| 270. Esoteric Lessons for the First Class III: Third Recapitulation
11 Sep 1924, Dornach Translated by Frank Thomas Smith |
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| Then he shows us how we can delve down into feeling, how in feeling being and seeming are united, how there our being—selfhood in the good sense—arises with half its strength; how, however, we should understand that not only what is perishable and seeming in our being arises, but also the life-forces of the world, of the cosmos. |
| That we have entered in reality is expressed in that we first “revere”, which is an inner soul function; in that we then “understand”, where we gradually come alongside the process; in that we first arrive at the “guiding Beings”, who are to guide us; then the “living powers”, which weave and live through life. |
| We have now come farther. It is no longer “understand”; It is “grasp”, which is an action. The “Creative cosmic force” instead of “living powers” is placed at the beginning of the line to indicate the complete reversal we make when rising from “sham” to “being”. |
| 270. Esoteric Lessons for the First Class III: Third Recapitulation
11 Sep 1924, Dornach Translated by Frank Thomas Smith |
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It is not possible to again give the introduction concerning the obligations for the newly participating members of the Class. I therefore request that the members who give the new ones the [mantric] verses also inform them of the conditions involved, which I will describe at the end of this lesson. * My dear sisters and brothers, we will again begin by letting our souls hear the words that human beings—if they have ears to hear them—can hear from all the Beings of the surrounding world, which they could hear in the past, can hear in the present and will hear in the future, which allow them to envision the need for self-knowledge—that constantly comes to them from the entire universe—which is the true bridge to what the human being needs for his thinking, for his willing, for his working in the world if he wishes to be human in the true sense of the word. O man, know thyself! * My dear sisters and brothers, the description of the path to knowledge has led us to the Guardian of the Threshold. Once the Guardian of the Threshold, at the edge of the abyss of being, has shown us how the forces of our inner humanity—willing, feeling, thinking—appear to the eyes of the Beings of the spiritual world; after the Guardian has shown us how in the present time's consciousness we have not awakened to our full humanity in respect to these forces if they are inwardly observed, but that these forces appear to the divine-spiritual powers as the three beasts, which are shown to us by the Guardian of the Threshold; after the Guardian of the Threshold has placed this shattering view before our souls, he shows us the path forward, which leads to ennoblement in self-knowledge, and which must be followed if the exhortation “O man, know thyself” is to be realized. After he first showed us how we should stand in respect to our thinking, feeling and willing, he shows us—in the mantric verses which were cited at the end of the previous lesson in this Michael-School—how we are first to delve down into our thinking, but that this thinking is of a seeming nature [Scheineswesen] that cannot bear our true Self; but how we are then interwoven out in the cosmic ether and are at least able to revere those guiding beings [1] who lead us from earth-life to earth-life. Then he shows us how we can delve down into feeling, how in feeling being and seeming are united, how there our being—selfhood in the good sense—arises with half its strength; how, however, we should understand that not only what is perishable and seeming in our being arises, but also the life-forces of the world, of the cosmos. Only when we descend into the will do we feel being streaming into our selfhood. Seeming transforms itself into being. It descends into the will, and we feel the cosmic creating powers streaming through our will. These were the Guardian of the Threshold's words at the edge of the abyss of being—where the yawning darkness, the night-cloaked darkness is still before us, which is to become light in order that we find the light that can illuminate our actual self. Behind us is the glowing, sunlit physical reality, which only becomes dark because we cannot find our actual being in it. There the Guardian of the Threshold says these mantric words: See in yourself the weaving thoughts: [The mantra is written on the blackboard.] The Guardian speaks: See in yourself the weaving thoughts: The Guardian of the Threshold has spoken a mantric verse to us, of which we should not only receive its content, but rather with our whole feeling we should enter into the weave and life of the spiritual world. Therefore, this mantric verse is shaped so that in its rhythm it appears as having moved downward from the spiritual world. Each line begins with a stressed syllable, followed by an unstressed syllable. So, we have in the first verse: [While speaking the trochaic rhythm symbols (—∪ ) are placed above the first syllables of each line and then spoken with the appropriate stress] See in yourself the weaving thoughts: This coming down by the spiritual world to us is to be felt in the trochaic rhythm. Only then do we receive this verse correctly in our souls. Only when this speaking down to us by the spiritual world is with this intonation do we receive this verse in our souls correctly, feeling it deeply within us: See in yourself the weaving thoughts: The next verse is the opposite: Now we should rise with our feeling to being. Here [the first syllable] we are below: here [the second syllable] we strive upward to being: The unstressed [low] tone is before the stressed [high] tone: [while speaking, the iambic rhythm symbols are placed over the first two syllables of each line, and it is spoken with the corresponding intonation:] Perceive within the flow of feeling: We must live in these words, which are mantrically united in this rhythm: Perceive within the flow of feeling: That we have entered in reality is expressed in that we first “revere”, which is an inner soul function; in that we then “understand”, where we gradually come alongside the process; in that we first arrive at the “guiding Beings”, who are to guide us; then the “living powers”, which weave and live through life. In one mantric verse all is in the right place and all is integrated in the organism of the whole. The third verse tells us how we perceive being directly in the will. We stand alongside being. Two high-toned syllables begin: [While speaking the spondaic symbols (——) are placed over the first two syllables of each line on the blackboard and the lines are spoken with the corresponding emphasis: Let strive within the thrust of will We have now come farther. It is no longer “understand”; It is “grasp”, which is an action. The “Creative cosmic force” instead of “living powers” is placed at the beginning of the line to indicate the complete reversal we make when rising from “sham” to “being”. The beginning of each line of the third verse is therefore to be felt in its spondaic rhythm. Here we have trochaic [“trochaic” is written alongside the first verse]; here iambic [“iambic” is written alongside the second verse]; here spondaic [“spondaic” is written alongside the third verse]. Let strive within the thrust of will After the Guardian of the Threshold has presented this to our souls, he makes us aware of how we should integrate ourselves into the cosmos, into the world with all its forces if we want to advance in spiritual knowledge. For what is within us is at first not distinguishable according to its place, whereas in the cosmos it is ordered. In the cosmos, we can indicate the definite place. Within us everything is interwoven. But we do not achieve real knowledge if we do not rise up to the cosmic forces and the cosmic powers—if we remain subjective in ourselves, remaining in our own skin, if we do not go out of ourselves and let our body become the whole world. Then will our soul, our narrow humanity, feel itself to be a member of the cosmos. The spirit will integrate our narrow humanity into the whole cosmos, into the whole world. We must carry this out, as the Guardian of the Threshold indicates when he shows us how from the depths of the earth, which draws all the beings by gravity, forces arise which also draw us down, which bind our will to the earth if we don't make ourselves free by inner striving. Our gaze goes earthward if we want to localize our will. We must feel ourselves one with the earth's gravity, feel drawn by the earth and make the effort to free ourselves from the earth's gravity if we want to let our will to be one with the cosmos. Feel how the depths of earth Thus, speaks the Guardian of the Threshold to our willing on behalf of Michael at the yawning abyss of being. And in wanting to integrate our feeling into the cosmos, he does not direct us to the depths, but to the horizontal reaches of the world, where the forces swing from west to east, from east to west, permeating us. These are the same forces that grasp our feeling. We must feel the divine godly powers, who send their spiritual light in these pulsing waves from the horizontal directions if we wish to integrate our feeling into the cosmic distance. In order to integrate our willing into the vertical, feel it bound below and freed above, we must be able to send our feeling into the cosmic distance. Then there will be light in our feeling. Then something goes through our feeling which also goes through us, just as the sun illuminates the earth's air when it moves from east to west. However, in all that streams through us we must be loving. The force of love alone, which lives and courses through humanity, can accomplish what is asked of us. Then wisdom will course through us, and we will feel ourselves to be in the wide circles in which the sun moves, as feeling humanity, as Self, strong for true, good spiritual creativity. In respect to feeling, the Guardian of the Threshold, at the yawning abyss of being, says this to us as feeling human beings: Feel how from the cosmic distance And when the Guardian of the Threshold wants to speak to our thinking so that it integrates itself in the cosmos, he doesn't direct us down to the will, which should rise upward; he doesn't direct us to feeling in the wide circle in which the sun moves, but he indicates the heights, the heavenly heights where alone the self can live selflessly if it wants to receive the powers of thought in what comes with grace from above, if it wants to follow a higher striving. We stand below, the Word is above. We must be inwardly courageous to hear the Word, for only if we courageously strive for wisdom and knowledge does the cosmic Word resound from above, full of grace, speaking about humanity's true wisdom. Again, the Guardian of the Threshold speaks to us at the yawning abyss of being: Feel how in heavenly heights [The mantra is written on the blackboard.] The Guardian instructs us on Willing, Feeling, Thinking: Feel how the depths of earth We must look above if our thinking wants to unite itself with the forces of the cosmos. The realm of cosmic circling distance is where we must feel ourselves to be if our feeling wants to unite itself with the cosmic forces. Below is the place where we must look to insert our earthbound willing, which we should make free above, into the cosmic realms. Everywhere—above, in the distance and below—everywhere is special Being. We must feel it. The Guardian of the Threshold, on behalf of Michael, points us there and he tells us what we'll find above, in the middle and below. He instructs us further about the heights, the middle and below, because he wants to instruct us about thinking, feeling and willing. This is what he says: The light does battle with gloomy powers We are placed between light and darkness. Light wants our Self, darkness wants our Self. We are to find the path between light and darkness to come to the Self. That is what lies in the Guardian of the Threshold's admonition. Th Guardian speaks to our feeling: The warmth does battle with the cold Again, we are standing between polar opposites with our feeling: between the loving warmth, between warm love and cold hardness, the hardening cold. We must find the path between them if our Self would find itself. And about the third realm, where the will originates, the Guardian of the Threshold admonishes us: Thus, life does battle with death Life and death: We can lose our will to life, we can lose it to death; in life feel it vanish, in death feel it constricted. We must seek for the path. The Guardian urges us to do so. It will be the subject we begin with in the next lesson. The Guardian once more points out how we must seek the path to arrive at our human Self. He speaks with earnest words, for it is not easy to find the inner strength that holds and carries and leads the Self to find what it does not have in normal earthly life. We will see later how the Guardian gives us the means to do so. Next Saturday, when this mantric verse will be written on the blackboard, we will hear the Guardian further as he gradually points out the ways we can go astray—which we must know about in order to find the right path. * But now we must again consider, looking back at earthly life—which we must do every time we enter the esoteric—so now let us again consider the admonition which was spoken to humankind in the past by all the Beings and events, which speaks to humankind in the present and which will speak to humankind in the future: O man, know thyself! When all that streams through this Michael-School from the Guardian on Michael's behalf, when here the instruction in the rightfully existent Michael-School penetrates our soul, then we may be sure, if we are honest and open minded, that Michael's strength will stream through this room, which may be indicated by Michael's sign:
