just as we sense materialistically when we look at the plant world, the animal world and the stars and then need to turn within if we want to have religious experiences, just so once upon a time religious life was the given and if one wanted to turn away from what was given, one would go primarily out from the religious life.

[ 17 ] As long as these things are not fully examined, there would be no clarity about the relationship of science, daily life and religious experience. At least once in life one should look at how human evolution is linked to these things, that at one stage in old world imagery there came the appearance of the outer sun, moon and stars which were relatively indifferent, these appearances coming from outside only addressed feeling; but was inwardly experienced. What took place in heaven was an inner experience for man which he could settle with himself, the effect still came from the heavenly realm and that was given to him as a matter of course.

[ 18 ] Of course, there was a time where what lived and weaved in the astral body as the result of star activity was to some extent interlinked with an experience that takes place inwardly, in relation to the earth, which we can penetrate recognizably when we move forward to the ether body today. Human beings felt themselves more in the soul-spiritual when, through their astrality, they experienced celestial processes. Then one sees the human being indeed in the earthly, but he wasn't penetrating it as we do today; he penetrated the etheric, into what ruled in fire, water, air and earth. Here he maintains a relationship of which he is deprived according to today's viewpoint and particularly the view of science. Right in the experiences the human being has in these relationships, refer back to the ritual acts which of course for our confessions are actually only inherited traditions.

[ 19 ] Yesterday I introduced you to how the Ritual Acts can be grasped out of human understanding. It can also be understood through insight into every interplay between possible experiences through the astral body and those through the etheric body; they go back to the sense which one can have when one follows the celestial vitality and weaving in the earthly etheric. What is revealed as a result is that man is placed in a cosmic process, in a cosmic movement which I can express in the following way. You see, when we turn to the tone which rings out of words, when we thus approach them, for example in the Greek Logos, what lies in the words of the Logos—this what I'm saying right now was certainly still experienced in (ancient) Greece and certainly felt in the composing of the St John's Gospel—when one approaches what lives as tone, what rings out as tone and then turn it to the outside, then one is involved in processes which are about to happen, which are revealed in the air. When we hear a tone or the words and the process is created which I indicated yesterday as it entering into the human being, then we are considering the movement of air being breathed in, which then hits the spinal cord and the brain fluid and continues as a movement; we also have this continuation in the air penetrating into the human being here. When we do further research, we don't only have to deal with this, but, because words manifest an effect in the human being, it acts on the human being's state of warmth. The human being becomes inwardly imbued with warmth, he contains the element of warmth differentiated by the sound entering him, of the word entering inward. This means on the outside warmth or cold is at most a by-product of sound, when the tone is too high or too low; remaining with one tone has no meaning. In the human being actually every differentiation in the word and in the tone is differentiated within, through engendering warmth or cooling, so that we can now say: In our understanding of the Word, we find it manifests outwardly in air and we find it manifest inwardly in warmth.

[ 20 ] If we now go from what we learnt yesterday, we now approach the Sacrificial Act. These things, like many others, we later will clarify more, but this will be able to give you an indication. In olden times the actual characteristic could be found in the Sacrificial Act, of people experiencing the Sacrificial Act as a total reality. Actually for the more ancient presentation, the Sacrificial Act obviously connected to the smoke-like, to the airy; it was because, while the Sacrificial Act flows from within the human beings people knew—as one can also today really experience this in a Sacrificial Act—that just in this way, how the word sounds inwardly and lives itself out in warmth, the Sacrificial Act realises itself in air. Inwardly it lives itself out in the air. Towards the outside the true Sacrificial Act can't manifest without it somehow or other appearing through light. However, we will speak about these things again later.

[ 21 ] When we now go to what we called the Transformation yesterday, we find that with the Transformation we refer to something which already penetrates matter, which already strongly approaches substantiality, but which has not yet been configured, which has not yet taken in an outline; this is experienced in the transformation as characteristic and one refers, in the same sense, to how the Word refers to the warmth, the Offering to the air, the Transformation, the transubstantiation to the water.

[ 22 ] What is experienced as living in Communion, in the union, is felt now as through the connection with the etheric and its connection with the earth; one experiences oneself as an earthling, as a true earthling only because one feels so connected to the earthly, that one feels this union as related to the earth.

[ 23 ] In the Old Mysteries this was the result: they had seen how the Word outwardly manifested in the air, and inwardly as warmth. (This was written on the blackboard.)

Word—Air—Warmth
Offering/Sacrifice—Water—Air
Transformation—Earth—Water
Union—earth

[ 24 ] The Offering manifests itself inwardly, as we've seen, as air. When you come to examine the following things, you could later say: I'm taking notice of these things so that I can say that what referred to water in the Sacrificial Mass of the old Mysteries, has now been retained as a residue in the Baptism. How the spoken word referred outwardly to the air and inwardly to warmth, so the Transformation could accordingly refer to the earth, to what is firm, and only inwardly to water; and what had corresponded to unification, one had nothing. In the human being, one could say to oneself, the connection with the elements shifts. However, already in the Transformation to the extra-terrestrial, the earth is available, which man experiences by turning to be united with it. How can he then experience being united with the earthly?—This was the great question of the Old Mysteries. How can one somehow feel anything at all about the truly earthly?

