The Rudolf Steiner Archive

Report in the “Chronik des Wiener Goethe-Vereins” of December 15, 1891

Goethe Evening, November 27

On this day, Dr. Rudolf Steiner (who is currently involved in publishing part of Goethe's scientific writings for the great Weimar Goethe Edition at the Goethe Archive in Weimar) gave a lecture on the “secret in Goethe's riddle fairy tale in the ‘Unterhaltungen deutscher Ausgewanderter’”.

After a brief introduction by the lecturer on the relationship between the “fairy tale” and the narrative, the conclusion of which it forms, and the indication of the fact that Goethe's view of the world and life is symbolically presented in it, Miss Adrienne Kola from the k. k. Hofburgtheater, so that despite the simplicity of the performance, not only the mysterious, mystical character that runs through the whole, but also the numerous individual highlights that the performance rises to, were fully expressed. One could hear it in the recitation of Miss Kola, to which one had to pay particular attention when it comes to an interpretation of the “Fairytale”.

Dr. Steiner followed the recitation with his own observations. The “Fairytale” presents, in a Goethean way, the solution of the same problem that Schiller also attempted in his Letters on the Aesthetic Education of Man at that time: How does a person, dominated by the laws of nature and sensual existence, reach that highest state where he can partake of full, unrestricted freedom? Schiller undertook the solution of this task through a philosophical investigation, Goethe gave it in a vivid image filled with rich poetic content. The happy state that man will achieve when full freedom is his own is presented to us as the marriage of a young man to the beautiful lily, the queen in the realm of freedom. The young man rules, endowed with the three highest gifts that can belong to man: wisdom, piety and strength. The temple from which he rules the new kingdom rises above a river that separates the kingdom of freedom from that of natural necessity, sensual drive, passion, before that highest human goal is achieved. This river represents the state, custom, law and justice, which prevent people who have not yet been prepared for freedom from seizing it before they can understand and use it. Only at certain moments is it possible for man to cross over into that longed-for land. At noon, when the green snake coils itself over the river and serves as a bridge, and in the evening, at dusk, when the shadow of a great giant stretches across the river. The snake represents human selflessness and self-denial. Only in those moments when all selfish desires are stilled, when man selflessly loses himself in the objective world, is he worthy of freedom and also partakes of it. Opposite the snake are the so-called will-o'-the-wisps. They feed on gold, which (in the fairy tale) is the symbol of wisdom. But they cannot digest it and throw it away as worthless metal. The will-o'-the-wisps are the symbol of human selfhood, which becomes selfishness and does not take up the gold of wisdom for the sake of the latter itself, but only to shine and show off with it. False prophets, demagogues, teachers who lack the actual love of knowledge are meant by this. From their mouths, wisdom is an empty, insubstantial phrase. But if it is also grasped as such by a receptive mind, it is imbued with inner life and leads to the highest culture. The gold that the will-o'-the-wisp throws out is devoured by the snake and makes its body shine, so that in the space that it now illuminates, the light of the highest knowledge, which is indicated by the old man with the lamp, also shines. Only where there is receptivity for this light, i.e. in a space where there is already another light, does the same shine. The giant represents blind arbitrariness, the raw force of nature, which does not lead people into the realm of freedom through its own value and efficiency, but through those means that join them by chance, without inner necessity. This element, which is added to man merely by external natural force, is symbolized by the shadow, which man, after all, does not cast himself. When the time comes, that is, when man has grasped that he must not merely renounce his self for moments, but that selflessness must become his very nature and essence, then the state of complete bliss will set in. Then the snake does not merely lie across the river for a short time, but sacrifices itself and forms a permanent bridge from the realm of nature to that of freedom. The wanderers now cross over and over without compulsion, that is, they move equally well in both realms; they ennoble their natural obligations through freedom, and they perform their deeds of freedom as if they were to happen with natural force. A state of humanity has thus been achieved that Schiller strove for through the realization of his aesthetic society.

During the course of the lecture, Dr. Steiner shared three interpretations of the “fairytale” from Goethe's circle of friends, which were recorded by the poet himself in 1816, with the permission of Prof. Dr. Suphan, director of the Goethe and Schiller Archives.

Report in the “Weimarische Zeitung” of February 26, 1892

In a series of lectures dealing with the development of the main currents of German intellectual life, the lecture characterizing the high point of this development must naturally claim the main interest. This task was the fifth lecture of the cycle:

“Weimar at the Center of German Intellectual Life,” and the lecturer, Dr. Rudolf Steiner, brilliantly fulfilled this task. In a speech that was as spirited and substantial as it was clear and vivid, he sketched out an image of the main period of German culture that took place on the soil of little Weimar.

Goethe's appearance in Weimar, seemingly a coincidence in his life, has become a necessary factor in cultural history. Goethe and Karl August understood each other, and from the outset each of them appreciated the high human value of the other. When Goethe came to Weimar, he had already passed through a major period of his development. Works such as “Götz” and “Werther” show his gift for bringing to light the most profound source of life, which he had developed to perfection. He had had a teacher in Shakespeare, the poet of pure humanity, whose figures are not influenced by an external destiny, but create their own destinies from within themselves. In the Prometheus fragment, this overwhelming sense of power and individuality finds its most powerful expression.

Artistically, the first ten years in Weimar were the least productive of Goethe's life; but they were significant for his personal development, to which the circle in which he lived contributed greatly: Wieland, the highly gifted Duchess Anna Amalia, the admirable Duchess Luise, the clear-minded, sensible Knebel. Charlotte von Stein replaced for him on earth what his Promethean belief had taken from him in the hereafter: the need for veneration. In view of this, the dispute about the limits of this relationship is simply laughable. Herder, too, was of the greatest value for his self-education. Both encountered each other at that time in the idea of the development of earthly things, each of which is a link in the great world harmony. For Goethe, this idea was the starting point of his scientific work. In place of the exclusively subjective world view of young Goethe, there now arises a more objective one that integrates man into the universe and its eternal laws. This world view and the corresponding ideal of art found their maturity in Italy.

This change can already be seen in “Iphigenia”, in the figure of Orestes. Goethe is Orestes, Frau von Stein is Iphigenia. The man hunted by the Furies does not find redemption within himself, but it is given to him from the outside. The warning that we depend on the iron laws of the outside world, and that the urge for freedom within us has to contend with the forces of life, is also preached by “Tasso”, whose motif is the deep conflict between talent and life. With this objectivism, Goethe had distanced himself from all subjective partisan points of view.

Therefore, when he returned from Italy, he was a stranger to Schiller; and it was only from the moment when Schiller, absorbed in the study of philosophy, also leaned towards the exclusive subjectivism of Goethe's clarified, non-partisan world view that the two men became friends. They developed an idealistic world view together; different in form but arising from the same core, it is set forth in Schiller's “Letters on the Aesthetic Education of Mankind” and in Goethe's “Fairy Tales”. From Kant's rigorous moral law, progress is made here to a free morality that creates good out of its own initiative, not compelled to do so by a categorical imperative. Schiller sought to lead man to freedom through beauty. Many researchers have already tried to find hidden wisdom in Goethe's Fairy Tale and have come to grief on the task. Dr. Steiner has for the first time revealed and explained the deeply symbolic nature of this difficult-to-understand poem in such a way that its great human and ethical content is fully revealed. The “Fairytale” proclaims in symbolic form the same thing that Schiller's letters proclaim in abstract form: only through the sacrifice of a limited ego does man achieve that higher self where he no longer has to obey the command of a moral law coming from outside, but can do out of himself what his personal judgment advises him.

The educational ideal of the classical period was universal: Goethe and Schiller also made a scientific impact. Goethe's scientific outlook is a highly idealistic one, the value of which can only be fully realized again in an idealistic direction of science. At the same time, science, especially philosophy, reached an undreamt-of height in Jena: Fichte and Schelling, in the first place, also had a stimulating effect on Schiller and Goethe. Goethe and Schiller's correspondence is the perfect expression of this universality. It found its productive expression, on the one hand, in the Xenienkampf, and on the other, in Schiller's dramas and Goethe's epic and dramatic works of the following period.

The lecturer then discussed, in broad strokes, but always picking out the essential with a sure hand, the structure and the accomplished poetic form of “Hermann and Dorothea”, where the demand of classical aesthetics that the material must be fully absorbed into the form is fulfilled in the most perfect way. The same is true of the “Natural Daughter”. The accusation that here not individuals but types have been created is rejected. The essence of this work of art is that individuality is only given to the extent that it is also a necessity within the framework of the work of art. Schiller's method of characterization is quite the opposite. It presents the individual as such for his own sake, but in contrast to his youth, now without bias. Schiller's approach to Goethe's style of poetry in The Bride of Messina is only apparent; for the idea of fate is opposed to Goethe's moral world order, and basically to modern and thus also to Schiller's view of the moral demand for human freedom. Schiller's dramas also gave the stage an inner momentum; a new idealistic acting style was also developed through them. Schiller was the link between Goethe and the public; when he died, Goethe was isolated. No one could follow him to the heights that he had reached through an unparalleled self-education. This self-education is most strongly reflected in “Faust,” which accompanied him from the wildest youth to the clarified maturity of old age.

The material for Faust is based on the conflict in the human soul between the positive things it has and the only suspected things it would like to acquire. The ascent to the otherworldly realm does not happen here, as in the Theophilus saga, through the grace of the higher powers, but Faust wants to fight for everything through his own strength. From the very beginning, Goethe had in mind the glorification of the victory of this lofty aspiration. And it was not a unified external action that he was aiming at, but poetic transformation of his own experiences. But just as the subjective individual experience disappears in the clear, objective, general world view in the older Goethe, so in the second part of “Faust” the experience rises far above the visible, the real, it is transformed into images, into symbols and allegories; and it is from this point of view that the second part must be considered. The speaker also touched on the same phenomenon in Wilhelm Meister.

Goethe's mission was to rejuvenate humanity in an aging age. Such a transformation is also taking place in our own day, for time has grown old again. The striving that rejuvenated Goethe's time, the striving for reality, also fulfills our youth. But what a difference! Goethe understood reality to mean the inner, the necessary, the divine in the earthly, while our present sees it in the external, the accidental. But a people with such a past can never forget it without at the same time descending from the height of its culture. And the generation that cannot say of itself: And Goethe's sun, behold, it smiles on us too! With this warm appeal to the present, the speaker concluded his interesting and thoroughly original remarks, through which he gave all his listeners an instructive and enjoyable hour.

I. Report in the “Deutsche Warte - Tageblatt für Politik und Gesellschaft, geistiges und wirtschaftliches Leben” from August 29, 1899

On Monday evening, the Freie Volksbühne held a Goethe celebration in Keller's Festsäle at Koppenstraße 29, which was attended by a large number of members and guests. Dr. Rudolf Steiner spoke about: “Goethe and the Present”. The speaker presented Goethe as a child of the 18th century, but at the same time as a man of the future who placed science above all other things. Even as a boy, he had instinctively sensed the scientific worldview of the future, and early on had opposed the prevailing worldview. At the age of six, on the occasion of the great earthquake in Lisbon, in which thousands died, he rejected the idea of a benevolent God and created his own natural religion. The same thoughts had guided him during his studies in Leipzig, where he had enthusiastically followed the natural science lectures but had stayed away from the philosophy classes. Thus, he became convinced that man is a natural product, like any other, and has not received any special moral qualities from a higher being, and he expressed this conviction in the words: “Noble, helpful and good, let each one be, for that alone distinguishes him from all other creatures we know.” A new idea of God then emerged for him from the sight of Greek works of art in Italy, as he expressed in his “Hymn to Nature”: “She, nature, has put me in, she will lead me out – I trust her.” The lecturer then went on to explain how the mighty spirit titan had undertaken to embody the entire workings of the world in a single idea handed down from the sixteenth century, in “Faust”, the contrasting figure to Luther. In Faust, Goethe wanted to show how man can find satisfaction through his own deeds; however, he was unable to carry out his work because he was not a man of action, but an artist who observed. This truth also emerges when we look at his personal life – Goethe was an experimenter in life. Now followed a detailed discussion of “Faust,” as it has become, along with a description of the individual phases of the Olympian's life and the influence these had on his work.