[IMAGE REMOVED FROM PREVIEW] [ in red ] and by the seal-gestures, through which Michael lets the RoseCross stream enter the RoseCross temple, the strength which humanity needs today for its esoteric life, which here acts from the threefold source of the cosmos—from the divine Father-principle, from the Christ-principle, from the principle of the Spirit, so that the RoseCross verse is united with the Michael-Gesture-seal: Ex deo nascimur
[IMAGE REMOVED FROM PREVIEW] [ lower seal-gesture ] In Christo morimur
[IMAGE REMOVED FROM PREVIEW] [ middle seal-gesture ] Per spiritum sanctum reviviscimus
[IMAGE REMOVED FROM PREVIEW] [ upper seal-gesture ] which must be felt so that the gestures are understood as: I revere the Father [ lower seal-gesture ] I love the son [ middle seal-gesture ] I unite with the spirit [ upper seal-gesture ] Once more: [ Michael-Sign-Gesture ] [together with the seal-gestures is spoken:] Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus * The mantric verses which are given in this School may only be possessed by those who are members of this School. In the case of someone who is a member of the School and is not present during a lesson, so does not have the verses, he can obtain them from another member who has them. For this it is necessary to request permission from Dr. [Ita] Wegman or from me. So, when someone wants to receive the verses because he was not able to have them here, it is necessary to ask either Dr. Wegman or me. But not the one who wants them is to ask, but the one who gives them. This must be said as a foregone conclusion. This is not some administrative measure, but in every case where the verses are passed on this must be observed, because it is the start of the occult act through which the verses are received. Those members who have recently joined may only receive the verses up to the lesson in which they have participated. Only in special cases, which must be judged individually, may the request be made for the later verses to be given. By mail—that is, by a means other than verbally—the verses may not be passed on from one to another. If anyone should write down anything else but the verses, he is obliged to only keep what he has written for a week, and then burn it. What is communicated here in the rightfully existing Michael School only has importance through verbal communication—this is an inner occult law—, with the exception of the mantric verses. It must be understood, so that these things are not thought to be childishly oriented towards sectarianism, that if these occult verses are passed on to others in a way that is not permissible, they lose their effectiveness, for the act of passing on belongs to the effectiveness of the School. It is because of these occult facts that the handling of the verses is so strictly required. * The activities for tomorrow are: At 10:30 a.m. the course for Pastoral Medicine; in the afternoon at 3:30 p.m. the course for theologians; in the evening a lecture for members, and at 5 p.m. a eurythmy performance. The speech course is at 12 o'clock as usual.
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| 270. Esoteric Lessons for the First Class III: Fourth Recapitulation
13 Sep 1924, Dornach Translated by Frank Thomas Smith |
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| We have here the escalation [the words are underlined on the blackboard.]: “support”, “sculptors”, “caregivers”, “helpers”. We also have another escalation. |
| Everything coincides with its inner meaning with which we should unite ourselves in meditation on the mantric verse. We have an escalation [underlined on the blackboard] “touch”, “experience”, “feel”, “think”. It is a special escalation. So in meditation we must also sense the inner, meaningful structure of such a mantric verse. |
| The request may not be done in writing—it has happened, so I must be clear about it—but must be done orally, except when exceptional circumstances make an oral understanding impossible. Least of all in esoteric matters should even the hint of bureaucracy exist. Everything must be alive, just as it should be in the Anthroposophical Society. |
| 270. Esoteric Lessons for the First Class III: Fourth Recapitulation
13 Sep 1924, Dornach Translated by Frank Thomas Smith |
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My dear sisters and brothers, It is not possible every time to give the corresponding introduction about the task and meaning of the School and about membership in the School. Therefore, although a large number of new members are again present, I will not give the introduction, but will continue from where we left off last time, and I must remind the members who are to give the previous mantras to the newcomers in the usual way, that they must to do so under the conditions which I will mention at the end of this lesson. They should also describe the conditions for acceptance in this School. * We shall begin by again letting our souls hear the words which are spoken by all the Beings and processes of the world to the human being who wishes to be worthy of the name, and who has an unbiased sense that in them lies the exhortation to seek true self-knowledge, a self-knowledge that leads to knowledge of the world. And we are exhorted from all sides, from all the Beings of all the kingdoms of nature and all the kingdoms of spirit to this self-knowledge in the true sense of the word, which is the path to world-knowledge. Thus, all the Beings of nature and of the spirit exhorted humans in the past, exhort them in the present, and will exhort humans in the future. These exhorting words that urge the soul of man, if he wants to hear them, from all sides, from the east and the west, from the south and the north, from above and below, may also today begin to describe what this Michael-School should mean: O man, know thyself! * We have seen how the seeker of knowledge approaches the Guardian of the Threshold, how—after the seeker of knowledge has stood there shattered by the impression of the three beasts, which show the true nature of his present willing, feeling and thinking as they appear before the visage of the spiritual world—how he is gradually lifted up by the Guardian of the Threshold. And we have already heard what the Guardian of the Threshold speaks to the one he wants to lift up, how he points, on the one hand, above, where a battle is taking place between the light and the dark powers in the realm from which the force of our thinking streams into our humanity. The Guardian of the Threshold thinks that we need this image. We need—if we wish to feel in the right way, by seeking knowledge, the origins of our thinking, the force of our thinking in our humanity—to look up to that realm from which our thinking comes, where however a terrible battle rages between the powers of light, the light which wants to guide thinking along the right track, and the powers of darkness, who want to divert thinking from the right track and lead it along paths of aberration. Our thinking is rooted above. We must know it to be so rooted if we want to be knowledgeable in the battle between light and darkness. And then, if we understand what striving towards the light is, we find that we must remain erect. And we must know that we are involved with the battle between light and darkness: The light wants to bring us to a state of spiritual powerlessness, so to speak; the darkness wants to make us lose ourselves in matter. But we must seek the state of equilibrium between them—not letting ourselves be overtaken by light, nor letting the darkness transform us into matter, but to stand firmly in our selfhood and find the equilibrium for our thinking between light and darkness. And then when we consider our feeling, we must see—in that realm which reaches out into the horizontal, into the cosmic distances—how we are involved in the battle between the warmth of soul and the coldness of soul. In the warmth of soul are working all the luciferic powers, the powers of beauty, the powers of brightness, the powers who want to give us divine forces without our own effort. We would be unfree and lacking independence if they were to catch us. But on the other side are the powers of cold, the coldness of soul that is permeated by ahrimanic Beings who would cause us to lose our Selves in the cold. We must find the equilibrium between that spiritual blissfulness into which the forces of warmth, the forces of heat, of fire wish to bring us, and that region into which, with enormous all-embracing intellectuality, the ahrimanic powers wish to seduce us with coldness. We must maintain our equilibrium between both of them in order to find the right sense of feeling for knowledge. Then, when we observe our willing, we must look below. There is the realm of the earth and of gravity from which the force of our will comes for our earthly life. For the earth does not only contain the force of gravity; spiritually, it also contains the force of human will. Once again, we stand face to face with two powers—the powers of life and the powers of death. We can succumb with our willing to the powers of life. Then it is as though the powers of life want to seize us, use our will forces in the cosmos. We must hold our Self erect, and find the equilibrium between these powers of life and the powers of death, the latter wanting to confine us in a constricted space in order to eternally interweave our will with materiality. The Guardian of the Threshold exhorts us at this point to maintain ourselves in equilibrium between light and darkness, in equilibrium between warmth and cold, in equilibrium between life and death. For we may not only belong to the power of the light. In light alone we would be benumbed, dazzled. We may not devote ourselves to the darkness alone, for then we would lose ourselves in the substance of darkness. We must strive for what is striven for in all the world. Wherever you look, my sisters and brothers, light and darkness intermingle. Look at your hair. The light plants it in your head. But it must be permeated with darkness, otherwise your hair would be entirely rays of light. Look at your whole body: it is woven of light. But it could have no solidity if darkness were not also interwoven in it. Look at any object, my sisters and brothers! Blossoming plants: they are created from light; but the powers of darkness must press up from the soil so that from light and darkness what the plants represent in their solid consistency—the nature of plants