[ 25 ] I've even spoke about it from another point of view. One looks around and it becomes obvious that people take their inner processes for granted, but they don't find anything which they want to take up into their consciousness. Symbolic action took on unification, but on the outside the place remained empty, something was necessary, so people said to themselves, for this place to be filled, if one wanted to turn to something within the earthly element itself it could correspond to the uniting taking place in communion. People felt they could look down on the earth. What presented itself within the earth, this could be fulfilled in the communion, but something outwardly was not possible. This is how people basically felt in the Old Mysteries, when they spoke of communion. They spoke about it this way, but they felt it could not be a concluded event. We basically feel this way when are instructed according to the outer statements of the Old Mysteries, how in images the event of Golgotha was foreseen, how it was symbolically carried out, which current research always refer to when they want to show that the Mystery of Golgotha was only something which can be compared to later developments when various sacrificial acts took place in temples, by presenting a sensory image of the representative of man having died, buried and resurrected three days later. [ 26 ] You know how the real crux of the Christ conception resulted from people noticing some similarities between the symbolic religious practices and the event of Golgotha, that they believed, even theologians believed they must speak about Christ as a myth or as something which had developed and reached fulfillment in the temples. The whole thing has now reached a point where this same way of thinking is appearing in other areas: the Our Father prayer has been examined in the same way and now nearly every sentence can be shown to have existed in pre-Christian times. This is regarded as a special catch for religious research. For someone who admits, truly admits to this way of closed thinking, it would be the same as to draw conclusions about people from their clothes. When a father allows his child to inherit his clothes, one can't say the son has become the father, because the son is someone quite different from the father even when he wears the same clothing. Just so the wording of the Our Father has passed over on to Christianity, but the content has essentially become something new. In order to examine these things, one must first look even deeper into all the connections: one needs to know the foundations from which the Old Mystery priests retained something like an expectation, which resembled something which could not yet have been accomplished on earth.

[ 27 ] So there we will, I'd like to say, be led, in the first element, even through quite careful considerations, to a mood of expectation in the Old Mysteries, certainly out of an instinctive science which was completely permeated by religion, how in all Old Mysteries a Christ-expectation mood was there, and then it was fulfilled though the Mystery of Golgotha. [ 28 ] Tomorrow we will look at the entire problem from another side, when we will enter into it more profoundly. However, you see how Anthroposophy approaches the Christ-problem in what could be called a certain scientific manner, by making a lively observation of the ether and astral bodes and also what results from their cooperation. You see, by discovering, so to speak the Christ-experience in the boundary between the astral and etheric bodies, you must arrive in a positive way to the Christ-experience. I must say to you, my dear friends, this is largely the biggest difficulty of Anthroposophy and its task in the present. You see, the somewhat washed out Theosophy which you find for instance in the Theosophical Society, finds this reference far easier. It doesn't enter into the Christ-experience but stops just before it. Therefore, it's easier. To some extent they laid down all religions as equally valid and seek within it the common human element which of course every science must be based on. [ 29 ] Anthroposophy is determined in its own evolution, through the nerve of its entire being, to approach the Mystery of Golgotha in a positive way, and because it wants to remain scientific, to make the task of the events of Golgotha clear to humanity, as clearly as mathematics states the theory of Pythagoras. All religious confessions are in line with this rejection of the event of Golgotha as such. As a result, the world task of Anthroposophy necessary for our time is not easy. How difficult it is, I ask you to read the in words of a poet from Prague, Max Brod, who writes—he has also written some other things—in "Paganism, Christianity, Judaism" about how these things need to be handled; how out of the re-enlivened Jewish consciousness everything that makes Jesus into Christ must be removed, and only to keep Jesus as what does not make him into Christ. What is at the foundation of this tendency? It is the tendency to make it possible for modern Jews to have a relationship with Jesus, in which Jesus can be admitted but in which it is not necessary to see Him as the bearer of the Christ.

[ 30 ] Anthroposophy is compelled—and we will still talk about this a great deal—to recognise Jesus as Christ. For Jesus to be taken as valid is what the Jews also strive, as well as the Indians; the entire East is striving for this, but they only strive to accept Him as he is, and not for being Christ.

[ 31 ] Now my dear friends, Harnack's book about the Essentials of Christianity and the Weinel's research about Jesus you can take all in a way in which they could be accepted by all non-Christians to a certain degree. I know there can be some objections, so for this reason I say you could take it in this way—of course they are not like this. However, what we have as a task is this: To fully understand Christianity—not to keep Jesus at the expense of the fact that He is the bearer of the Christ.

[ 32 ] Here lies the complete other side of a basis for the true, earnest Christianity through Anthroposophy, because one has to admit, that a communal world task has to be dealt with which encounters the most frightening prejudices. This world task is connected to what we today experience as dissatisfactory in religious experiences. For this reason, this can't be understood in the narrowest sense, but one must allow oneself to enter into what penetrates our religious life as unsatisfactory and look at this from a higher perspective. We will speak further about this tomorrow.