II. Report at the “Freie Volksbühne” in October 1899

In accordance with the decision of the last general assembly, the association's board had organized a Goethe celebration on August 28, 1899 in Keller's festival halls. Dr. Rudolf Steiner had been won for the evening. He gave a lively lecture that captivated the audience and said roughly the following:

One does not show proper reverence to a mind like Goethe's by engaging in blind worship, but rather by separating the lasting aspects of his creations from the ephemeral trappings, in which he reveals himself to be only a child of his time. Goethe is the herald of the scientific world view that is bearing fruit in the present, and at the same time the son of the eighteenth century. Despite its enlightenment, this century could not rise above the prejudice that man is a special, higher being than other creatures of nature; it could not come to the realization that nature produces man according to the same eternal and necessary laws as the simplest animal or plant creature. The assumption of a creative God outside and above nature was held fast. From his earliest youth, Goethe worshipped nature as the only gradual, creative entity. He sought to gain insight into the course of world events not through supernatural truths but by immersing himself in the natural sciences. He also saw only higher natural laws at work in the work of artists. When he saw the works of art of the ancient Greeks in Italy, he became convinced that they had been created according to the same laws that nature itself follows. He wrote down the words “There is necessity, there is God” after seeing these works of art. In the prime of his career, Goethe's work was a service to nature. Goethe gave the most forceful rejection of all supernatural deities in his Prometheus. Everything that man can be and become, he should strive for out of himself, not through the prospect of an otherworldly existence. He originally wanted to express this idea in his Faust as well. The aim was to show that man can achieve a satisfying existence by developing his own powers. Nothing of heaven and hell, of God and devil, was contained in the Faust plan which Goethe had in mind in the early seventies in Frankfurt. Instead of the later God, there was at that time the Earth Spirit, who is only a personification of the forces of nature; and Mephistopheles was not conceived as the devil, but as the embodiment of evil; he was not a messenger of God, but of the Earth Spirit. When, at the end of the 1890s, Schiller encouraged Goethe to continue Faust, a break in his world view had already occurred. He had interwoven his earlier ideas, through which he had become the prophet of the nineteenth century, with the thoughts of a dying time. He could no longer finish Faust as he had begun it. He introduces God and the devil into the poem. These now become the main characters, fighting for Faust's soul. Faust, a great character, an image of striving humanity, became a plaything in the hands of heavenly and infernal powers. This is how Faust says in the first part of the poem of the earth spirit:

You lead the line of the living
before me, and teach me to know my brothers
in the silent bush,
in the air and water,

in other words, how a Darwinian understands nature and man together as a single great unity. And in the second part, the same Faust is redeemed not by his own strength but by the blessed host, because “love from above” has taken hold of him. The Goethe who drafted the first plan for Faust continues to influence our views and perceptions to this day; the Goethe who completed Faust belongs to the eighteenth century. The speaker was thanked with enthusiastic applause.

Report in the “Berliner Hochschul-Zeitung” of June 25, 1901.

On Tuesday, June 18, the Natural Science Section experienced a momentous evening. Around one hundred people listened to Dr. Rudolf Steiner's lecture on “Goethe's View of Nature and the Present.” The lecture culminated in the answer to the question: To what extent was Goethe a forerunner of the modern materialistic worldview? The whole of Goethe's position in relation to today's natural science, the speaker explained, characterizes the poet's own words: He would most like to take a trip around the world to India, not to make new discoveries, but to look at what had already been discovered from his perspective. It is said that Goethe was incapable of an objective view of nature. This is not true. Goethe proceeded methodically, like any of the modern researchers. And his greatest merit was that the scientific way of thinking led him first to man himself as a creature of nature. His goal was to understand the whole human being as a natural product, and that is what makes Goethe appear to us as imbued with thoroughly modern views of nature. He fought against the outdated theological concept of creation, he fought against Linnaeus' system of classification. He sought to comprehend nature as a whole from a comprehensive point of view. His well-known investigations into the intermediate jaw show us his tireless efforts to remove the last anatomical barrier that was intended to separate man, the highest link in the natural chain of development, from the rest of the animal world. Man is not qualitatively different from the rest of the organic world, only quantitatively; for he is still building a moral world for himself. “Noble, helpful and good should man be,” but he too must bow to the ‘eternal, brazen, great laws.’ What Kant sought in the physical world, Goethe sought in the organic world: the inner connection, the natural lawfulness of all being and all phenomena. This is where Goethe was so infinitely ahead of his time, which makes him appear as the spirit of the new era. If he had known Darwin and Haeckel, he would have said an enthusiastic “Yes” to what they said. His skull studies show how he was the first to consciously enter the field of modern comparative anatomy. As everywhere, Goethe, as a naturalist, consciously pursued a clear idea; it was not accidental lucky discoveries that he made, as one so often wants to reproach him for today.

Goethe was a naturalist through and through, and this is no less evident in his concept of art. That is why the works of Greek art seemed so sublime to him, because they created according to the same laws as nature itself. In his opinion, every artist had to feel the laws of nature before he could form organic figures himself.

And what about Goethe's God? His concept of God was the feeling of a unified world order. Goethe also sought harmony between the inorganic and organic world. Kant had described this striving as an adventure of reason, Goethe dared to persist in it.

Even if one does not want to see Goethe as an important link in the development of natural science, one thing is certain: he was the first to develop within himself the great materialistic-monistic view of nature that was to determine the character of the 19th century. Modern science has confirmed what his genius had anticipated. He initiated the great spiritual revolution, which was called to overthrow old prejudices and evoke a new spirit of the age. We must always look to him when we seek the connection between the phenomena and the great sentiments of the entire world view.

The brilliant words of the proven speaker were followed by stormy applause. After a short discussion, in which Mr. cand. phil. Rehe took the floor, the evening was concluded with the usual cozy part.

Report in the “Neue Hamburger Zeitung” of February 14, 1902

Dr. Rudolf Steiner spoke on this subject yesterday evening at the local Theosophical Society. We learn the following from the speaker's remarks, which are also of interest to those who do not share these views:

The genuine spiritual leaders of humanity differ from other people in that we keep returning to them and keep drawing valuable instruction from their writings. But only a few are called to this leadership. Among them is Goethe, the artist and proponent of a worldview that opens up infinite perspectives. He is a man of a deep, mystical nature who set down in Faust that which he could only reveal to mankind in symbols. Admittedly, this work has been little understood. The first part is admired as the great, ingenious work of an excellent poet, while the second has found only a few appreciative viewers. Even an esthete like Fr. Th. Vischer called the second part a cobbled-together concoction of old age. Only he who has grasped and understood the revelations of the inner life as they appear in the mystical works of all times can draw from the second part of Faust, this deep source. Goethe himself says that this part of the work is to be judged quite differently than the first, just as he also points out that one becomes a mystic in old age under all circumstances.

As early as the sixteenth century, the figure of Luther, who wanted to seek the truth with the Bible in his hand, was contrasted in folk legend with that of Faust. Faust sought the truth in the book of the world and wanted to build further, relying on the knowledge of nature. Such a personality does not throw the inkwell at the devil's head, but is taken by him. As a result of the education of his time and his own character, Goethe was ripe for understanding this Faustian urge for knowledge. The time had come for him to draw truth from nature; even as a seven-year-old boy, he sought to establish his own cult of nature! And knowledge of nature at its highest level is at the same time knowledge of man.

The first part of Faust shows how Goethe faces nature, a man facing the universe. But Faust cannot break away from the material and falls into a grave sin in the first stage of development. Which paths should Faust take in the future? His Italian journey opened up a new world for Goethe. On classical ground, the secrets of an old, noble art were revealed to him. He also eagerly pursued the laws of nature. Now Goethe was ready to have Faust embark on a profound path of development: the second part of Faust bears witness to this. At the emperor's court, Faust appears in the mask of Pluto, who was revered in ancient mysticism as the god of life and death. Goethe knew how an understanding of life can arise from death. Faust shows the emperor Helen and Paris, the eternal living, eternal archetypes of those who have overcome life and recognized death. Faust finds these archetypes in mothers. Just as in Greek symbolism the appearance of a female personality signifies the attainment of a deeper level of consciousness, so in Goethe's work the mothers are a symbolic representation of the deeper layers of consciousness to which man descends, a representation of the depths of his own soul, from which he draws self-knowledge. But when Faust wants to grasp the archetypes, they fade away, for he has not yet progressed to the full inner experience. In Homunculus, we see a product of pure knowledge. Homunculus cannot yet live, but it can be a guide on the path to life to where Goethe himself was led: to ancient Greece, to find the real Helen, who can now stand before his soul as a figure of experience. Euphorion, who is created by Faust, represents the highest, initially achievable level of consciousness.

At the beginning of Act 4, Faust appears as a complete mystic. He has reinterpreted the best of his inner being for immortality. He who has awakened the highest humanity in himself, confronts the world as a completely new person, and so Faust strives for comprehensive activity in all fields. Once again he becomes a sinner, but then he appears at a higher level, that of material blindness. But the soul shines all the more brightly in its eternal radiance. Now Faust has become completely spirit in the body. Faust's ascent through the stages signifies a series of inner processes and opens up the perspective of immortality. The hymn of Pater ecstaticus is a paraphrase of Fichte's “I am eternal in all finiteness”. This shows the illumination of truth within the human being. During Faust's ascent to heaven, Goethe seeks to symbolize the higher powers of knowledge again in a female figure, this time the Mater dolorosa. The Chorus mysticus also shows that Goethe wanted the development in the second part of Faust to be understood as a symbolic-mystical one. The eternal feminine that draws us up is the deeper forces of our consciousness. Only he attains eternity who acquires it during the time. Thus Goethe concludes the second part of his Faust as a true theosophical mystic. The words are spoken from a higher vantage point:

Who always strives, we can redeem.

and

Only he deserves freedom and life, Who must conquer them daily.

Report in “Pädagogische Reform, also the organ of the Hamburg Teaching Materials Exhibition” of August 10, 1904

It is not difficult to see how Goethe's Faust drama is virtually a tragedy of the pursuit of education. And through the student, who receives instruction from Mephistopheles and then, in the second part, shares his own wisdom, the tragedy also becomes a comedy at times. But even more! It is not only education in general that we see here being striven for and even ridiculed. It is also a matter of very special historical institutions of the educational system that are presented to us here. The medieval university comes to life again.

To the extent that our knowledge of all aspects of education advances, it will also become more valuable to us to understand more deeply such images as Goethe has given us here. His work is a late manifestation of a long literary tradition, the many-faceted Faust saga and Faust poetry that has been unfolding since the 16th century. A modern movement, which aims to promote and research the highest levels of all education and training, cannot ignore such deeply characteristic literary representations. The movement, which has set itself this task, and which therefore seeks to cultivate the pedagogy of the sciences and the arts as such, has in fact sought to grasp the significance of the Faust theme for itself.

The somewhat cumbersome and misleading term “science and art education” has been replaced by the simpler term “higher education” by that movement. This indicates the decisive role that the high schools actually play in the education of the sciences and arts. Even in the poems composed for Faust, the various institutions of the higher education system play a role. Nevertheless, for this literature and for this movement, the role of the school system is primarily only an external matter. The main thing here as there is the way in which the discipleship of a science or even of an art develops in terms of the subject matter and the person. And Goethe's Faust gives unique pictures of this. The author of these lines has made a few suggestions in two other places, in the two essays: 'Faustschüler und Genossen' ('Ethische Kultur', 11 April 1903) and 'Ein neuer Faust' ('Neue Freie Presse', 5 July 1903). It seemed urgently necessary, however, to treat the subject more thoroughly than these brief allusions allowed. The Association for University Pedagogy, which seeks to provide an external framework for this modern movement, therefore turned to a researcher who has long been devoted to its tendencies and who has special knowledge of Goethe's work. Dr. Rudolf Steiner took on the task of a lecture on this subject, entitled: 'Faust as a Problem for Pedagogy of Science'. The lecture took place in the above-mentioned association in Berlin and also gave rise to a lively discussion in that circle. We can hardly continue our own treatment of the subject better than by simply leaving the floor to the aforementioned lecturer and the voices of the debate that are added to his lecture. Dr. Steiner explained approximately:

The idea of the theme of Faust as a pedagogical problem in science arose from the founder of the Association for University Pedagogy. A certain shudder – the lecturer continued – initially seized me, as if it were just a continuation of the old habit of linking everything to Goethe. On careful consideration, however, I found an intimate connection to what we represent under the name of university pedagogy. Pedagogy finds its special application at all levels of school institutions: at elementary schools, at secondary schools, and also at universities in the broader sense of the word. The fact that these should also be subject to a kind of pedagogy is precisely the point of our endeavors. If a comprehensive literary account of this is ever undertaken, the last chapter will be dedicated to the topic at hand. After all his other remarks, the author will have to answer the important question: How does a subject dealt with at university relate to the ideal aspects of life? What does our higher education have to offer us in terms of a higher conception of life? Everywhere we have to go through one-sided educational paths. How do we get a free and broad view? To a satisfying conception of life?