on earth—can be found. Just as in all of nature a balance between light and darkness is found, so must the human being strive psychically for it in the spiritual world if he wants to be a real seeker after knowledge. And it is also the case for equilibrium between warmth and cold, and for equilibrium between life and death. So, there we are at the yawning abyss of being, still looking, as behind us the gleaming colorful kingdoms of nature, to which we belong with our senses, become darker and darker as it becomes clear to us that our real being is not revealed by all of wondrous sensory nature, nor is it what leads us to self-knowledge. In front of us, like a black wall, is still the border of the dark realm, into which we must go so that there will be light within by means of the force which we ourselves bring. We are still standing at the yawning abyss of being, but have become bolder in confidence that through the Guardian's admonitions we will grow wings to cross the abyss in order to enter the darkness, and there is light in the darkness. This is one of the last of the Guardian's admonitions: The light does battle with powers of darkness [The mantra is written on the blackboard.] The Guardian at the abyss exacting equilibrium: The light does battle with powers of darkness You will find, my dear sisters and brothers, that if you devote yourselves to these mantric worlds with the right conviction and with peace in your souls, with a feeling of sacrificial devotion to the spirit, you will find that what instills equilibrium in the soul is present in the words themselves. As seekers after knowledge, we stand now before the Guardian of the Threshold at the yawning abyss of being. Next the Guardian of the Threshold teaches us how we, in wanting to choose the right direction between light and darkness, warmth and cold, life and death, can find our own Self. In no other way can we do this, my dear sisters and brothers, than by pondering the following: In order to achieve true knowledge it is necessary that we become one with the world, that we have a feeling respecting the world as a finger would if it could feel for itself, feel itself to be a part of the entire human body. If the finger could feel for itself it would say: I am only a finger as long as I am a part of the human body, when the human body's blood is my blood, when the human body's pulsation is my pulsation. If I am cut off, I cease being a finger. The finger loses its meaning when separated from the organism to which it belongs and only as part of which it can be a finger. The human being must learn to feel in this way in respect to the entire world. We are members of the spirit-soul organism of the entire world, and only seem to be separated from the spirit-soul organism of the world. We must connect in the right way to the spirit-soul organism of the world and must know that around us the elements earth, water, air, fire are spread, and we must learn to feel that our bodily nature—for it is composed of these elements—is at one with these elements. The Guardian of the Threshold teaches us that we should do this, and how. Just consider exactly what learning streams in those mantric verses the Guardian of the Threshold has given us, which have brought us to the abyss of being. My dear sisters and brothers, think that you tentatively touch some object with your finger. You know that the object is there where you touch it. You touch an object. You have the feeling of being at one with this object, because at the moment you touch it the sense of touch is what makes a finger, or whatever you touch it with, at one with the object. Now think that you as a whole are like a finger, a touching finger. You are standing on the earth, on the element earth. You are standing here because the earth's main property is the element of gravity. You are touching the earth with the soles of your feet, regardless of whether you are standing on the floor of a room or outside on the bare earth. The point is that you feel, in standing, that you are touching the earth's gravitational element. You could be standing above on a mountain, or on a tower: you sense—just as you sense at the tip of your finger the hard and the soft, the warm and the cold—in the process of touching you sense the unity in your soles of your feet, where you sense the weight of gravity. The Guardian of the Threshold says this when he admonishes us in the following way: O man, touch within your body's entire being That earthly forces are our support, that the earthly element supports us so we don't sink down, is what the Guardian of the Threshold is telling us now. Then he leads us further, so that we not only feel that we are like a whole finger, but that we also feel what is within the finger: it is the element of water, of fluid. For everything which is in the human being—something also known by physical science—is born from the fluid element. Solid is isolated from fluid, as ice is from water. We must rise to the sensation of the element of water. Out in the world everything is of a fluid nature. Our own formative forces are formed in us by the fluid element. Just as we feel the earth as our support, we also feel, in that we feel our organs, that we are formed as human beings out of the fluid element. It creates the formative forces for us. Our lungs and our livers are solidly formed, but they solidify from out of the fluid element, from out of the element of water. Just as we feel the earth to be our support, we also feel, in that we feel our organs, that the water element forms us as human beings. The water forces are our sculptors; the earth is our support. Therefore, the Guardian of the Threshold admonishes us: O man, experience in the circle of your touch (We can touch everywhere, but when we feel the touching itself ...) O man, experience in the circle of your touch, Now the Guardian of the Threshold continues to admonish us. He teaches us how we can also unite with the powers of air. We breathe in the air. We know that if we breathe in the air in the wrong way we feel it; so, it has to do with our feelings. We have feelings that make us fearful, that breech the coherence of our existence. Just as the water element shapes us, so do does the air element care for us. The Guardian of the Threshold admonishes us: O man, now feel in all your life's interweaving Now the Guardian leads us farther on to the warmth element. We feel ourselves united internally with warmth. We feel the earth outside of us as support. We know little about how the water forces shape us, during growth, for example; that stays in the subconscious. The powers of air thrust themselves in only when they are abnormal, when they don't work normally. But we feel united with warmth when we have the right amount in us. Our souls and our whole being become warm when we feel warmth from without. We stiffen when we must experience cold from without. Warmth and cold are at one with us in a completely different way in the elemental world. There they are neither merely supporters, nor our sculptors, nor our caregivers—they are our true helpers in physical existence. The Guardian of the Threshold admonishes us: O man, think in all the streams of feeling, If we heed all that is entailed in these demands, we will find the path to conscious unification of our corporeality with the elements. And in different degrees our corporeality is one with the elements. At first the earth-element supports us in an exterior, mechanical way. The earth-element is support for us; it is mechanical and exterior. It will become more inward, but still consists of formations which do not reach the soul; water-beings form us, are our “sculptors”. When we become one with the air-elements, we rise to the level of morality. The air-element is no longer a mere exterior designer, it is our caregiver. And our feelings are of anxiety if we do not breathe in the right way. The powers of air are “caregivers”; warmth and cold are “helpers”, enabling us to be earthly beings. They are fire-powers, now wholly at the moral level. The summation of the Guardian of the Threshold's admonitions with respect to the escalation of the elements: O man, observe yourself in the elemental kingdom. [The mantra is written on the blackboard.] The Guardian's teaching: O man, touch within your body's entire being We have here the escalation [the words are underlined on the blackboard.]: “support”, “sculptors”, “caregivers”, “helpers”. We also have another escalation. For in a mantric verse every word is in the right place, and there is no word there that only serves to fill an empty space. Everything coincides with its inner meaning with which we should unite ourselves in meditation on the mantric verse. We have an escalation [underlined on the blackboard] “touch”, “experience”, “feel”, “think”. It is a special escalation. So in meditation we must also sense the inner, meaningful structure of such a mantric verse. Once the Guardian has said this, he sums it up again in one line: [It is written on the blackboard:] O man, observe yourself in the elemental kingdom. Thus, the Guardian leads us to an inner experience of the verses, through which we can unite our corporeality with the elements to which it belongs. Then he guides us further on to the soul. Here he doesn't point us to the elements earth, water, air, fire; here he points us to the planets. He points out to us how we should feel about what mutually draws the planets' orbits around the earth, how one planet or another draws the orbit. The orbits have a relationship and speak to each other when the human being rises in his soul to this secret of the universe-pointing, planetary powers. Then he lives with his soul in the spiritual kingdom of the cosmos, just as he had previously lived with his body in the elemental kingdom. We can only psychically feel to be at one with the cosmos if we bring ourselves to live into the kingdom of the planets and their orbits. The Guardian of the Threshold tells us this with these words: O man, let rule within your depths of soul [It is written on the blackboard.] O man, let rule within your depths of soul
Again, the Guardian of the Threshold sums up the direction-giving forces in these two lines for how the soul can feel to be at one with the secrets of the planets: [written on the blackboard] O man, become yourself... The cosmic orbits of the various planets are drawn together into one cosmic orbit. We have thereby felt body and soul to be at one with the cosmos: the body with the earthly elements, the soul with the planets. If we want the spirit to feel at one with the universe, we can neither look to the elements nor to the secrets of the planets, rather must we look to the stars. For there is the power with which we must feel our spirit to be at one with in the distant universe, if we wish to feel ourselves to be members of this universe in the true sense. There the cosmos begins to intone the music of the spheres. Therefore, the Guardian of the Threshold admonishes us: O man, preserve within your spirit's creation [It is written on the blackboard.] O man, preserve within your spirit's creation Again, the Guardian of the Threshold summarizes the requirement in one line: O man, create yourself through heaven's wisdom. [It is written on the blackboard.] At every moment our spiritual existence is a creation of our Self. If we sense and feel this in the right way, we are internalized by the Guardian of the Threshold. We recall how the words of self-knowledge were intoned from all creation still in an abstract form, how they rang out to us from all sides of natural and spiritual existence. But now the phrase: “O man, know thyself”, is clarified in all its parts. It now consists of one, two, three, four, five, six, seven, eight, nine parts. “O man, know thyself” should be seen as nine rays of light, so to speak. Then it will be filled with what our meditation needs. That is how we should feel. And, in a certain sense, we should pledge to the Guardian of the Threshold that we will adhere to his admonition: O man, touch within your body's entire being We make a kind of pledge to the Guardian of the Threshold that we will always adhere to his admonitions, letting them run through our soul as mantras. Again, and again we look back, and at every step we feel bound to remember what is happening on this side of the threshold. And on this side of the threshold every stone and every plant, every tree, every cloud, every spring, every rock, every lightning, every thunder has called to us: O man, know thyself! Thus, when these words of the Guardian of the threshold ring out with full spiritual force in this room—words which he as the serving member of Michael's power, the reigning power of our time—when these words ring out we can be certain, because this esoteric school has been founded by Michael's might itself, that Michael is present with his force, with his spirit, with his love, that Michael is psycho-spiritually present among us. And that can be confirmed—here where responsibility is felt by the leadership of the School towards the power of Michael—that nothing else streams through this School than what is present in the holy will of Michael. It may be confirmed by Michael's sign and Michael's seal; this Michael-Sign [in red]:
[IMAGE REMOVED FROM PREVIEW] and the Michael-seal, which confirms that Michael-Power enters into the true Rosicrucian training and is thus conjoined with what is being taught in the Michael School with Michael's seal, which the Rosicrucian endowment seals in the Rosicrucian verse accompanied by the seal-signs: Ex deo nascimur
[IMAGE REMOVED FROM PREVIEW] [seal gesture] In Cristo morimur
[IMAGE REMOVED FROM PREVIEW] [seal gesture] Per spiritum sanctum reviviscimus
[IMAGE REMOVED FROM PREVIEW] [seal gesture] and that means: I revere the Father [first seal gesture] I love the Son [middle seal gesture] I unite with the Spirit [third seal gesture] “I revere the Father”: in saying “Ex deo nascimur”, this feeling passes through our soul; “I love the Son”: in saying “In Cristo morimur”, this feeling passes silently through our soul; “I unite with the Spirit”: is silently felt when saying “Per spiritum sanctum reviviscimus”. The mantric verses come to you, my sisters and brothers, with the sign and seal of Michael: [Michael Sign] [Together with the seal gestures is spoken:] Ex deo nascimur In Cristo morimur Per spiritum sanctum reviviscimus. * Only those who have been accepted as members of this School may possess the verses which are imparted here. Those who cannot be present during a lesson when verses have been given, may receive them from those who have received them in the School itself. However, in order to receive the verses, permission must first be granted by either Dr. Wegman or by me. The request to Dr. Wegman or to me can only be made by the one who wants to give the verses to another. Therefore, the one who wants to receive them should not request them; it would serve no purpose. He can go to someone and ask that he be given them; but the one who gives them must ask permission in every case. This is not an administrative rule, but an occult arrangement which must be followed, because the handing over must begin with this real act. The request may not be done in writing—it has happened, so I must be clear about it—but must be done orally, except when exceptional circumstances make an oral understanding impossible. Least of all in esoteric matters should even the hint of bureaucracy exist. Everything must be alive, just as it should be in the Anthroposophical Society. Furthermore, whoever writes down more than the verses is obliged to keep what has been written for only one week and then to burn it. For it is not good that they somehow remain longer. They can go in all possible directions. Esoteric material must be handled in this way; it is not an arbitrary rule. In esoterica, everything is determined from true occult foundations. And if esoteric mantric verses are revealed in an incorrect way by the members who have the right because they either received the verses here during a lesson or by the correct way as described—if they are received by others in an incorrect way, they lose all their spiritual force. That is an occult law. And in the spiritual world there are laws which may not be ignored without punishment. So, this is not an arbitrary rule, but one which obeys an occult law. * Now for some announcements. Tomorrow at 9:30 a.m. the course about Pastoral Medicine will continue, then at 12 noon the course for Speech Formation and drama; in the afternoon at 3:30 p.m. the course for Theologians. At 5 p.m. there will be an eurythmy performance. The next Esoteric Lesson, in which the Michael teachings will be rounded out, will take place on Monday at 8:30. |
| 270. Esoteric Lessons for the First Class III: Fifth Recapitulation
15 Sep 1924, Dornach Translated by Frank Thomas Smith |
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| But we use this corpse for our usual abstract thinkingbetween birth and death in order to understand the things of the physical-sensory world. Once we grasp how dead this thinking is, we can learn from the corpse that lies before us. |
| We must prepare the soul: [As the following is spoken, the words between quotation marks are underlined on the blackboard:] On the other side, we find “light's shining force”. It lives in our thinking. |
| I unite myself with the Spirit. Thus, we may understand what is spoken as having been strengthened by Michael's sign and confirmed by Michael's Seal, which is thus, thus and thus, [indicating the Seal gestures on the blackboard] which is impressed over the Rosicrucian words. |
| 270. Esoteric Lessons for the First Class III: Fifth Recapitulation
15 Sep 1924, Dornach Translated by Frank Thomas Smith |
|---|
My dear sisters and brothers, New members have again come to this School today. It isn't possible to repeat every time the introduction which describes the duties and meaning of this Michael School. Therefore, I ask the members who wish to give the verses to the new members, to do so in the manner I will describe at the end of the Lesson, and to give them the introduction, which everyone who wishes to be a member of this School must necessarily know. * And so, we will also begin directly today to inscribe in our souls the words which sound forth, to those who are open-minded enough, from all the kingdoms of nature and the hierarchies of the world which surround us as human beings. In the past, these words sounded forth to man from all the stones and plants, clouds, stars, from the sun and the moon, from the springs and the rocks. They sound forth to him in the present; they will sound forth to him in the future. O man, know thyself! My dear sisters and brothers, in the description of the path of knowledge we have reached the place where we stand before the Guardian at the abyss of being. The Guardian of the Threshold has made clear to us that what surrounds us in the exterior world can never reveal our own being to us; how our observation of nature, what on and from the earth lives and moves, what shines and speaks from the realm of the stars—to the extent we can perceive it with the senses and with our reason—all that offers nothing to clarify the being of our own self; that the brightness, this glistening in the sunshine, this living and interweaving which is so grand and powerful, so beautiful and magnificent in the outer world, remains dark and gloomy for our true self-knowledge. Then it was described how we approach the Guardian little by little, who appears to us in the figure of a spiritual cloud, thus showing us an image of ourselves, which in turn shows us what we should strive for as human beings in order to achieve self-knowledge. Then we reached the Guardian of the Threshold. He showed us what the true shape of our willing, feeling and thinking is before the countenance of the gods. He showed us how being fainthearted and having fear of knowledge lives in us, as hate for knowledge, as doubt about the knowledge that is nevertheless in us, because the character of our times has driven it into us. He showed us the animal form of our willing, feeling and thinking. It must be a shattering experience for us when the Guardian of the Threshold awakens the forces which lead to true self-knowledge in our souls. Then the Guardian of the Threshold raised us, first showing us, however, how our thinking, as we use it in normal life, is the corpse of the living thinking which was in us before we descended to physical-sensory existence. He showed us how our body, in earthly existence, is a coffin for the deceased living thinking, which lies in the coffin as a corpse. But we use this corpse for our usual abstract thinkingbetween birth and death in order to understand the things of the physical-sensory world. Once we grasp how dead this thinking is, we can learn from the corpse that lies before us. We look at this corpse. We say to ourselves: This corpse could never have come into being the way it is now. It is what remains of a human being whose soul and spirit were within it. The living person, the ensouled person, the spiritualized person must have existed beforehand in what lies before us as a corpse. Thus, we approach the reality of our thinking when we become aware of its deadness, and realize that it is the corpse of the living thinking that was in us before we descended into physical-sensory earthly existence. Then the Guardian reminds us that our feeling is only half-alive, whereas our willing is fully alive, but we are only conscious of this externally. The Guardian of the Threshold also reminds us that in order to gradually find the transition to living thinking, we should look up to the heavenly heights; that to grasp the nature of feeling we should look out to the cosmic reaches, and to gain an idea of the nature of will we should look to the world's depths, to the earthly depths. But at the same time the Guardian shows us how we are placed with our thinking—when we look up to the cosmic thinking in which our earthly-physical thinking is rooted—between light and darkness; how the light can be dangerous if we devote ourselves unilaterally to it, how the darkness can be dangerous if we devote ourselves unilaterally to it, how we must seek our direction and goal in the middle between light and darkness if we are to find the truth, how we stand in the middle between warmth and cold with our feeling, and how we can vanish in the sensual embers of feeling if we surrender ourselves to the warmth, and on the other hand harden in the cold. The Guardian of the Threshold indicates to us how we should walk in the middle between soul-warmth and soul-cold on the Christ-path. The Guardian of the Threshold indicates to us that when we seek willing in the earthly depths we find ourselves in the middle between life and death; how life would have us vanish in timidity; how death would have us cramped in nothingness; that we must findwilling in the Middle Way. That, my dear sisters and brothers, is what the Middle Way is—as it has been described since ancient Mystery times—which the human being must tread if he wants to follow the path to the spirit. The Guardian of the Threshold, before whom we stand as the earnest first representative of Michael, for the real leader of this School is Michael, gives us further guidance: how we can escape from this apparent thinking, from this dead thinking into the living essence of thinking. For this we must be prepared above all to strictly adhere to the laws which are prescribed for every esotericist in golden letters—he must only seize the gold—which the Guardian of the Threshold now repeats to us. He makes us attentive to the yawning abyss of being before us, which we must fly over, because with earthly feet we cannot cross; how we will have then entered the spiritual world, for there on the other side of the yawning abyss deep, night-cloaked darkness is still before us. But we must enter beyond the yawning abyss of being into that deep, night-cloaked, cold darkness. Out of it warmth must come to us, out of it must come light which illumines our own Self, which warms our own Self. We cannot find the firm support-point in the spirit if, whenever we are over there, we do not remember the pledge that our soul makes, now that we are in this situation, after having received the previous admonitions from the Guardian of the Threshold, who now says: Do not forget that as long as you are an earthly human being, even