The question thus posed also underlies the Faust problem in its historical form, which it has taken on since the 16th century and which was still found in the 19th century in Nikolaus Lenau. In a nutshell, it is the question: What does the university have to offer people?

The historical Faust is said to have become a bachelor in Heidelberg in 1509, later a magister and doctor, and also to have studied in Ingolstadt, etc. There is no question about the historical figure of Dr. Faust and the significant impression he made on his contemporaries. Faust comes across as a highly dangerous person. As early as 1505, Abbot Tritheim wrote about him. According to this, Faust was already a famous personality at that time, who appeared in many places in a dizzying manner. Later he went to Krakow to study magic. Now the question arises for us as to how a doctor of theology and medicine could go to Krakow for the sake of the local odds and ends and then move on as a magician. In addition, his dissolute lifestyle, etc. is also reported. So this was a personality who had done his studies in the best possible way and yet got so little support for his life from them. Did science offer him so little strength? Is it possible to reach the pinnacles of learning and still not be able to cope with life?

It is an eminently pedagogical question that asks about the value of academic study in life. We also see it in Goethe. Faust was not a pathological personality, however, but rather a phenomenon of his time. And Goethe put his most personal experiences into Faust. Remember the way he speaks of himself on the occasion of his leaving the University of Strasbourg. The higher education issues are swirling around us.

Goethe's personality certainly has a lot to say to us here, despite the fact that his studies were disrupted. He was in a similar situation to Faust. He studied in Leipzig and in Strasbourg in a scientific way that was close to us moderns, and in doing so he also sought enlightenment about the riddles of life. He confronts us with a harsh doubt, but this was also a fundamental mood in Goethe's personality. With the necessary distinctions, we find Goethe similar to Faust, only without his lack of grounding. So in Goethe's case, too, university education seems to be powerless to provide the ideal goods of life. How does the student come to such a state of helplessness? Goethe reflected on this throughout his life. However, he sought redemption for his Faust from outside. If he had been an older man still in the Age of Enlightenment, he would (according to his own statement) have concluded Faust with the words:

A good man in his dark urges
is well aware of the right path.

Now, however, in his old age, he had to close with mysticism. Goethe was unable to say how the scholar as such could relate to life.

We are therefore confronted with a depressing thought; and this raises two further questions. Firstly, how do such personalities in particular arrive at such questions? The naive person will indeed be easily satisfied; but how do these questions arise in the scientific person in particular? One thinks of Lenau's “Faust at the Corpse”, from which no answer ever comes! But then, secondly, the question arises: does such doubt arise from the necessary limits of science itself or rather from our inadequate university education? In the former case, we understand it epistemologically; in the latter, in terms of university pedagogy. The lecturer said that he would like to show that the latter is correct.

We see a much-studied personality who is powerless in the face of life's mysteries. The point is that something takes the place of science. Through science, questions arise in the student that would otherwise not come to him. That is not the purpose, but it is a necessary side effect of scientific endeavor. Jurisprudence may teach us this and that; but in addition, questions arise with it, such as that of human responsibility, which the naive do not ask. National economics awakens questions in us about the social context. The natural sciences have a similar effect: think of biology, especially the question of the gradual development of organic life. And the study of ancient classical art leads us to question the psychology of the Greek people and the development of humanity as a whole. Thus, our studies present us with scrupulous questions precisely about the highest enigmas of human life. We cannot become proficient lawyers, etc. without those side effects.

It is natural that our studies, whatever else they may offer, initially make us uncertain; and all the more so because every study must be one-sided. Dilthey's “Introduction to the Spiritual Sciences” shows that we can only ever see the whole from individual perspectives. How do we go about overcoming these unavoidable limitations? How do we move from one-sidedness to all-sidedness? It is only natural that someone who has gone through one-sidedness becomes unstable. However, Goethe could not solve the question in a professional, university-like manner. And I, too, said the lecturer, must proceed one-sidedly here and not also, for example, become aesthetic.

Goethe could not find what he was looking for in the knowledge of the universities of his time. During his studies in Leipzig, he sought a world view. Later, his association with Fräulein von Klettenberg and his study of Paracelsus came.

What then follows from this necessary relationship? The sciences burden us with questions, but cannot free us from them in the first instance. The challenge is to give people what they have the right to demand here. Goethe sought to show this in his own way. Our question is: How can we organize university teaching with regard to the side effects described? That final chapter of a complete work on university pedagogy will go from branch to branch and ask about the doubts about life that arise there. Furthermore, how are these doubts to be dealt with at the university itself, so that the student is equipped to face life? In a sense, if we may speak in extremes, the university sins by burdening us. The task of its pedagogy will be to answer the question of what demands are to be made on university pedagogy in this regard. Even in primary school pedagogy, it is similar. The goal of true university pedagogy must be to not dispel those doubts, but to equip us to fight them. But that is precisely what is usually neglected.

Now we know why the historical Faust could become unstable. It was precisely in his time that it was possible for the student to find no summary consolidation of his studies. In the Middle Ages, it was theology that provided this crowning. From the fifteenth to the sixteenth century, a major turnaround took place in the scientific community; its expression is precisely the Faust saga. How do you cope with life without the Bible and theology? These had, of course, resolved doubts in their own way. In the eighteenth century, university studies had not yet progressed that far.

Kant's question: How is science possible? It also has a university pedagogical side. We recognize it in Kant's two writings, the first from 1796: “On a newly raised, noble tone in philosophy,” and the second from 1798: “The dispute between the faculties.” And well into the nineteenth century, this instability can be found as a psychological basis for scientific personalities. Our poet also took on this fundamental question of the time before Goethe. Thus he became the poet of the university pedagogical problem.

We put forward the thesis: Our task with regard to university pedagogy will only be complete when we solve these scruples. If we do not do this, if we let the student go without what we mean, then there is an ethical-university pedagogical breach of duty. Each individual specialized course of study must be accompanied by a careful deepening of the life questions that arise from that study. If the university educator does not carelessly pass by the human soul, he must come to terms with this question. We will not advance in our profession, but we will promote the life questions in the spirit of what has been studied. We can make the Faust-like natures, even the small ones, disappear in this way.

It is impossible here to go into detail about Goethe. We must not mistake Mephistopheles's mockery, the expression of the banal life, for Goethe's words. It is from these contexts that the sultry atmosphere arises, that peculiar milieu that characterizes the first part of the tragedy. Opposite the narrow-minded Famulus Wagner stands the helpless Faust; and then again the student, who is longing for the problems, but does not find the solution in the unpedagogical treatment of science! Goethe has Mephistopheles express this false scientific approach. In the second part of the tragedy, we then see how Goethe, in his poetic way, thinks about it. In the meantime, he had also undergone practical university pedagogical studies – at the institutions of the University of Jena, which he headed as minister. The scenes of the first part had been written by longing and demand. The scenes of the second part were different. Goethe had gained intimate experience as the supervisor of the university. Anyone who has even slightly examined the files of the Weimar Ministry recognizes Goethe as the most ideal university administrator, who on the one hand pays attention to the most immediate practical demands of life and on the other hand to scientific demands, but strives to harmoniously unite the two. Goethe knew very well how to get out of the university. With the help of these experiences and his own efforts, he wrote the second part of his tragedy, especially the second act. The character of Homunculus has been the subject of a wide range of commentaries, all of which are valid, since figures like this have endless layers of meaning. In any case, one thing is symbolically expressed here: the connection between scientific knowledge and the highest goals in life. Goethe also incorporated his knowledge of science education into the second part. There he shows symbolically how science is developed step by step; the observation of living nature is important, the progression from the dry conceptual to the human. But the homunculus has a second task: it leads to antiquity. From Goethe's Italian Journey, we see how the poet seeks knowledge of nature step by step, but also transforms this knowledge into skill and leads it to the summit of human existence. What is the goal of art? “There is necessity, there is God” and so on. He now shows us this psychological development of his own mind in the second part. In this way, knowledge should never become dry, nor should it ever stand alone; it should always lead to life. The homunculus had a longing for reality, a longing to step out of one-sidedness. May people only ever be led to dry study: this must also have the power to lead beyond itself.

Thus, in a final chapter on university pedagogy, we have to show what great life puzzles the individual scientific endeavors pose, and how the puzzles are to be solved. This is not an insurmountable task. The individual branches of science today make great demands; but it must nevertheless be possible to satisfy those demands of science.

My intention was — the lecturer concluded — to gain a result from Goethe, and indeed only one demand. How this demand is to be fulfilled will be the subject of many further pedagogical considerations at the School of Spiritual Science. I have endeavored to prove that thesis to be necessary.

The lecturer — this voice stated — showed how the positive sciences stimulate us to pose questions, but do not solve the ultimate 'metaphysical' questions. What is true, at any rate, is that science does not want to and cannot give more. However, the reason why science is nevertheless capable of more than just the specific lies in the fact that the naive mind passes by the deeper questions, since it lacks experience and the work of previous generations. To put a problem right is as much as to solve it halfway. The sciences rise above superficial observation, delve deeper, show things better than those and ask new questions. With knowledge comes doubt. The deeper we penetrate, the more we ask. But how can this misfortune be eliminated? Uncertainty can be depressing for us. Ms. Beneke has used the motif of this insurmountable burden to support the assumption of immortality. In any case, it is one of the healthiest motives for her. However, those questions cannot be answered by Goethe. I don't know, said the interpellant, what can be done for university education there. Only the individual teacher can give the individual student something beyond philistinism. Antiquity also offers something here, but far too little.

Another voice, this time from the field of medicine, put it as follows: It would be asking too much to review everything. Given that there is so much agreement, it would be ungrateful not to fulfill the necessary obligations. We have been led to a pseudo-university level, so to speak. One could even cite the preacher Salomonis and Friedrich Schiller to prove that all knowledge leads to doubt. But it seems that the individual sciences have to show that these puzzles raised by them are insoluble, and every single teacher could ensure that. But this goes beyond our previous knowledge. The lecturer was clever in not saying how to do it. Perhaps it means that we should go back to our philosophical college as we once did. But does philosophy have an answer to everything? Rather, it seems to us that it is necessary to point out that the search for truth is paramount. Today, due to the natural sciences, the circumstances are different than they used to be.

The author of these lines emphasized that the topic is eminently pedagogical and will actually be treated in a chapter of a comprehensive work.

Another speaker then said that we cannot do justice to the wealth of material presented in the lecture, and that he intends to emphasize only a single point. Goethe was so universal that it is impossible to pin down any single thing as the poet's personal opinion. With him, everything is in a state of becoming. According to Hegel, this corresponds to the dialectical development in things. What science is it then that gives a comprehensive picture and thus a concentrated effect on the personality? First of all, philosophy comes into play, especially metaphysics, which Goethe himself despised. The fact that one no longer wants to deal with it is a modern fear product. For a long time now, it has been practiced at his university for the first time. The problems in question are well known, mainly those concerning the relationship between our world of ideas and the real world. But one can arrive at this problem from every science. Just as the natural sciences can be referred to, for example, jurisprudence can be referred to. It has to establish the i8&i0oxpayia tüs vvxig; with that we become master of the problem of life. The most despised science, dogmatics, takes intensive account of those problems. In this way, all the individual sciences could be cited. The division of labor makes this understandable. Metaphysics cannot solve the problem of life without the other sciences. The great change that has taken place in the course of the last few decades has led us to see as the actual knowable only that which lies within consciousness. W. Jerusalem (Vienna), in his essay on the judgment function, takes refuge in a realism that the “you problem” compels. So we are referred to the practical purpose and to the police! I cannot go along with this sacrilege against the absoluteness of the cognitive drive. We say: if you want to teach, you have to have something (Goethe). There is a need to create knowledge in others. So we move from science to the “you problem”. However, we still need a science for the connection between science and life. And this is probably pedagogy. In it, all sciences come into their own. Furthermore, one of the purposes of higher education is also to educate university educators. We also need a university education seminar. The question that has been raised several times as to who should train its teachers is easily answered by the fact that the older ones train the younger ones.

In a final word, the lecturer added the following: My task was strictly pedagogical. Therefore, I could not get involved with the capabilities of the individual sciences. The student must become resilient. And that includes resilience to resignation. It was necessary for me to remain strictly pedagogical here. I only wanted to discuss the psychological fact of those longings. Something must be done about them. Goethe, however, only grasped our higher education problem intuitively and exemplified it for us in the same way that he can exemplify nature for us. He did not have to think about higher education at all. As for the “how”, a course in philosophy is not enough. Rather, we have to explore pedagogically how the individual teacher has to come to terms with the tasks of life. We cannot offer detailed solutions, but we can point the way. This “how” is a major philosophical study. Therefore, the question of epistemological standpoints cannot be discussed here any further, despite the good suggestion of a seminar. The main thing is: we want to become fit for life. So it is not about dogmatic solutions, but rather about finding ways.

Goethe is one of those minds in world history that have always inspired a very special response in observers. If you approach a poem or any other of Goethe's works, regardless of which one – I emphasize that this also applies to Goethe's so-called scientific writings – at any age, you will find beauty and depth, wisdom and art in abundance in all of his works. You will encounter satisfaction from reading or any other kind of contemplation. If, perhaps after years, you approach the same work of Goethe, having matured in the meantime, having come to know the world and people yourself, you will discover that when you first approached Goethe's work, you overlooked a great deal in it, that you were unable to recognize the abundance of wisdom, beauty, depth and truth in Goethe's works. This is the case with all great and significant people in world history. And one certainly comes to know the actual significance of the truly leading spirits precisely from the circumstance that, when one approaches them, one discovers something new in them again and again, depending on the degree of spiritual maturity that one has attained. And then there is the added fact that these discoveries, so to speak, never reach an end in human life. With Goethe, if we study his truly fundamental works from five to five years, we discover something new every five years, provided that we ourselves continue to develop and do not remain at the level we have once attained. We see into an almost unfathomable depth when we begin to understand Goethe's work.

This is how it is with Goethe's “Faust”. Anyone who has seriously approached Goethe's “Faust” will be able to say, in a completely different sense than is often claimed, that Goethe's “Faust” really does contain a kind of modern gospel. If the statement that a kind of modern gospel is contained in Goethe's Faust is justified, then the statement that the little-known poem, the so-called Fairy Tale of the Green Snake and the Beautiful Lily contains Goethe's apocalypse, Goethe's secret revelation, is equally justified.

This fairy tale of the green snake and the beautiful lily contains Goethe's world view and philosophy of life in their depths. Those who read this fairy tale for the first time will usually be able to make little of it. Those who try to gain the key to it will first recognize that Goethe wanted to express something special through this fairy tale. This fairy tale of the green snake and the beautiful lily can be found in every major edition of Goethe's works. I emphasize this because I have been asked again and again: Where can I find the “fairy tale”? If you look it up in the “Conversations of German Emigrants,” you will find it at the end. This fairy tale is designed, as it were, as a completely independent piece of writing.

Before the reading of the “fairy tale” by Ms. H[olger], let me just say a few words about how Goethe came to write this fairy tale. It was in the mid-1790s, when Goethe was at the height of his creative powers. It was the time when he had gained that deep insight into nature that is expressed in his scientific writings. It was the time when he had completed the first part of Faust, which was published as a fragment in 1790. It was during this time that the idea came to him of developing Faust into a great, comprehensive picture of humanity. This work of Goethe's, which was found sealed in his estate when he died, presents itself to us as the second part of Faust. Eckermann spoke repeatedly about this second part of Faust. I would like to emphasize just one characteristic saying. Goethe says: Those who enjoy my second part of Faust as a series of dramatic images may have an aesthetic pleasure. But there will also be those who, from time to time, will intuitively recognize what I have secretly hidden in these images. And Goethe again indicates in his conversations with Eckermann that in the second part of Faust, there is a hidden, as we would say in theosophical language, an esoteric meaning. A meaning that is hidden behind the images, which one then expresses in the way that Goethe did in the second part of Faust. When we find the ordinary language of the intellect, the language of words, too poor, too dry, too barren, too sober, too mundane to express the rich abundance of the spirit that we have to present when we want to express our own deep opinion about the life of the world. The esotericists, the priests of wisdom of all times, spoke in a pictorial language. The deeper we enter into the world of ancient legends, the more we recognize that this world of legends contains symbolic disguises of great, eternal truths. It was in this sense that Goethe spoke in the second part of Faust. But he spoke even more in this sense in the fairy tale of the green snake and the beautiful lily.

In 1794, he described how he had once again set out to solve for himself the problem that occupied the minds of the time. The problem or question of human destiny, or the problem of freedom. After the great struggles for freedom had stirred hearts in Germany and France, the problem of freedom was also that of the greatest minds. Schiller was involved and he asked himself: Is a person free who is trapped in eternal necessity? Are his actions to be understood as taking place with inner necessity, like external natural phenomena with the external? Like a falling stone, or in such a way that they arise from within the person himself and he is the author of his actions? Is man a free being? That is the question that occupied not only the great minds, but the hearts of all people. Hegel, Fichte, Schelling, Novalis, the Schlegel brothers, and so on, belong in this circle. The problem of freedom is a heart problem. Schiller dealt with freedom in one of his most important works, his “Letters on the Aesthetic Education of Man”. He argued that man is a threefold being, that on the one hand he is subject to nature, and there is man in terms of corporeality. Then, at the highest pinnacle of his being, we have man as a rational being, as a spiritual being. There, according to Schiller's extraordinarily spirited explanations, he is governed by the laws of eternal life, eternal truth and goodness. These laws permeate human life. Man cannot escape them because he is clear about the fact that his destiny can only be achieved in the realm of truth and goodness. Body and mind are the two poles. And Schiller says: even the mind is subject to necessity, to logical and dutiful necessity. In this area, there can be no question of freedom, because man cannot be free. Nor can the spirit be free, for it would have to voluntarily submit to the laws of truth and goodness. On the one hand, we have the necessity of nature, on the other hand, the necessity of the spirit. Between nature and spirit, Schiller interposes the soul of man. The soul, which is in the middle, and as the connecting link between body and spirit, constitutes the actual personality of man. That which causes man to experience joy and sorrow, that which rises above natural necessity and has not yet ascended to the brazen necessity of reason. On the other hand, there is the duty of eternal truth and eternal goodness, which has a compelling effect on man. But joy and sorrow take up our laws of goodness and truth in such a way that they develop sympathy for them in their souls, that they bring them to the spirit. Thus Schiller says: “Nature's necessity is raised up to the spirit and [truth] and goodness are brought down and felt as beauty. And in this way it is incorporated.” In the sense of Schiller, Kant emphasized the eternal necessity too harshly in his categorical imperative. Schiller rejected this with the words: “No categorical imperative!”

I am happy to serve my friend, but unfortunately I do it with inclination, and so it bothers me that I am not virtuous.

– because he does not make service a matter of compelling natural necessity. Man should not be so deeply immersed in his passions that they pull him down. He should inspire them and elevate them. On the other hand, he should allow himself to be imbued by the laws of the good and the true, so that he can surrender himself to his inclinations and his inclinations give him a soul that represents eternal necessary truth and goodness. That is Schiller's problem of natural necessity. At its center stands freedom, that is Schiller's solution.

But Goethe says that all problems in man can only be solved if they are considered in the context of the greater world. He says to himself: I also want to solve the problem, but in a different way. I need a rich, comprehensive imaginative life to solve this problem. Man is a small world, and when I consider him in the context of the cosmos, then I can solve this problem.

Therefore, Goethe puts all the imagery that he has acquired from his studies to date at the service of solving this question. On the other hand, he puts all the experiences he has had as a truly spiritual participant in the work of Freemasonry at this service. It was through Freemasonry that he was able to absorb the ideas he wanted to express. Therefore, all of this must be taken into account in order to somehow solve this Goethean fairy tale of the green snake and the beautiful lily, which is so rich in content. People already tried to solve it during Goethe's lifetime. And Goethe himself said: “I do not want to talk about the ‘fairy tale’ before there are a hundred solutions from others.” There were not that many at the time, or they did not come to his attention. But then many, all too many solutions came. People have tried to solve it from the point of view of criticism, of rationalists, from a purely Masonic point of view and so on. But these are only individual points of view and are not sufficient. They are one-sided points of view. If time permits, we will make at least a few suggestions and comments after the lecture by Miss Holger about what Goethe wants to say with this enigmatic fairy tale. I will therefore only say that today, with the short time, I can only give hints. For those who want to delve deeper, I would like to draw attention to the lecture on “Goethe as a Theosophist,” where I will try to show the depth of his world view.

If Theosophy were to claim that it is something completely new, only having come into the world in the last few decades, then it could easily be dismissed as ineffective. For it is easy for people to believe that individual special truths, new acquisitions in some field of knowledge, could enrich human thought and perception in the advancing age; but not that which concerns man's deepest innermost core, the source of human wisdom, that this should appear as something completely new in any age. This is not to be believed without further ado, and it is therefore only natural that such a belief, as if Theosophy could or wanted to bring something completely new, would have to cause mistrust of the Theosophical movement. But Theosophy has always, since it first tried to influence the modern cultural movement, described itself as an ancient wisdom, as something that people have sought, that they have hoped to attain in the most diverse forms at all times. And it has been the task of the theosophical movement to search in the various religions and world views for the different forms in which people throughout the ages have tried to penetrate to the source of truth. Theosophy has revealed that at different times, even in the most ancient times, there was something deeply related to the wisdom by which man tried to recognize his goal. And so it is indeed. Theosophy makes us modest with regard to the achievements of our own time. The well-known, thoroughly immodest saying that we have come so gloriously far in this 19th century is strangely limited by a consideration of intellectual life in its deepest sense, through the centuries and the millennia.

However, I do not wish to take you back to ancient times; instead, I would like to show you a modern personality who has tried to put into practice the ancient wisdom inscribed on the Greek temple with the words “Know Thyself”, that such a modern personality, who made this saying his own, is fundamentally in complete harmony with what Theosophy describes as its doctrine and belief. This personality is none other than Johann Wolfgang von Goethe. This personality is undoubtedly familiar not only to Germans, but also to many other cultured people of the present day. He is more or less so for each individual. Goethe, however, is a mind that one relates to in a very special way. He is a spirit that one can study at any point in one's life, and one will find much that reveals not only the great artist, the great poet with outstanding qualities, but one will soon, if one delves further, be able to judge Goethe the great sage, with whom one has such an affinity that, if one returns to him after years, one can always discover something new and ever more in him. We find that Goethe is one of those minds that contain an infinite amount. And if we have learned new things time and again to add to our own little treasure trove of wisdom and then we return to Goethe, we are amazed and stand in awe once again at what was previously closed to us because we lacked the echo to the realm that spoke through him. And no matter how much such a person has cultivated his inner life, no matter how much profound wisdom he finds in Goethe when he waits a few more years and delves into his writings again, he will be convinced that he finds something new, greater, even infinite in Goethe's works. Goethe is never exhausted. This is an experience that is particularly made by those who have trust, who have faith in the deep development of the human soul.

It is said that in his “Faust” Goethe has given us a kind of modern gospel. If this saying is to be accepted, then Goethe has also given us, in addition to his gospel, a kind of secret revelation, a kind of apocalypse. This apocalypse is hidden in his works; it forms the conclusion of the “Conversations of German Emigrants” and is read only by a few. I have always been asked where this fairy tale is to be found in Goethe's works. It is in all the editions of Goethe's works and, as I said, forms the conclusion of the “Conversations of German Emigrants”. In this fairy tale, Goethe created a work of art of infinite beauty. I will attempt to give an interpretation of this fairy tale without destroying the immediate pictorial impression of the work of art. Goethe has woven his most intimate thoughts and ideas into the “Fairytale”. In the last years of his life, he said to Eckermann: “My dear friend, I want to tell you something that may be useful to you when you look at my works. My works will not become popular; a few people will understand what I wanted to say, but nothing can make my works popular.” He probably said this with the second part of Faust in mind and meant that those who enjoy Faust can have an immediate artistic impression. But those who get behind the secrets hidden in Faust will also be able to say what is hidden behind these images.

I do not wish to speak about the second part of Faust, but rather about the fairy tale of the green snake and the beautiful lily, in which Goethe expressed himself even more intimately than in the second part of Faust. I would like to speak about what Goethe has secretly hidden in these strange images. But I would also like to speak about why Goethe used the pictorial expression to express his most intimate thoughts. Both questions will be answered in the course of the lecture.