when you have crossed over to the spiritual world, that once you have returned you must adhere to the laws of the earth. When you enter the spiritual world with your thinking, you may not believe that when you return and organize your work and your thoughts in the earthly environment you may fly around dreaming within the earthly environment. You must reserve the flying for your thinking when you are in the spiritual world. You must practice deep, inner, intimate modesty, always wanting to be a man among men when you cross back to the ordinary world of ordinary consciousness. It is precisely by wishing to stay modest in the world, by abstaining from using the laws of the spiritual life in the ordinary world, that you will have the strength to grasp thinking in a way that it can serve you in spiritual worlds. The Guardian of the Threshold therefore teaches us about thinking thus: You climb down to the earthly element We must go through this by letting the mantric verse work on us. We must, if we wish to enter into the essential element of the earth, that means in the spiritual element of the earth; we must, my dear sisters and brothers, come to the point where we realize that our thinking is at first animal-like. We must experience fear of our own Self that is still animal-like; then the fear will give birth to its opposite and become the courage we need. That is the Guardian of the Threshold's urgently strong, earnest admonition, which cuts deeply into the heart. He admonishes us that we should feel this way when we tread the earth-element. We have already heard about treading the elements from the Guardian of the Threshold. He admonishes us further: when, as feeling beings, we enter the fluid element, in the world of the water-beings, that we should not be aware of fear of our own Self, but we should be aware of how we sleep dreaming in this water element, which is our sculptor, as we have seen. And it is just when we become conscious that we live a plant-like existence in our earthly human feeling, that this feeling awakens us, for it shows us how lame our Self is. We will awaken once we have the humility to recognize the lameness of our Self. Thirdly, when we feel ourselves to be in the air element with our willing—first in the earth-element with thinking, then in the water-element with feeling, then with willing in the air-element—then we will feel in this air-element that we have nothing in willing except what our normal memory gives us: memory-image-forms. We must seize these image-forms, which rest passively in our thoughts, with the will; then we are grasping the air-element in inner images. And our own soul will appear to us as if it were ossified. If we eliminate the earth and the air in thought and imagine ourselves wanting to breathe in the air-element, how ossified will we seem. But just by feeling this death by cold that we pass through, the spiritual fire will come to us, which we need in order to really grasp our willing. The verses are profound, which the Guardian of the Threshold presents to our souls. Only if we observe them well and have fear of ourselves and know that we are nullified if we only perceive the earth in thought, will we have the courage in our souls for living thinking. When we sense how lame in feeling we are on earth, half living and lame, will the strength grow in us which allows us to awaken, so that we are awake in spiritual life, with the feeling we had before we descended to earthly physical existence. Then, when we have willingly descended into the air-element with our memory, we feel sclerotic and shivering with cold. But it is just when we feel this shivering from the cold the opposite happens, the spiritual fire awakens, showing us that our earthly willing is sleeping, but rooted in the living willing which was in us before we descended to earthly existence. We must learn to remember our existence before we descended to earthly existence. In respect to feeling, the Guardian of the Threshold admonishes us: You live with the water-element In respect to willing, the Guardian speaks: You sense in the waves of air [The mantra is written on the blackboard with the corresponding underlining:] The Guardian speaks with great earnestness: You climb down to the earthly element We descend from thinking to feeling in memory when we let this verse work on us. And when we arrive at the depths of memory—where soul-life otherwise vanishesbecause the images of memory arise anew—there is the boundary, just as a mirror is a boundary. What comes to us from without arrives at something like a memory-wall, then it returns again and again. If one does not look behind the mirror, one does not see behind the memory-wall. But here the Guardian of the Threshold advises us that we must push through what is otherwise a boundary in order to enter the realm of spirit. After the Guardian of the Threshold has referred us more to our interior with his admonishing verses and has left us time to process the contents of the verses in the soul—for when we use these mantric verses in meditation, we must allow ourselves a very long time, especially at this point, so they can work in us with their force and really bring our I downward through thinking, feeling and remembrance to what lies behind all remembrance—then the Guardian tells us how we should comport ourselves in respect to the outer world. He draws our attention again up to the light, which however only lives in us in what seem to be thoughts. It is light that thinks in us. When the light pervades us, it thinks in us. But in earthly life light is only the appearance of a thinking that thinks itself. If we don't go beyond it, untrue spiritual being will lead us to the illusion of self-hood rather than to true self-hood So we must realize that if we only concentrate on thinking, we will wind up with the illusion of self-hood. But it is just this understanding of ourselves as earthly human beings, after having gone through the delusion of self-hood—through thinking, which, however, is capable of carrying us over the abyss of being to grasp the world's hardships and problems—that will enable us to gradually find support for experiencing existence in thought. From light's shining force Now the Guardian of the Threshold teaches us how in feeling, at first, we only retain the wonderful, all-embracing forms of the world. But when we only retain these forms in feeling, our spiritual experience remains powerless. Self-hood suffocates if we always only stare, feeling, at what has been formed in the world. But if we begin to love all that is worthy in the world around us, we find being in feeling and we rescue our humanity. The world's forms you only retain Generally, we try to hatch thoughts from earthly values. We only retain the illusion of light if we don't consider the earth's weighty problems. We retain what is formed on the earth only in vague feelings if we don't experience this earthly interweaving of forms and gestalt with love. And what can we retain of the world's life by willing? Our willing exists in the world's life. But if we only retain it by willing, we again fail to reach being. When the life of the world completely engulfs us, destructive spiritual exaltation kills the experience of Self. Immersion in the world's willing causes spiritual exaltation to erupt, which kills us. But if we develop the will in spiritual dedication to the higher worlds, if we think about what we are willing in the physical-sensory world in a way that the gods act in us, who inspire and give impulse to our willing, if we will in the service of the gods, then God lets his being give impulse to us as humans, and we sense real being in godly permeated willing. You only retain of worldly life These are the three admonitions which the Guardian of the Threshold calls out to us in the most earnest moments. [The mantra is written on the blackboard:] The Guardian speaks as though the Cosmic-Word itself were resounding: From light's shining force —It is as though the Guardian wanted to bring our attention to what we are actually doing. He says that we have not yet gotten over forming mere thoughts about light's shining— When shining light in you itself does think, —Once again, the admonition that in our vague, unfocused feelings only what is so wonderfully formed by the world is alive. At first the forming of the world is apprehended in the microcosm through the vagueness of feelings— When world-form feels itself in you —that is, not when we sense the world-form with our feelings, but when the world-form penetrates us, the macrocosm into the microcosm— When world-form feels itself in you, —we become aware of our own powerlessness— When world-form feels itself in you, We need this rescuing, for we are about to cross over the abyss. If we only carry over the thoughts instilled by the illusion of light, if we only carry over the vague feelings about world-form, then spiritual exaltation destroys the true light on the other side; powerless feeling, asleep, destroys the experience of the spiritual. We need awareness of the earth's needs, of all that the earth suffers, in order to be worthy to cross over to the spiritual world and not be destroyed by worldly thinking. We need love for what is worthy on the earth in order not to be turned to dust if we cross over with vague feelings. And thirdly, for willing we need this: You only retain of worldly life —and it will do so over there— Destructive spirit exaltation We may not merely carry over to the spiritual world what we have on this side. We must carry over a stronger soul than we have here. We must prepare the soul: [As the following is spoken, the words between quotation marks are underlined on the blackboard:] On the other side, we find “light's shining force”. It lives in our thinking. We need “Reflecting on the needs of earth”. Compassion for all the earth's suffering will preserve our “human state of being”. Over there, because we are coming to the World-formation, we don't only need our “feelings”, we need “love for all that's worthy on earth”; then our “human soul” will be rescued. Here [in the first verse]: preserve our human state of being; here [in the second verse:] the human soul is rescued. We must enter the full “worldly life”, which in our “willing” is only a weak reflection, is too flimsy to pass over. And we must develop “spiritually developed earthly willing” for the “god in man” to reign. This is the escalation: Light's shining force That, my dear sisters and brothers, is what the Guardian places before our souls so that we may develop the wings of soul needed to cross over. In the next esoteric lesson, to be held on Wednesday, it will be necessary that we receive the mantras through the Guardian of the Threshold—who in this case is Michael's representative at the threshold to the spiritual lands—the mantras which are the first that we speak when we arrive in the spiritual realm, which, however, appears before the human being when receiving these mantras as deep, night-cloaked, cold darkness. Today, though, after this has been shown to our souls, let us again contemplate what speaks to us from all being, encouraging us toward all that the Guardian of the Threshold has placed before us with such firmness: O man, know thyself! And what has been placed before our souls by the Guardian of the Threshold's words is Michael's message in this rightfully established Michael School. If we receive them with the right attitude, Michael's being is present in this room, consecrating and strengthening what has been placed before our souls. Therefore, it may be accompanied by Michael's Sign. Michael's Sign is:
[IMAGE REMOVED FROM PREVIEW] [in red] and Michael's Seal, which he has impressed on the Rosicrucian mood for centuries, and which is expressed in the dictum: ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus The first words, “I revere the Father”, are spoken accompanied by the gesture:
[IMAGE REMOVED FROM PREVIEW] The second words, “I love the Son” are accompanied by the gesture:
[IMAGE REMOVED FROM PREVIEW] The third words, “I unite myself with the Spirit”, are accompanied by the gesture:
[IMAGE REMOVED FROM PREVIEW] The first gesture means: I revere the Father
the second gesture: I love the Son
the third gesture.
Thus, we may understand what is spoken as having been strengthened by Michael's sign and confirmed by Michael's Seal, which is thus, thus and thus, [indicating the Seal gestures on the blackboard] which is impressed over the Rosicrucian words. So, should the verses live, which have been given through Michael's Sign, and sealed by the Michaelic Rosicrucian-School for your souls:
[IMAGE REMOVED FROM PREVIEW] [Michael Sign]
The following is spoken, accompanied by the Seal Gestures: ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. My dear sisters and brothers, the mantric verses which are given in this School may only be possessed by the School's rightful members, that is, those who have the blue membership certificate. Someone who could not be present at a lesson after the date of his admittance at which he could have been present, may receive the verses given after the date of his admittance from another member who has rightfully received them here in the School. For this it is necessary to obtain permission from either Dr. Wegman or myself. This is not an administrative measure, but it is a basis of an occult school that a real action precedes something like this. Only the person who wants to give the verses to another may make the request to Dr. Wegman or to me, not the one who wants to receive them. Therefore, one can request the verses from another. But permission may not be requested by the one who is to receive the verses, but the one who is to give them. It would be useless for the recipient to ask. Whoever copies something other than the mantras may keep it for a week; thereafter he is obliged to burn it, for what lives in this School should only live within the School and not outside it. This has nothing to do with power or arbitrary measures. It is all based on occult laws. Because if anything falls into the wrong hands, it loses its effectiveness for those for whom it is intended. If misuse prevails in that mantric verses or the contents of what is given here are given to the wrong people, the mantric verses and what is being given here lose their effectiveness for those who are present. These are facts, not some kind of arbitrary measures. * The program for tomorrow is: again at 9.30 the Pastoral Medicine lesson, at 12 o'clock the speech-formation course, at 5.30 the course for theologians and at 8 o'clock the lecture for members. |
| 270. Esoteric Lessons for the First Class III: Sixth Recapitulation
17 Sep 1924, Dornach Translated by Frank Thomas Smith |
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| The escalation is: [The following words are underlined:] Experience Sense Consider Shape Beat Force The three lines must be strengthened by concentrating on these figures. |
| The guardian of the Threshold admonishes us: [The third verse is written on the blackboard and “limbs” is underlined.] The limbs' force, You can think it And thinking becomes The will's goal-oriented human striving. |
| The escalation is: [Now the following three words are underlined:] weave live strive. The other escalation is: wisdom glow virtue. |
| 270. Esoteric Lessons for the First Class III: Sixth Recapitulation
17 Sep 1924, Dornach Translated by Frank Thomas Smith |
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My dear sisters and brothers, Once again, I must say that the introduction about the character and the responsibilities connected with the School cannot be repeated for the new arrivals each time. Therefore, I must request that those of you who were already here and have the mantras inform the new members concerning the contents of the introduction. Today we will once again begin with the words which contain the fundamental exhortation to the human being, which resound to him from all the kingdoms of nature and from all the spiritual hierarchies, if he has the necessary sensibility, to seek his own being, and also exhort him to recognize, through his own being, the world in its true spiritual nature. They resound from all that interweaves and lives in the earthly depths, in water and air, in warmth and light, from what lives in the mountains and springs, in rocks, in the plants and animals, in the physical human form, in human souls, in human spirits, what lives in the residents of the stars, in the spiritual hierarchies—it resounds thus: O man, know thyself! My dear sisters and brothers, the description of the spiritual path which leads from the sunny, light-filled world in which we live on earth appears on the other side of the yawning abyss of being at first as a gloomy, night-cloaked darkness. The path which leads us to where we become aware that, when we seek our own being in all that lives in the depths, flows in the air, all that creeps and flies, in all that our senses perceive in the majestic glow of the stars, in the powerful depths of universal space, in the immeasurably distant flow of time, that all that does not contain our being, the true source of our humanity, that it becomes gloomy when we look here for our humanity. The description has led us thus far to show that we must find the way past the Guardian of the Threshold, who has told us so much about the meaning of the spiritual world, over to what is still night-cloaked, black gloom, so that it can become bright there, and in this brightness the light arises to illumine before the eyes of our soul our own being, and therewith the being and essence and interweaving of the world. It must be clear to us that in the moment—and we have come so far in the description—when we have crossed over the abyss of being, past the Guardian of the Threshold, in that moment an important change takes place in the human being, that is, in ourselves. Let us look, my dear sisters and brothers, at our human existence as it is between birth and death on earth: we grasp the world thinking, we grasp the world feeling, we act in the world by willing. But thinking, feeling and willing are interwoven in our human earthly existence. If we want to carry out something in the near future, we consider it first, so what we carry out is already present as a seed in our thoughts. We see it flowing out in impulses of will. We feel that it is worthy. We feel love flowing to this or that being. Because we feel it, we form a thought about it. Or we go beyond that and carry out a deed of love towards the being, we let ourselves grow wings of love, and are urged forward to willing. But all that—thinking, feeling, willing—is closely related to our humanity as it unfolds between birth and death in the physical world. We are at one in thinking, feeling and willing. And the truth is that we are only really awake in our thoughts. They are bright and clear, although the Guardian of the Threshold had revealed them to be illusory. They are bright and clear, we are awake in them. Our feeling is darker and less clear. We are closer to existence in feeling, but the content of what we feel is like a dream, so that we can only speak of dream-feeling, even when awake. The will, however, as it emerges from our being, remains at first completely unclear to our normal consciousness. We have the thought that we want this or that; the thought appears, grasps the organism; the organism acts, carries out the thought; we see what we have carried out, again with thought. But the will itself rests in deep sleep, as do the things in our soul rest between falling asleep and awakening. But the initiate sees the thoughts in their living state, which they were in before the human being had descended from the supersensible world to the sensory one. He sees radiant being in the thoughts. But this radiant being he sees is not the illusion of thoughts as in ordinary thinking. We stand beside the Guardian of the Threshold. The abyss of being is there; before us—beyond the abyss, beyond the threshold—is the black, night-cloaked gloom; but from out of the darkness gleaming, living shapes are moving. We say to ourselves—because we sense that the kind of thoughts we had as physical persons have abandoned us—we say to ourselves: There is our flowing, living thinking. It doesn't belong to us now, it belongs to the world. Light on light, thought extracts itself from the black gloom. We know that thought, all our thinking, is there as the first brightness within the black gloom that we are approaching. And then we see something further down. We have the feeling—and the Guardian of the Threshold points to it with an admonishing gesture—we see how the darkness below is becoming fire-like. Fire, dark fire yes, but fire that we can sensepsychically, spreads out below us. What we recognize as our willing comes towards us over the abyss of being. The initiate gradually learns the following: What happens when thinking merges with willing? The thought—of what is wanted—is grasped; then this thought merges with corporeality as beneficent fire. What brings the will to existence is warmth, which is fire when our own will meets us from out of the darkness. And between this warmth, from which our willing streams toward us across the abyss of being (for our human will is a mere reflection of our cosmic will)—between this warm, dark out-streaming from below, which has at most a whiff of bluish-violet, and the bright lights of thoughts above, between both there is an interweaving, flowing warmth rising, light descending. Light-enveloped warmth rising, warmth-enveloped light streaming down: that is our feeling. It is a powerful picture which the Guardian of the Threshold draws. And now we know that when we cross over from the sensory world, from the world of physical reality in which we are between birth and death, into the world of the spirit, then we will be—in thinking, feeling and willing—no longer the unity that we are here; there we are Three. In the universe, we are Three: our thinking merges with light across the threshold; our will becomes fire; our feeling becomes light-enveloped fire. We must have the courage to expand and intensify the Self, the I, so that it holds the Three together when we cross over. We can do this once we are permeated with what could otherwise be a banality: that our head is the source of all our senses and thinking: All our senses and thoughts are distributed over the whole body, but what is especially expressed in our head is that in its roundness, with an opening below, it imitates the shape of the universe. If we can say to ourselves in all seriousness and inner ardency: my head is inwardly and outwardly an imitation of the world's shape, we feel then, in that we want to view the head from within, how this perspective expands to include the universe, which is only concentrated in our head for our earthly vision. We should then intensely feel how our heart, the physical expression of our soul, does not only beat because of what is in our body, because of what is enclosed within the skin; we breathe in the air, which is the impetus of the heartbeat, we breathe it out again. The world in all its grandeur and majesty participates in our heartbeat. What is sensed in our heart is not merely what is within us: it is the universal pulse-beat. If we consider how our limbs work through willing, it gives us the strength to not only will what is within us. Consider for a moment how the forces of heredity are in us when we are born, how the forces of karma, which we have acquired through many, many earth-lives, live in our willing. Let us think of all that, and feel: when we will, world-force lives in our limbs, not merely human force. Just think, my dear sisters and brothers, while still here at the Guardian of the Threshold's side he points over to the brightly lit, universally living and acting thoughts; to what wells up as warmth, light-bringing, light-filled; to what spiritually wafts over us from below like warm wind—the universe's fire, which is the ur-force of the will.