Anyone who understands the Fairy Tale of the Green Snake and the Beautiful Lily knows that in Goethe we have a theosophist, a mystic. Goethe also represented the wisdom and the view of life that Theosophy advocates in a popular form; and the “Fairy Tale” is a fully valid proof of this. But in the times when Goethe was expressing himself, people did not try to clothe the highest truths in words through the power of the intellect in public lectures, as they do today; they did not try to present these most intimate human soul truths in the same way. Those who had insight into such truths expressed them in figurative form, through parables. It was an old custom, a custom that still originated in the Middle Ages, that one cannot arrive at the highest insights in an abstract form, but that for this a kind of initiation is needed. And this initiation made it impossible for those who sensed that a certain mood, a kind of breath of the soul, was needed to grasp such truths, to speak of these higher truths; truths that indeed cannot be perceived with the mind alone. A certain mood is needed, and I call this mood the 'breath of the soul'. The language of reason seemed to them personally too sober, too dry to express the highest truths. Furthermore, they still had some conviction that the one who experiences such things must first make himself worthy of the truth.

This conviction has meant that in ancient times, until about the third century of the Christian era, the truth about the human soul and the human spirit was not presented in such a way that it could be revealed publicly. Instead, those who were to come into possession of the highest truths had to be prepared to receive what was offered in the so-called mystery centers. These mystery temples presented all the secrets of natural and cyclic laws to the mystics as something that we would recognize as sober truth if we expressed it in dry sentences of the mind, but which the disciple had to recognize and live as living truth. It is not a matter of thinking wisdom, but of living wisdom. It is not merely a matter of permeating wisdom with the ardor of the spirit, but of becoming a completely different person. He had to approach the holiest with a certain awe; he had to understand that truth is divine, that it is imbued with the divine blood of the world, that it enters into our personality, that the divine world should revive, that knowledge means the same as what is meant by the word development. This was to be made clear to the mystic, and this he was to achieve at the purification stage of the mysteries. He was to educate himself to have a holy awe for the truth, he was to be weaned away from clinging to the sensual, from the sufferings and joys of life, from that with which everyday life surrounds us. The light of the spirit, which we need when we withdraw from profane life, could only be received when that had been discarded. When we are worthy to receive the light of the spirit, then we have become different, then we love the spirit, then we love with earnest sympathy and devotion that which we otherwise only recognized as a shadowy existence, as an abstract existence: We love the spiritual life, which for the ordinary person is only thought. But the mystic learns to sacrifice the self that clings to the everyday; he learns not only to penetrate truth through thinking, he learns to live it through, he learns to receive it as divine wisdom, as theosophy. Goethe expressed this conviction in the “West-Eastern Divan”:

And so long as you do not have this,
this: Die and become!
If you are just a gloomy guest
on the dark earth.

That was what the mystics of all times strove for: to let the lower die and to let that rise that lives in the spirit. To hold the dying of the sensual reality in low esteem, so that man may ascend into the realm of divine intentions. Dying in order to become. He who does not have this does not know what forces are at work in our world; he is only a dull guest on our earth. Goethe expressed this in the “West-Eastern Divan” and he also seeks to depict this vividly in the fairy tale of the green snake and the beautiful lily. The transformation of man from one level of existence to a higher level was the puzzle he wanted to solve. The question was: how can a person who lives in the everyday, who can only see with his eyes and hear with his ears, grasp this “die and become”? This was the question of mystics of all times. This great question was called the “spiritual alchemy” at all times, the transformation of man from the everyday soul to the spiritual soul, which grasps spiritual things as the ordinary person grasps earthly things, the table, the chair and so on, and considers them real. When this alchemy had taken place with man, then the mystery guides considered him worthy to receive the highest truths. Then they led him into the holy of holies, then he was initiated, then he was endowed with the teachings that teach him about the intentions of nature, about the intentions that permeate the plan of the world. It is such an initiation that Goethe describes [in “Fairytale”]: an initiation of the worthy person into the mysteries.

This arises for two reasons: first, in his youth, Goethe was equally eager to learn the secret that was then called the secret of alchemy. Between his studies in Strasbourg and Leipzig, he already recognized that there is a spiritual side to alchemy, and he knew that ordinary alchemy is only a distortion of the spiritual one. That everything known as alchemy could only exist because the figurative expressions were taken for realities. He meant the alchemy of the human being, which takes place with the forces of inner life. The mystery guides also gave instructions on how this alchemy can be achieved. Since they could only describe this transformation of human inner forces in parables and images, they spoke of one substance transforming into another. In what they said about the transformation of substances, they expressed what develops to a higher level in the life of the human soul, what transforms in a spiritual way. What great minds have shown in the spiritual realm to people attached to everyday life, they have applied to the transmutation of substances, of ordinary substances and metals in retorts, and have endeavored to discover what mysterious means was meant to effect the transmutation of the substance. Goethe has shown in one passage of Faust what he understood of these things. In the first part of Faust, during the walk outside the city gates, he points out exactly what is wrong, what is false and petty in the too materialistic view of alchemy. He mocks those who strive for the discovery of the secret in capricious efforts, and in the company of adepts and according to endless recipes, pour together the adverse:

There was a red lion, a bold suitor,
Married to a lily in the lukewarm bath,
And then both tormented with open flames
From one bridal chamber into another.

What Goethe ridicules here, the marriage with the lily, was what he wanted to show in the fairy tale of the green snake and the beautiful lily. The highest that man can aspire to, the highest that man should transform into, is what Goethe describes with the symbol of the lily. It is synonymous with what we call the highest wisdom, so that a person's actions see through nature, how an evolution has become an eternity. When man also observes the eternal laws, according to which we must perfect the eternal laws of existence, when he also recognizes the eternal development of his freedom, then he finds himself on a level of development, then this represents such a state of mind, such a level of knowledge, which is designated by the symbol of the lily. This lily, the highest of the soul's powers, the highest state of consciousness, where man may be free because he cannot abuse his freedom, because he can never disturb the cycles of freedom, this content of the soul, which was imparted to the mystics in the mysteries by transforming them through purification, this content has always been symbolically designated as the lily. The lily is also used to describe what Spinoza, in his “Ethics”, where he otherwise appears sober and mathematical, expresses enthusiastically and almost poetically at the end, when he says that man has ascended to the higher spheres of existence, that he imbues himself with the laws of nature. Spinoza calls this the realm of divine love in the human soul; the realm where man is no longer forced into anything, but where everything that lies within the realm of human development is done out of freedom and devotion, out of full love; where every compulsion, every arbitrariness is transformed by spiritual alchemy, where all action flows into the realm of freedom. Goethe described this love as the highest form of freedom, as freedom from all the desires and longings of everyday life. He said:

In our pure hearts there surges a striving
to voluntarily give ourselves to a higher, purer, unknown
out of gratitude,
to unravel the eternal unnamed
We call it: being pious! — Such blessed heights
I feel I am part of when I stand before her.

Before her gaze, as before the sun's reign
Before her breath, as before spring breezes
Melts, as long as the icy, rigid hold
The self-will deep in wintery tombs
No self-interest, no self-will lasts
Before her coming, they have shivered away.

This Spinozian love of God, which he seeks to attain by spiritual alchemy, is what the human being, the human will, is to unite with. The human will, which is active at every level, is that which has been referred to at all times as the “lion”, the creature in which this will is most highly strained, in which this will comes to life most strongly, and so mysticism refers to the human will as the lion.

In the Persian mysteries there were seven initiations. They are as follows: First one became a raven, then a secret agent, then a warrior, then a lion. The fifth degree was the one where man already looked at life from the other side, where man was born into the actual human being. Therefore, the Persian calls the one who has overcome the point of view of the lion a “Persian”. The Persian was an initiate of the fifth degree, and the one who had brought it to the point that his actions flow as calmly as the sun completes its course in the vault of heaven, the Persian called a “sunrunner”. And the one who performs the actions out of infinite love, he calls “belonging to the degree of the fathers”. The fourth degree was where man stood at the crossroads, where man has organized himself through the physical body, the etheric double body, which is the carrier of the life force, and the astral body, which is subject to the laws of desire, of passion. According to theosophical terminology, these three bodies form the lower parts of the human being; the lower man is born out of them. The initiate, the one who has seen through this connection, is designated by the Persian as the “lion”. And here the human being stands at a crossroads. Here that which forces him to act out of nature is transformed into a free gift of love. When he ascends to the fifth degree of initiation, when he develops to become the free human being who dares to do out of free love what he was otherwise compelled to do. This connection of the lion with the free loving entity is what alchemy describes as the mystery of human development. Goethe portrays this mystery in his Fairy Tale. He begins by showing how this strong-willed man stands, how he is drawn into the physical world from higher spheres, from spheres he does not know himself. Goethe is aware that man, in his spiritual nature, comes from higher spheres, that he is led into this world, which Goethe presents as the world of material, sensual existence. This world is the land on one bank of the river. In the “Fairytale”, however, there are two lands, this side of the river and the other side of it. From the beyond, the unknown ferryman takes people across to the land of the sensual world; and between the land of the spiritual and the sensual world there is the river, the water, which separates the two lands. With the water, Goethe has symbolized the same thing that mystics of all times have symbolized. Already in Genesis, this expression means the same as in Goethe. We also find this expression in the New Testament. For example, in the conversation that Jesus had with Nicodemus. It says: “He who is not born again of water and the Spirit cannot enter the kingdom of heaven.” Goethe understood the expression “born again of water” very well, and we can see how he understood it from the “Song of the Spirits above the Waters”:

The soul of man,
How like the water you are,
The fate of man,
How like the wind you are.

He places the world of the soul, the world of desire and longing, the world of passions and cravings, between our mind and our senses. These know neither good nor evil, our senses cannot err. The one who engages in these distinctions knows that when we study the laws of nature, we cannot speak of good and evil. When we study nature in the animal kingdom, we find that we can speak of harmful and beneficial animals, but not of good and evil. It is only by man's immersion in the water, in the world of the soul, that he becomes capable of good and evil. This world, which lies between the spiritual and the sensual, is the river over which the spirit comes from unknown spheres. Across the river has come man's innermost being, his actual spiritual core, across the river of passions and desires. And if he does not undergo further development, he is like a will-o'-the-wisp. This person, who is subject to the laws that live within him, when he has come across the river but has not yet received the divine spark to take him across to the other world, is therefore set down by the ferryman who brings people across from the opposite bank of the river to this side. No one can be brought over by the ferryman, but everyone can be brought over. We feel brought over without our intervention, through the forces that lie below our consciousness, that precede our actions. Through such forces we feel placed in the world of the senses, in this world. The ferryman who has brought us across from the spiritual life beyond has placed us in this world and can no longer take us back to the land we must reach, the land of the beautiful lily. (The ferryman is therefore the power through which one unconsciously enters the world of the senses.)

The will-o'-the-wisps want to pay the ferryman the tribute due with gold. But he demands fruits of the earth, which they do not have; they only have gold. But he does not want to be paid in gold. Pieces of gold, he says, are harmful to the river. The river cannot tolerate such gold, that is, wisdom can only be paid for with fruits of the earth. This is a profound wisdom. The gold represents the power of wisdom that lives in man. This power of wisdom that lives in man is his guide through life. This power of wisdom asserts itself when man feels transported into sensuality, as the power of his knowledge, his intellect. But this wisdom is not what brings man to development; it is precisely what makes him selfish, egotistical, when it unites with human nature. If it were to merge with that which flows in the stream, this power of understanding, this knowledge, then passion would throw up tremendous waves; for wherever man does not put his wisdom at the service of selflessness and simply throws it in, indulges his passions, there the stream throws up wild waves. It is impossible to satisfy the stream with gold, with wisdom. So he rejects wisdom that has not yet passed through selflessness. He rejects it into the ravines, where the deep darkness of the earth, where the deep crevices are. There he buries it. We will hear in a moment why he buries it. So the ferryman demands three cabbages, three artichokes, three onions; he demands fruits of the earth.

How can a person achieve their development? By ennobling the lower drives of their nature, by purifying what lives in them as sensual nature, by casting that into the stream and thus nourishing the stream of passions. This is what Schiller so beautifully expressed in his Aesthetic Letters: Only the one who has emancipated his lower nature understands how to be free. When our outer nature, our sensual nature, has been so ennobled, has grown from below, that it itself strives for the good, the beautiful, because passion can no longer lead it astray, because our outer sensual nature can no longer seduce us ; when we no longer throw wisdom into it, but pay for our passions with the fruits of the earth, so that our sensuality itself is absorbed by them, as the fruits of the earth are to be absorbed by the stream, then we have reached the lowest degree of initiation. This is expressed in the words of the ferryman:

You must know that I can only be paid with the fruits of the earth.

Now the will-o'-the-wisps continue in this world, that is, the human being seeks to continue on his path in life. In this world he finds the green snake, the symbol of human striving, of human knowledge. This snake has had a strange experience. The ferryman has previously driven the gold pieces down the stream and hidden them in the crevices of the earth. The snake has found them. The wisdom that helps people to move forward is still a hidden treasure today, shrouded in mystery. That is what Goethe wanted to say. Therefore, the person who wanted to find wisdom had to seek it far from all human selfishness. Then, when the person has made himself worthy of receiving it, it is in the right place. The symbol of the human striving for knowledge, the snake, penetrates itself with gold. This itself penetrates itself completely with wisdom and now becomes luminous. Thus the snake desires from the will-o'-the-wisps that which gives selfish man cause for pride, that with which he then throws around and shows off. This human knowledge, which is destructive in the service of egoism, is attained when man, like the snake, crawls humbly on the ground and strives to recognize reality bit by bit. It cannot be received when man stands proudly and erectly, but only when he, horizontal like the snake, clings to the ground in humility. There is the gold of wisdom in place, there man can imbue himself with wisdom. That is why the will-o'-the-wisp also call the snake their relative, saying:

Of course we are only related on the part of appearance.

– and yes, they are related, related is the snake to the will-o'-the-wisp, related is the wisdom that puts itself at the service of selfishness, to the wisdom that makes itself available in humility.

Now we are told in the “Fairytale” that the snake was down in the crevices of the earth and that it found something of human form there. The snake was in a temple. This is nothing other than the symbol of the mystery temple of all times. This hidden temple, which was in the crevices under the earth, is the symbol of the place of initiation. Here in this temple, the snake has seen the three great priests of initiation, those priests who are endowed with the three highest powers of human nature. Theosophy calls them Atma, Budhi, Manas. Goethe calls what Theosophy calls Atma, Budhi, Manas, the King of Wisdom, the King of Beauty and the King of Strength or the King of Will. In the mystery centers, the spirit was united with these three fundamental powers of the soul, with which the human soul must be initiated. In the Fairy Tale, Goethe describes this process. Down here in the halls of the earth is the snake that will shine from within because it has absorbed the gold of wisdom. And because it has absorbed it in humility, it is illuminated from within. The old man with the lamp is another figure. What does he represent to us? The old man's lamp has the property that it only glows when other light is already present. Because the snake glows, illuminates the interior of the mystery temple with the light radiating from itself, the light of the old man can also shine here. Goethe expresses this thought elsewhere with the words:

If the eye were not solar,
How could we behold the light?
If not the God-own power lives in us,
How can we be enraptured by the divine?

Here he says in poetic words what he expresses in pictures in the “Fairytale”. The realization that we call occult realization in Theosophy is represented by the old man with the lamp. The light appears to no one who has not truly prepared himself to receive it. It does not appear to anyone who has not worked their way up to that higher level of development, so that their self, their selfless nature, shines from within, bringing light to the light. When these two lights, the intuitive light and the light that comes from within the personality, shine towards each other, they give what the person experiences in his transformation as spiritual alchemy. The room around him becomes light, and he learns to recognize what the highest spiritual powers are, the gifts of the three kings: wisdom, beauty and strength. The gift of the golden king is wisdom, the gift of the silver king is beauty, devotion, and the gift of the brazen king is strength, willpower. A person can only understand themselves according to their innermost strengths when the light is reciprocated, the light of the lamp, which can only shine where light is already present. Then the three kings appear in their splendor, and at the same time the meaning of the fourth king becomes clear, that king who is composed of the metals of the other three kings. He is a symbol of the lower nature, in which the noble forces of wisdom, beauty and strength interact in a disorderly and disharmonious way, as in chaos. These three powers, which live in the highly developed soul, are also present in the lower nature, but in a chaotic, disharmonious way. This fourth king is the realm of the present world, the chaotic mixture of wisdom, beauty and strength. The soul powers, which can only achieve the highest in harmonious interaction, act on each other in a chaotic way in the present age. The voice sounds in the temple of initiation:

He will sit down.

The chaotic mixing will have disappeared when that which Goethe so longed for has been brought about: that the temple will no longer be hidden, but will rise in full daylight; that the temple will have risen from the depths and can serve all people as a temple of initiation; that a bridge will be available for all people to cross back and forth. That is the time when all people will have made themselves worthy of the highest wisdom, the highest devotion and the highest will. Then he will have fulfilled this task: the temple will have risen above the flow of passions. These passionate forces will then be so pure and noble that the highest spiritual element will be able to arise in the temple in broad daylight from the stream of desires and passions. Therefore it is necessary that humanity be filled with the “die and become” that Goethe so clearly portrayed in the “West-Eastern Divan”.

Goethe was repeatedly asked what the solution to the riddle was. He said: “What the solution to the riddle is can be found in the ‘fairy tale’ itself, but not in one word. It can be found at the point where we hear in a conversation in the underground temple that the snake is saying something in the old man's ear that we do not hear, by which Goethe suggests it as a confidential secret. This unspoken element is the solution. The solution does not lie in something that can be expressed in words, but in an inner resolve. Goethe also hinted at this in the “Fairy Tale” itself. The snake said quite matter-of-factly: “I want to sacrifice myself, I want to purify my self through selflessness.” This is precisely what must be considered the deepest solution to the fairy tale. It is an act, not a teaching. Until now, there were only two ways to cross the river: either at midday, when the green snake lies across the river and forms a bridge, so that one could cross the river at midday, or at a moment when the sun is at midday for him, when he is ripe to surrender himself to the higher spiritual light. But time and again he is drawn back down from this midday moment of life into the lower world, riven by passions. In such midday moments, the elect of the spirit can cross over from the shore of sensual life to the shore of the spirit.

But there is yet another way to cross the river, namely in the evening, when the shadow of the great giant extends over the river. The shadow of the great giant can also form a bridge over the river, but only at dusk. This shadow of the great giant, what is it? Goethe spoke in greater detail and more profoundly with his trusted friend about the forces that he had symbolically hinted at in the fairy tale. When Schiller once wanted to make a trip to Frankfurt am Main and was in danger of being mixed up in the quarrels of the time, Goethe wrote to Schiller: “I am very glad that you did not come here to the West, because the shadow of the giant could have touched you roughly.” But the meaning of the giant is also clearly expressed in the fairy tale itself. The giant, being weak, is incapable of anything. Only his shadow can build the bridge to the other side. This giant is the raw [mechanical] force of nature. Its shadow is capable of leading the person of raw passions across the river where the light no longer shines so brightly, where the light no longer deceives. These are the people who, by extinguishing their clear consciousness of the day in the various states of the soul, in trance, in somnambulism, in the state of psychic vision and so on, seek to cross over into the land of the spirit. So too, in the wild and raging action through which the people of that time wanted to penetrate into the realm of freedom, their consciousness of the day was extinguished. They wanted to reach the land of the beautiful lily. But the shadow of the giant can only cross over. Only uncertainly, in the twilight of consciousness, can man overcome the passions, that is, deaden them, when he is in an almost unconscious state, when he is not living in bright day-consciousness.

These are the two paths that lead to the other shore: in solemn moments at midday, the snake; and in the twilight of consciousness, in a trance, and so on, the shadow of the giant. But one thing should be striven for here: the snake should sacrifice itself completely, it should not just bend over the river of passions at noon, it should lead from one bank to the other as a bridge at every hour of the day, so that not only some are able to cross over, but that all people can come and go with ease. This is the decision the snake has made, this is the decision Goethe has made. Goethe points to an age of selflessness, where man does not put his strength at the service of the lower self, but at the service of selflessness, desiring no personal benefit.

No self-interest, no self-will lasts,
Before their coming they have shrunk away.

There are a number of other ideas associated with this basic theme of the “Fairytale”. I cannot go into all of them today, but I would like to touch on a few.

We find the old man's wife with the lamp, who is married to the representative of human — occult — knowledge. She tends the old man's house. The will-o'-the-wisps have come to her. These will have licked down all the gold that was on the wall, and they have given up the gold, which they have enriched themselves with, so that the live pug that ate the gold had to suffer death. The old woman is the power of understanding, which brings forth what is useful. Only when the occult power marries what clings to material culture, when the highest marries the lowest in the world, only then can the world take its course of development. Man will not be led away from everyday life, but he will purify everyday culture.

Man is surrounded in the world, in his dwelling, by that which hangs on the walls as gold. All that surrounds him is also gold. So what surrounds him? On the one hand, it is the man of knowledge, on the other, the man of utility. The entire experience of the human race surrounds him. All that has been gathered as the experience of mankind is piled up in human science. Those who strive for it seek what is recorded in the scriptures. There they lick out, as it were, historical wisdom. This is what surrounds man in his striving; it is what man will imbue himself with completely. But it is useless for that which is to live. The living pug gobbles up the gold and dies from it. Wisdom, which only exists as dead bookish wisdom, not made alive by the spirit, kills everything that is alive. Only when it is reunited with the source of wisdom, with the beautiful lily, does it come to life again. Therefore, the old man gives his wife the dead pug to take to the beautiful lily. The lamp has a peculiar property: [dead animals are transformed into gems by it], everything dead is brought to life by it; what is alive is clarified by it to become crystal, bright and transparent. This transformation is brought about in man through knowledge, that is, through occult knowledge.

Furthermore, the old woman is stopped by the will-o'-the-wisps to pay her debts to the ferryman. These three fruits are representatives of human utility, representatives of material culture. Material culture is supposed to pay this tribute to passion. Where else could the actual driving forces of the lower nature come from, if not from technology and the cultivation of material culture? It is interesting that the shadow of the giant, who has just emerged from the river, takes some of the fruits of the earth away, so that the old woman has only two of each fruit instead of three. However, she should have three for the ferryman and must therefore give the river a pledge. At this point, something very significant happens: She has to dip her hand into the river, which makes it black so that it is almost no longer visible; it is still there, but almost invisible. This shows us the connection between external culture and the world of the river, the world of the passions. Material culture must be placed at the service of the astral, the soul. As long as human nature has not been refined enough to be offered as a tribute to the stream of passions, technology is indebted to human flow. Invisible human endeavor is invisible when it is in the service of human passions; invisibly, man works on something that cannot be seen in his ultimate goal. It is invisible, but present; tangible, but not outwardly visible. Everything that man achieves on the way to the great goal, until he has paid his debt to the flow of the soul, everything that he has to throw into the world of passions, takes on the appearance of the invisible hand of the old woman with the lamp. As long as the sensual nature is not completely purified, as long as it is not consumed by the fire of passion, it does not shine, it is invisible. That is what upsets the old woman so much: she no longer gives off any light. This could be expanded upon in more detail. Every word is significant, but it would take us too far afield today.

So let us hasten to the great train, where a youth meets us who has tried too early to embrace the beautiful lily and is thus paralyzed in all his vital strength. Goethe says elsewhere: He who strives for freedom without having already made his inner self free falls even more into the snare of necessity. He who has not freed himself will be killed. Only he who is prepared, purified, as in the mysteries, who has undergone purification in the temple of the mysteries so that he can marry the lily in a dignified manner, will not be killed. He who has died to the lower in order to be reborn in the higher sense can embrace the lily. The present is presented to us through the paralyzed youth who wanted to achieve the highest in a storm. Now he complained to everyone he met that he could not embrace the lily. Now he is to be made ripe, for which purpose all the powers of man must unite, which are symbolized in the participants in the procession. The procession consists of the old man with the lamp, the will-o'-the-wisps and the lily itself. All the beautiful individual powers are thus embraced in this procession, which is led down into the clefts of the earth to the temple of initiation. Yes, it is also a deep feature of the riddle-tale that he lets the will-o'-the-wisps unlock the gate of the temple. Selfish wisdom is not useless; it is a necessary transitional stage. Human selfishness can be overcome by feeding itself on wisdom, by permeating itself with the gold of genuine knowledge. Then this wisdom can serve to unlock this temple. Those who unconsciously serve wisdom in the outer self are led to the actual seats of wisdom. The scholars who only pore over books are the guides there. Goethe did not underestimate science; he knew that it is science that unlocks the temple of wisdom; he knew that one must test this, judge and absorb everything in pure knowledge, and that without this one cannot penetrate into the temples of the highest wisdom. Goethe sought this wisdom everywhere. He considered himself worthy of recognizing the highest in spiritual life in art, after he had passed through science. He sought knowledge in physics, in biology, everywhere. And so he also lets those enter the temple of initiation who are will-o'-the-wisps, who, relying on themselves in a false upright position, confront the one who, after all, has observed through experience and can creep in like a snake. They cause the temple to open up, and the procession now enters the temple.