So we hear, resounding, what the Guardian of the Threshold has to say to us in this situation: Behold the Three (thinking, feeling, willing; man is split in three) Behold the Three, Experience the head's cosmic form The Guardian makes this sign: [It is drawn on the blackboard.]
[IMAGE REMOVED FROM PREVIEW] so that we stop and feel the head's cosmic form in this closed, upward pointing triangle. Let us concentrate on this. Feel the heart's cosmic beat The Guardian makes this sign: [It is drawn on the blackboard.]
[IMAGE REMOVED FROM PREVIEW] for us to feel in this sign the wave-like pulse of the universe, which crosses in the heart. Consider the cosmic force of the limbs. The Guardian of the Threshold makes the other sign: [It is drawn on the blackboard:]
[IMAGE REMOVED FROM PREVIEW] We should concentrate on this line in order to sense the mantric force of this line and of the whole verse. Then the Guardian of the Threshold strengthens it again: They are the Three, This is the verse by which the Guardian announces how we are to prepare—through forceful courage, through ardent striving for knowledge—to sense the wings which carry us over from the One to the Three. In the physical world, we are the One. In the spiritual world, we are the Three, which we experience in imaginative pictures. [Written on the blackboard] The Guardian reminds us: See the Three, [Alongside the first sign on the blackboard is written:] Experience the head's cosmic shape [Alongside the second sign is written:] Sense the heart's cosmic beat [Alongside the third sign is written:] Consider the limbs' cosmic force The escalation is: [The following words are underlined:] Experience The three lines must be strengthened by concentrating on these figures. [Written:] They are the Three, My dear friends, when we are standing here in earthly existence—and we are still doing so, we are just preparing to cross to the spiritual world—we ascribe to our head our spirit, in that it contains thoughts. At first, though, this spirit is only apparent. The thoughts are the appearance of the spirit. We ascribe the thoughts to our head, that is, we ascribe the spirit to our head, because the spirit lives in the form of thoughts during earthly existence. But we can do something else, recalling the Guardian of the Threshold's admonition. In this situation, as we are preparing to cross over the abyss of being, we must endeavor to concentrate on the force we normally use when we move a limb, when we walk or stand, when our will pervades us. We must endeavor to concentrate to the extent that we will each thought, as though it were being pushed out. We must sense the thought being pushed out as when we stretch out an arm: thus, reality passes through the will into the thoughts. Then the things perceived by our senses, whereas they came to us previously as the appearance of color or tone, now stream toward us from the multifaceted sensory appearance as cosmic will. My dear sisters and brothers: Learn to extend your thoughts out to the world as you learn to stretch out your hands through willing. Just as the objects of the world respond when you extend your will to them, offering resistance, so do the spirits offer resistance when you extend your thoughts to them, in that the will permeates them. If we do this, we are interweaving reality in wisdom. The Guardian of the Threshold's admonishes us once again. The Guardian's last admonition: The head's spirit, (otherwise we only think it, now we will it; and when we do so, willing becomes something different) And willing (the willing of thoughts) provides you with The next thing the Guardian of the Threshold points to is the heart, in which the rhythm of our humanity is concentrated. We cannot bring anything except feeling into the heart, that is, feeling here in the sensory world between birth and death. But we must also bring the feelings to the heart when we are in the spiritual world. If we could feel the heart as if the world were feeling our heart, because we are, after all, in the world, then our feeling would be different. Just as willing becomes “the senses' multi-forming heaven-weave”, so feeling becomes something which must be conceived of in a way that we can say—Look: thinking, the spirit's head, becomes the will; feeling remains feeling, but rays out to thinking on one side and willing on the other. It is both at the same time. Therefore, at this point we must get used to concentrating on a line in which we interweave what rays upward and downward. This line must read as follows: “And feeling becomes your will's thinking, your thinking's will, the awakening seed of cosmic life.” Then you live in the glow. This is not a dying away glow, it is the world's revelation in beauty, which can also be called “glow” in the sense of “gloria”. The glow here means gloria. Thus, the Guardian's second admonition is: The heart's soul, [This second verse is written on the blackboard and “heart's” and “feeling” are underlined:] The heart's soul, You must, my dear sisters and brothers, by practicing this, try to think that—the will's thinking, the thinking's will—flow together in one, because it is so in the world. The third thing to which the Guardian of the Threshold points is the force of our limbs. The Guardian of the Threshold demands that that our spirit wills our limbs, that we do not feel that what we do is the result of exerting our own force, but that we observe it as if we stepped out of our bodies and were standing beside ourselves. Then the will's thinking becomes the thinking which we unfold here: the will's goal-oriented human striving. And now we recognize the virtue of human diligence, what human will can accomplish in the world's evolution. The guardian of the Threshold admonishes us: [The third verse is written on the blackboard and “limbs” is underlined.] The limbs' force, The escalation is: [Now the following three words are underlined:] weave The other escalation is: wisdom Now I will read the lines as the appear to us at first when the Guardian speaks them to us: The head's spirit, That is the Guardian of the Threshold's last admonition. That is the decisive point which is indicated by the words which are spoken here as the words Michael himself speaks, because this Esoteric School has been founded and is sustained by Michael and his force. Now we have come to the important point in our instruction where, if we have conscientiously practiced all that we have learned, it gives us wings to fly over the yawning, deep abyss of being. Everything which has been said in this Michael School shall again be accompanied by the sign and seals of Michael; for all has been given in such a way that while it resounds through the space of this School, Michael is present, which may be confirmed by his sign:
[IMAGE REMOVED FROM PREVIEW] [Michael-sign (in red) Come in, the door has opened, you will become a free human being] and which may be confirmed by his seal, which he has impressed on the threefold Rosicrucian verse: Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus the seal makes us feel the first line in this gesture: [The lower seal is drawn on the blackboard.]