Now something happens that Goethe longed for all of humanity: The entire temple moves up out of the crevices of the earth. The temple can only be built over the river of the soul, over the river of passions and desires, because the snake has disintegrated into precious stones, which form the pillars for a bridge. And now people can move freely from the sensual world into the spiritual world and from the spiritual world into the sensual world. The marriage of the sensual man with the spiritual is achieved through the selfless man, through the sacrifice of the serpent's self, which arches over the river as a bridge. The temple thus rises out of the crevices of the earth and is accessible to all who cross the bridge, accessible to those with everyday vehicles as well as to pedestrians.

In the temple itself, we see the three kings again. The young man, who has been purified because he has recognized the three soul powers, is endowed with these three soul powers. The golden king approaches him and says:

Recognize the highest;

The silver king approaches him and says:

Feed the sheep.

In this way, Goethe expressed a thought that lay deep in his soul, namely the union of beauty with piety. It is the [invitation] that is in the Bible. He addresses these words to the young man in the sense that he expressed when he saw the Greek deities depicted in Rome and said:

There is necessity, there is God

, and:

I suspect that they [the great artists of the Greeks] proceeded according to the very laws by which nature proceeds and which I am on the trail of.

It is a personal touch of Goethe's when he lets the silver king appear as beauty and piety. And then the king of strength approaches him and says:

The sword on the left, the right free.

The sword should not be used for attack but for protection. Harmony should be brought about, not conflict. After this process, the young man is initiated with the three soul powers. But the fourth king has nothing more to say; he collapses into himself. The temple has risen from obscurity into the bright light of day. In the temple, a small silver temple rises up, which is none other than the transformed hut of the ferryman. It is a significant feature that Goethe allows the hut of the ferryman, who is the one who brings us across from the land of the spirit, to transform into pure, beaten silver, so that it itself has become a small altar, a small temple, a holy of holies. This hut, which represents what is most sacred in man, his deepest core of being, which he has preserved as a memory of the land from which he comes, from which he has come and to which the ferryman cannot take him back. It [the hut] represents what came before our development; it is the memory that we descend from the spirit. This memory stands as the holy of holies in the temple, in its sanctuary.

The giant, that raw natural force that lives in nature, a spirit that could not work through itself, but only as a shadow, has been given a remarkable mission. This giant stands upright and only indicates the hour. When man has discarded everything that belongs to his lower nature, when he has become completely spiritualized, then the raw, lower natural force will no longer appear in its original elementary power as a storm of the natural force living around man. This mechanical, raw natural force will only perform mechanical services. Man will always need these mechanical natural forces, but they will no longer conquer him, but he will instruct them in their service. His work will be the hour hand of spiritual culture, which, like a clock, regularly indicates mechanical necessity. But the giant itself will no longer be necessary.

We must not approach the interpretation of the fairy tale by discussing every single word pedantically, but rather we must empathize with what Goethe wanted to say and expressed in his images. In his “Fairy Tale”, Goethe addresses what Schiller expressed in his “Aesthetic Letters”: the marriage of necessity with freedom. What Schiller was able to express in his letters, Goethe was unable to express in abstract thoughts, but in fairy tale form. If I want to express these thoughts in all their vibrancy, then I need images; images like those used by the ancient priests of initiation in the mysteries. The priests of initiation did not teach by instructing their students with abstract actions, but by presenting the sacred Dionysus drama to them, showing them the great process of human development and the resurrecting Dionysus, as well as showing what was invisibly taking place in the Dionysus drama or the Osiris drama. In this way, Goethe also wanted to express what lived in him, in his drama in images. So, we do not want to interpret Goethe's fairy tale as usual, but we want to understand it as Theosophy explains this process, namely the marriage of the lower nature of man with the higher, as the marriage of the physical and ethereal body, the life force and the passions and desires with the higher nature of man, the three pure spiritual soul forces, namely Atma, Budhi, Manas, which are represented as the three kings. etheric body, of the life-force and of the passions and desires with the higher nature of the human being, the three pure spiritual soul forces, namely Atma, Budhi, Manas, which are represented as the three kings.

This is the development of the human being that extends into the age when every human being will be able to be an initiate. Goethe tried to express this in a truly theosophical way. Just as those mystery priests expressed their wisdom in images, so too did Goethe in his apocalypse, in images, express what human development represents, which will one day be the greatest deed of humankind: the transformation of the lower nature of man into the higher, the transformation of the lower metals, the lower powers of the soul, into the gold of wisdom; the transformation of that which lives in isolation into the pure, noble metal of wisdom, represented by the king, who is embodied in gold. Goethe wanted to express this human alchemy, this spiritual transformation, in a somewhat different way than in his “Faust”. He wanted to express in a slightly different form what he had secretly included in the second part of “Faust”. Goethe was a true theosophist. He had grasped what it means that everything that is transitory, that lives in our senses, is only a parable. But he also realized that what man tries and strives for is impossible to describe, but that it is achieved through an act; that what is inadequate is what keeps us on this side of the river, that it must become an event if the meaning of human development is to be fulfilled. That is why he also expressed this secret in the “Chorus mysticus” and concluded the second part of “Faust” with it. This is the highest life-power of the human being, symbolized in the beautiful lily, with which the male principle, the power of will, unites. He expresses this in the beautiful closing words of the second part of his Faust. These verses are his mystical creed, and they are only fully understood when one has seen his more intimate life unfold in the fairy tale of the Green Snake and the Beautiful Lily. He had already begun working on the second part of Faust at the turn of the 18th century, at the time when his view of nature was transformed to become a view of a higher world. It has the deepest significance if we can understand the words of Goethe in his testament, in the second part of Faust. When he had completed his earthly career and died, this second part was found sealed in his desk. He bequeathed this book to the world as a testament. And this testament concludes with his mystical confession:

All that is
transient is but a simile
The inadequate
Here it becomes an event
The indescribable
Here it is done;
The eternal feminine
Draws us on.

It is repeatedly emphasized that Theosophy is not something new, not something that has only come to mankind in our time. But it is particularly interesting that even personalities close to us face it in such a way that we may count them among the spirits we can call “Theosophists”. Alongside Herder, Jean Paul, Novalis and Lessing, Goethe appears as one of the most outstanding Theosophists. Some people, however, might object to this, because there is not much evidence of theosophy in Goethe's works that we know of. In Goethe's time, it was not yet possible to spread esoteric truths throughout the world. The “higher truths” were only disseminated in a limited society, for example, the Rosicrucians. No one who was not prepared was admitted into this society. But those who belonged to it spoke of it in all kinds of allusions. Thus Goethe at the most diverse places of his writings. Only those who are equipped with theosophical wisdom can read Goethe correctly. For example, “Faust” cannot be understood without that.

The “Fairy Tale” is Goethe's apocalypse, his revelation, in whose symbolic representation the deepest secrets are contained. That Goethe reveals his theosophical worldview in the “Fairy Tale” can only be understood if one knows the reason for it. Schiller had invited Goethe to collaborate on the “Horen”. Schiller himself had contributed the essay “On the Aesthetic Education of Man” to this journal. It poses the question: How does the person who lives in the everyday arrive at the highest ideals, at a mediation between the supersensible and the sensible? Schiller saw in beauty a descent of the highest wisdom into the sensible. He was able to express in a wonderfully vivid way what seemed to him to be a bridge leading from the sensual to the supersensual. Goethe now says that he cannot express himself in philosophical terms about the highest questions of existence, but he wants to do so in a great picture. At that time he contributed the “Fairytale” to the Horen, in which he attempted to solve these questions in his own way.

Goethe also expressed himself in a thoroughly theosophical sense elsewhere. He had already incorporated his views into “Faust” in his early youth. Between his studies in Leipzig and his stay in Strasbourg, Goethe received an initiation from a personality who was deeply initiated into the secrets of the Rosicrucians. From that time on, he speaks in a mystical, theosophical language. In the first part of “Faust” there is a strange phrase that is put in quotation marks: “the sage speaks”. Goethe was already attached to the theosophical idea that there are beings among us today who are already further along than the rest of humanity, that they are the leaders of people from supersensible spheres, although they are also embodied in the body. They have attained a knowledge that goes far beyond what can be understood with the senses. The passage in question reads:

Only now do I realize what the wise man says:
'The spiritual world is not closed,
Your mind is closed, your heart is dead!
Rise up, disciple, unwearied,
Bathe the earthly breast in the morning light!

When you get to know Jacob Böhme, you get to know one of the sources from which Goethe drew his theosophical wisdom. [J. Boehme's “Aurora” is the dawn, the astral world.] We can only understand some of Goethe's work if we grasp it in this sense. In the poem “The Divine”, Goethe speaks of the law that we call karma, and also of those exalted beings:

According to eternal, ironclad
great laws
we must all
complete
our existence

Hail to the unknown,
higher beings
we sense!

If anyone now wants real proof of Goethe's theosophical way of thinking, let them read the poem under “God and the World”, called “Howard's Memorial”. The first line reads:

When Gottheit Camarupa high and lofty

— Kama Rupa is the principle of man, the astral body, as we know it from theosophical teachings. When Goethe spoke intimately to those with whom he was united in the lodge, he spoke of ideal divine beings who shine forth as examples for mankind. This was intended for his close circle, for example, what he says in the poem “Symbolum”:

From the other side
the voices of the spirits are calling you,
the voices of the masters
Do not neglect to practise
the forces of good.

He speaks openly of the masters when he speaks intimately to his fellow masons.

But it is the fairy tale of the green snake and the beautiful lily that most profoundly introduces us to his view. In it, we find a depiction of the three realms in which human beings live: the physical, the soul or astral world, and the spiritual world. The symbol for the astral or soul world is water. For Goethe, water always represents the soul. This is the case in his poem about the soul and fate:

Soul of man,
How like thou art to water!
Fate of man,
How like thou art to wind!

He also knew the mental realm that man experiences between two states of embodiment, between death and birth, the Devachan, the realm of the gods. Man strives unceasingly for this realm. He fights here on earth to reach this realm.

The alchemists regarded the chemical processes as a symbol for the striving for this spiritual realm. They call this realm: the realm of the lily. Man is called the lion who fights for this realm, and the lily is the bride of the lion. Goethe also hinted at this in “Faust”:

My father was a dark
man of honor who, in his own way, reflected on nature and its sacred circles
with sincerity, but in a whimsical way;
who, in the company of adepts,
locked himself in the black kitchen
and, according to endless recipes,
he poured together the adverse. Then a red lion, a bold suitor, was married to the lily in the lukewarm bath.

Here Goethe speaks of the marriage of man with the spirit (in the lukewarm bath is in the soul bath. The soul is the water, the red lion is the human being). In the “Fairytale”, Goethe also depicted the three realms: the sensual realm as the one bank; the soul realm as the river; the Devachan — spiritual realm — as the opposite bank, on which the garden of the beautiful lily is located, which symbolically represents the Devachan for the alchemists. Man's entire relationship to the three realms is brought into a symbolically beautiful presentation. We have come over from the spiritual realm and strive back to it. Goethe has a ferryman bring the will-o'-the-wisps from the spiritual realm to the sensual realm. The ferryman can bring everyone across, but not bring them back. We came over without our will, but we cannot go back the same way. We have to work our way back into the spiritual realm.

The will-o'-the-wisps live on gold. They absorb this gold. It penetrates their bodies. But they immediately throw it off in all directions. They want to throw the gold at the ferryman as a reward. But he says that the river cannot tolerate the gold; it would foam up wildly. Gold always represents wisdom. The will-o'-the-wisps are people who seek wisdom but do not unite with its essence, instead regurgitating it undigested. The river represents the soul's life, the sum of human instincts, drives, passions. If the gold of wisdom is carelessly thrown into the river of passions, the soul is disturbed, stirred up.

Goethe always pointed out that man must first undergo catharsis, purification, in order to become ripe for the reception of wisdom. For if wisdom is brought into unpurified passion, the passion becomes fanatical, and people then remain trapped in their lower ego. The ascent of Kama to Manas is dangerous if it is not connected with a sacrifice of the lower self. Regarding this, Goethe says in the “West-Eastern Divan”:

And so long as you do not have this,
this: Die and Become!
If you are only a dull guest
on the dark earth.

The human being must be willing to sacrifice himself.

The will-o'-the-wisps are still caught in the Ahamkara, in the lower self. Wisdom cannot tolerate this. The soul life must slowly be purified and slowly ascend. In the meadow, the will-o'-the-wisps throw gold around. There they meet the snake. It consumes the pieces of gold. It makes them one with itself. It has the power not to make its ego proud and selfish, not to strive upwards in a vertical, arrogant way, but to move in a horizontal line in the crevices of the rocks and gradually to attain perfection. A temple is depicted, which is located in the crevices of the earth. The snake has already been roaming back and forth through it, groping and sensing that mysterious beings dwell there.

But now the old man comes with the lamp. The snake has become luminous because of the gold. The temple is illuminated by its radiance. The old man's lamp has the property that it only shines where there is already light. There it shines with a very special light. So on the one hand there is the snake that has become luminous because of the gold, and on the other hand there is the man with the lamp, which also shines. The light on both sides makes everything visible in the temple. In the corners are four kings, a golden, a silver, a bronze and a mixed king. The snake could only find these by touching them before, but now they have become visible to it through their own glow. They are the three higher principles of man and the four lower ones. The iron king is Atma, the divine Self; the silver king is Budhi, the love through which man can communicate with all men; and the golden king is Manas, the wisdom that radiates out into the world and that can absorb this radiant wisdom.

When man has acquired wisdom unselfishly, he can see things in their true essence without the veil of Maya. The snake now clearly sees the three higher principles of man. The golden king is Manas, just as the gold everywhere signifies Manas. The four lower principles are represented, symbolized, by the mixed king. In the lower principles, too, Atma, Budhi and Manas have moved into the sphere of appearance, but disharmoniously. Only when it is purified does something develop that cannot exist in disharmony. The temple is the place of initiation, the secret school that only those who bring the light themselves, who are as selfless as the snake, can enter. The temple is to be revealed one day, rising above the river. It is the realm of the future, towards which we are all striving. The secret places of learning shall be led up. Everything that man is shall strive upwards, dissolve in harmony, strive towards the higher principles. What was once taught in the mysteries shall become an obvious secret. The wanderers shall go over and across the river, from the sensual to the supersensible world and back again. All people will be united in harmony.

The old man with the lamp represents where man can already gain knowledge today without having reached the summit of wisdom, namely through the powers of piety, of the mind, the powers of faith. Faith needs light from outside if it is to truly lead to the higher mysteries. The serpent and the old man with the lamp have the powers of the spirit, which already guide [the soul] today and lead into the future. He who already feels these powers today knows this from certain secrets. The old man therefore says that he knows three secrets. But the fourth secret is spoken of in the strangest way. The serpent hisses something in his ear. Then the old man calls out:

The time has come!

The time has come when a great multitude of people will have grasped which is the way. The serpent has said that it is ready to sacrifice itself. It has reached the point where it has recognized that the human being must first die in order to become:

And so long as you do not have this,
this: Die and become!
If you are only a dull guest
on the dark earth.

To be in the full sense of the word, man can only through love, devotion, sacrifice. The snake is ready for that. This will be revealed when man is ready for this sacrifice. Then the temple will stand by the river. The will-o'-the wisp have not been able to pay off their debt; they had to promise the ferryman to pay it later. The river only takes the fruits of the earth: three cabbages, three onions, three artichokes. The will-o'-the wisp come to the old man's wife and behave very strangely there. They have licked up the gold from the walls. They want to stuff themselves full of wisdom and give it back. The pug dog eats some of the gold and dies, as all living things must perish from it. It cannot absorb the wisdom as the snake absorbs and transforms it, so it has a killing effect. The old woman has to promise the will-o'-the-wisps to pay off her debt to the ferryman.

When the old man comes home with the lamp, he sees what has happened. He tells the old woman to keep her promise, but also to take the dead pug to the beautiful lily because she brings everything dead back to life. The old woman goes to the ferryman with the basket. There she encounters two strange things. She finds the great giant on the way, who has the peculiarity of letting his shadow cross the river in the evening, so that the traveler can then cross the river on his shadow. In addition, the path over is conveyed when the snake arches over at midday. The giant can mediate the transition, but so can the snake when the sun is at its highest, when man elevates his ego to the divine through the shining sun of knowledge. In the solemn moments of life, in the moments of complete selflessness, man unites with the deity.

The giant is the rough physical development that man must go through. He also comes into the realm of the beyond through this; but only in the twilight, when his consciousness is extinguished. But this is a dangerous path, taken by those who develop psychic powers within themselves, who put themselves into a trance state. This transition happens in the twilight of the trance state. Schiller also once wrote about the shadow of the giant. These are the dark forces that lead man over.

When the old woman passes the giant, the giant steals a cabbage head, an onion and an artichoke, so that the old woman only has part of them, which she wants to use to pay off the debt of the will-o'-the-wisps. The number three is therefore no longer complete. What we need and have to weave into our soul life is taken away from us by the twilight forces. There is something dangerous in giving oneself to these. The lower forces must be purified by the soul. Only then can the body ascend when the soul fully absorbs it. Everything that surrounds an inner core in the form of shells is a symbol for the human being's shells. Indian allegory refers to these shells as the leaves of the lotus flower. The human physical nature must be purified in the soul. We have to pay off, surrender the lower principles to the soul life. We have expressed the paying off of the debt in the fact that the river has to be paid off. That is the whole process of karma.

Since the river is not satisfied with the payment of the old woman, she has to dip her hand into the river. After that, she can only feel the hand, but no longer see it. That which is external and sensual to us humans, what is visible about a person, is the body; it must be purified by the soul life. This symbolizes that if a person cannot atone for it in the nature of the plant, he must commit a guilt. Then the actual physical nature of the person becomes invisible. Because the old woman cannot atone for her guilt, she becomes invisible. The I can only be seen in the splendor of the day when it is purified by the soul life. The old woman says: Oh, my hand, which is the most beautiful thing about me. It is precisely that which distinguishes man from the animal, that which shines through him as spirit, becomes invisible if he has not purified it through karma.

The beautiful youth had aspired to the realm of the lily – spirituality – and the beautiful lily had paralyzed him. By this, Goethe means the ancient truth that man must first be purified, must first have undergone catharsis, so that he no longer reaches wisdom through guilt, so that he can absorb the splendor of higher spirituality within himself. The youth had not yet been prepared by the purification. All living things that are not yet ripe are killed by the lily. All dead things that have gone through the “Stirb und Werde” are revived by the lily. Goethe now says that one is ripe for freedom who has first freed himself within. Jakob Böhme also says that man must develop out of the lower principles.

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

Man must first mature, must first be purified before he can enter the realm of the spirit, the lily. In the ancient mysteries, man had to pass through stages of purification before he could become a mystic. The youth must first pass through these stages. They lead him to the lily.

The snake signifies development. We see those who are seeking the new path, all those who are striving towards spirituality, gathered around the lily. But first the temple must rise above the river. All move towards the river, the will-o'-the-wisps in front; they unlock the gate. Selfish wisdom is the bridge to selfless wisdom. Through the self, wisdom leads to selflessness. The snake has sacrificed itself. Now one understands what love is, a sacrifice of the lower self for the good of humanity, full brotherhood.

The entire assembly moves towards the temple. The temple rises above the river. The youth is resurrected. He is endowed with Atma, Budhi and Manas. Atma, in the form of the brazen king, steps before the youth and hands him the sword. It is the highest will, not mixed with the others. Atma should work in man so that the sword is on the left and the right is free. Before that, man works in particularity, the war of all against all. But now, when man is purified, peace will take the place of struggle, the sword on the left for protection, the right free to do good.

The second king represents what is known to us as the second principle, as the Budhi – piety, mind, through which man turns to the Highest in faith. Silver is the symbol of piety. The second king says:

Feed the sheep,

because we are dealing here with the power of the mind. The appearance here is the appearance of beauty. Goethe associated a religious reverence with art. He saw in art the revelation of the divine, the realm of beautiful appearance is the realm of piety. The brazen king signifies – without the lower principles – power, the silver king peace, the golden king wisdom. He says:

Recognize the Supreme.

The youth is the four-principled man who develops into the higher principles. The four principles are paralyzed by the spirit before they have undergone the purifying development. Then the three higher principles work in harmony in man. Then he will be strong and powerful; then he may marry the lily. This is the marriage between the soul and the spirit of man. The soul has always been represented as something feminine; the mystery of the eternal, the immortal, is presented here.

The eternal feminine draws us up.

Goethe used the same image here in the “Fairytale”, when the young man marries the beautiful lily.

Now all that is alive passes over the vaulting bridge from the sacrificed human self. Wayfarers pass over and across. All the kingdoms are now connected in beautiful harmony. The old woman is rejuvenated, as is the old man with the lamp; the old has passed away and everything has become new. The ferryman's small hut is now included in the temple in a silver-plated state as a kind of altar. What unconsciously took man across before now takes him across in the conscious state. The composite king has collapsed. The jack-o'-lanterns licked out the gold, for they are still directed towards the low. The giant now indicates the time. What used to be the sensual principle, what led across in the twilight hour, what is sensual, what belongs to the state of nature, now indicates the evenly passing time. As long as man has not developed the three higher principles, the past and the future are in conflict. The giant can then only work in an inharmonious way. Now time has become something harmonious in this ideal state.

The thought fastens that which fluctuates in a lasting way, which is expressed in the following words:

And that which floats in fluctuating appearance
is fastened with lasting thoughts.

What is seen in the Pythagorean school as the rhythm of the universe, the music of the spheres, the sounding of the planets that move rhythmically around the sun, arises through the realization of the divine thought. For the mystic, a planet was a being of a higher order. This is why Goethe also says:

The sun resounds in the ancient way
In the singing of the spheres,
And completes its prescribed journey
With a thunderclap.

That man has the ability within himself to develop to the highest divine, he says in the words:

If the eye were not like the sun,
It could never behold the sun;
If the power of God were not in us,
How could we, being divine, be enraptured?

I. Report in the “Weimarische Zeitung” of December 9, 1904

On Wednesday the Weimar branch of the Theosophical Society organized a lecture in the Erbprinzen on Goethe's fairy tale of the green snake and the beautiful lily.

As we were informed, Dr. Rudolf Steiner showed that this little poem contains the secret of Goethe's world view in a magnificent artistic image. The abundance of figures and events that the poet presents to us represents the soul life of man in his development from the sensual to the highest spiritual existence. For Goethe, human nature consists of body, soul and spirit. The spirit reaches its highest level when its three components: wisdom, mind and will, work together in full harmony within it. By undergoing a complete transformation through the purification of all its lower powers by the fire of selfless love and devotion, the soul achieves this harmony. Goethe thus symbolically represented human worth and human destiny. The harmony of the sensual and spiritual world at the highest levels of existence is initially expressed in an enigmatic, but as soon as one penetrates to the solution of the riddle, captivating way. One only gains a true sense of Goethe's depth when one seeks to unlock one's inner being with the help of this fairy tale. Goethe was inspired to do so by Schiller, who, in his Letters on the Aesthetic Education of Man, had sought in his more philosophical vein to reconcile the sensual and spiritual nature of man. Goethe wanted to express himself poetically about this. In pictures, he could speak as vividly about the riddles of the world as he knew how when he wanted to reveal what lived in his soul about them.

II. Report in “Deutschland” from December 9, 1904

On Wednesday, Dr. Rudolf Steiner gave a lecture at the Erbprinzen on Goethe's riddle fairy tale of the green snake and the beautiful lily, which the Weimar branch of the Theosophical Society had organized.

The lecturer showed how Goethe expressed his deepest thoughts about the nature of man and the meaning of life in this small poem. Schiller, in his Letters on the Aesthetic Education of Man, posed the same question: How can man harmonize his sensual nature with his spiritual nature? He answered this question philosophically, and Goethe was inspired to express what he had to say about it in a powerful poetic image. The deeper one delves into the aforementioned fairy tale, the more one can see that its lively, crafted images contain the abilities and powers that are effective in man, and the action described contains a symbol for the whole development of man from sensuality to spirituality. Body, soul and spirit in their relationships to each other and to the laws of the universe are presented in a colorful way. The three highest powers of the spirit, wisdom, mind and will in their harmonious interaction are the goal of human progress. The soul will be endowed with them in the right way when it has reached its summit. Its path leads from the life in the lower self to that in the higher self. Selfless devotion and loving sacrifice for the spiritual life lead there. Goethe revealed the most mature fruits of his inner experience through this fairy tale. The lecture indicated the direction in which the explanation must be sought, and at the same time pointed out that the more intimately one deals with it, the more surprised one will be by the richness and greatness of this poetry.