[IMAGE REMOVED FROM PREVIEW] [lower seal-gesture] the second line in this gesture: [the middle seal gesture is drawn on the blackboard]
[IMAGE REMOVED FROM PREVIEW] [middle seal gesture] the third verse in this gesture: [the upper seal gesture is drawn on the blackboard]
[IMAGE REMOVED FROM PREVIEW] [upper seal-gesture] As we know, this first gesture means [beside the lower gesture is written:] I revere the Father We feel this as we say “Ex deo nascimur” and confirm it by the gesture, which is Michael's seal. The second gesture means [beside the second gesture is written:] I love the Son We feel this while saying “In Christo morimur”, thus expressing the feeling through what lies in the Michael-Seal. The third gesture means: I unite with the spirit It accompanies, in feeling, “Per spiritum sanctum reviviscimus”. It is the gesture which is Michael's seal upon the third part of the Rosicrucian verse. Thus, Michael's Sign and Seal accompany the path onward, which will be followed in this School for spiritual development: [the Michael-Sign is made] [The following three lines are spoken, accompanied by the three seal-gestures: Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. Then the moment comes when the Guardian of the Threshold's decisive words resound as though coming from Michael, as though from the cosmic distances. After the Guardian has said how we are to prepare ourselves—and we feel this preparation to be necessary—then his words resound as though coming from Michael, as though coming from the cosmic distances: Come in. We must create the feeling that we are not speaking ourselves, but that as we are speaking it becomes objective, that we hear it, as if it is coming from the other side: [Across the mantra “See the three” on the blackboard, the following is written in red chalk:] Come in. In the following lessons, what resounds on the other side of the threshold will be described. But now let us again consider—for all real development always leads back to the starting point—how from all the beings of the world the challenge speaks to us about what we have learned from the Guardian's mouth: O man, know thyself! Once more—confirming all, confirming Michael's presence—the sign and seal of Michael: [the Michael-sign is made] [The following is spoken together with the seal-gestures:] Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. The mantric verses given here in order to practice contain the force necessary to experience what is described here. Only the members of this Class may possess them, no one else. If someone who belongs to the School cannot attend a lesson during which he would have received the corresponding verse, he may receive it from another member who was present. But for each time this happens permission must be received either from Dr. Wegman or myself. However, the one who is to receive the verse may not request permission, but only the one who is to give it. Once permission has been granted to give someone the verses, it continues to hold good for that particular person. For every other person, permission must be obtained from Dr. Wegman or myself. It would be useless for the one who wants to receive the verses to request permission; only the one who is to give them should ask. So, if one wants to have the verses, he must go to someone who has them legitimately. The latter should then ask for each individual to whom he wishes to give them. If someone makes notes of something else, other than the verses, he is only authorized to keep them for one week; after that they must be burned. We must really observe the occult rules. An occult rule is contained in all I have said and insist upon. This is not an arbitrary administrative measure, but because if esoteric things fall into the wrong hands, then, my dear sisters and brothers, the mantras lose their force. It is simply based on an occult law. * At twelve o'clock tomorrow is the Speech Formation course; at 10.45 the Theology course; at five o'clock the Pastoral Medicine course and at eight o'clock the lecture for members. |
| 270. Esoteric Lessons for the First Class III: Seventh Recapitulation
20 Sep 1924, Dornach Translated by Frank Thomas Smith |
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| And since the seventies of the nineteenth century we are again under the sign of Michael's reign. It is in its beginnings. But Michael's impulses must flow into all legitimate esoteric activities in a conscious manner - what can be clear to you, my sisters and brothers, through the general lectures for members. |
| Therefore, everything communicated here is not to be understood as my words, insofar as they are the content of the lessons, but rather as what Michael communicates in an esoteric manner to those who feel they belong with him in this age. |
| [In the first part “thinking” and “sensory light”, and in the second part “feeling's” are underlined. How in sleep's dim-like dawning Life streams in from cosmic distance; (There it was “Willing arises from the body's depths;”, here “Life streams in from cosmic distance;”) [In the third line of the first part “Willing” is underlined, and in the second part “Life”.] |
| 270. Esoteric Lessons for the First Class III: Seventh Recapitulation
20 Sep 1924, Dornach Translated by Frank Thomas Smith |
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My dear sisters and brothers, Since the Christmas Conference an esoteric breath flows through the whole Anthroposophical Society. And those members of the Anthroposophical Society who have taken part in the general members' lectures will have noted how this esoteric breath flows through all the work within the anthroposophical movement now, and should do so in the future. This was a necessity which, above all, flows from the spiritual world, from where the revelations come which should live in the anthroposophical movement. Therefore, the necessity arose to create a certain nucleus for anthroposophical esoteric life, to create real esoteric life, and therewith the necessity arose to build a bridge to the spiritual world itself. In a certain sense the spiritual world had to manifest the will for the creation of such a School. For an esoteric school cannot be created by human arbitrariness, nor from that human arbitrariness called “human ideals”; rather must this esoteric school be the body for something which flows out of spiritual life, so that everything that occurs in such a school presents the outer expression of an activity which in reality occurs in the spiritual world itself. Therefore, this esoteric school could not have been created without first asking the will of Michael, which since the last third of the nineteenth century has been guiding human affairs - something which I have often mentioned here in members' lectures. In the course of time this will of Michael again and again cyclically intervenes in human affairs from the spiritual world. And when we look back in the evolution of time, we find that this same Michael-Will - which we can also call the Michael Reign - was active in the spiritual affairs of humanity, in the great questions of civilization before the Mystery of Golgotha, in the time of Alexander in Greece through the Chthonian and Celestial mysteries, and which was to spread to Asia and Africa. Where the Michael-Will reigns, there is always cosmopolitanism. What differentiates people on earth is overcome during the Michael age. The most important influence, related to Aristotle and to Alexander, which was under the impulse of Michael, was followed by that of Oriphiel, and after Oriphiel came the Anael impulse, the Zachariel impulse, then the Raphael impulse, then the Samael impulse, then the Gabriel impulse, which extended into the 19th century. And since the seventies of the nineteenth century we are again under the sign of Michael's reign. It is in its beginnings. But Michael's impulses must flow into all legitimate esoteric activities in a conscious manner - what can be clear to you, my sisters and brothers, through the general lectures for members. And everything connected with the Christmas Conference leads to what is constituted as the basis of the anthroposophical movement's formation of this Esoteric School inspired and guided by Michael. It therefore rightfully exists in our times as a spiritual institution. All those who want to be rightful members of this School must accept this in their lives with the deepest sincerity. They must feel that they don't merely belong to an earthly community, but to a supersensible community, whose guide and leader is Michael himself. Therefore, everything communicated here is not to be understood as my words, insofar as they are the content of the lessons, but rather as what Michael communicates in an esoteric manner to those who feel they belong with him in this age. Therefore, what these lessons contain will be Michael's message for our age. And it is because of this that the anthroposophical movement will receive its true spiritual strength. For this it is necessary that what membership in this School means be taken with the utmost earnestness. It is really necessary, my dear sisters and brothers, truly and deeply necessary, that it be indicated in the utmost earnest manner the sacred earnestness with which the School must be taken. And here within the School it must be repeatedly said: in anthroposophical circles there is much too little earnestness for what really flows through the anthroposophical movement, and at least the esoteric members of the Esoteric School must be in the forefront of what humanity can gradually develop as the necessary earnestness. Therefore, it is necessary that the leadership of the School retain for itself the right to allow only those to enter as rightful, worthy members of the School who, in every aspect of their lives, want to be worthy representatives of anthroposophy; and the decision about whether this is the case or not must lie with the School's leadership. Do not consider this, my sisters and brothers, as a limitation of freedom. The School's leadership must also have its freedom and be able to recognize who belongs to the School and who does not, just as each one is free to decide whether to belong to the School or not. So, a free, ideal-spiritual contract, so to speak, between each member of the School and the leadership must be agreed upon. In no other way could esoteric development be called healthy, especially not one which is worthy of the fact that this Esoteric School exists under the direct force of the Michael impulse itself. Conscientious care of the mantric verses so that they do not fall into unauthorized hands is the first requisite; but also, to really be a worthy representative of the anthroposophical cause. I only need to mention a few things to show how little the anthroposophical movement is still grasped with complete earnestness. It has happened that members of the School have reserved their seats by placing on them the blue membership certificates, which gives them the right to participate in the School. [1] It has happened in the Anthroposophical Society that whole piles of the News Sheets, only intended for members, have been found on the trolley cars that run from Dornach to Basel. And I could add many other examples to this list. And amazing things happen as a result of this lack of earnestness. Even with things that in everyday life are taken seriously, at the moment when those within the anthroposophical movement are expected to do so, they do not take them seriously. These are things which must be considered in connection with the firm structure that this School must have. Therefore, these things must be said, because if they are not observed, one cannot worthily receive what is given here in the School as revelations from the spiritual world. At the end of each lesson, your attention is expressly drawn to the fact that the being of Michael is present while the revelations from the spiritual world are given, and are confirmed by Michael's sign and seal. All these things must live in the members' hearts. And worthiness, profound worthiness must reign in all that is bound even in thought to the School. For only in this way what today is to be carried through the world as an esoteric stream can live. And that includes the duties incumbent on each individual. The mantric verses written here on the blackboard can only be possessed, in the strictest sense of the word, by those who have the right to be present. And if a member of the School is unable to attend a lesson during which mantric verses are given, another member, who has the verses, may give them to him; but it must be for each individual case, that is, for each person to whom the verses are to be given, that permission must be requested, either from Dr. Wegman or from me. Once permission is granted in respect to a person, it remains valid. But permission must again be requested for each other individual. This is not an administrative rule, it is an occult rule that must be strictly adhered to. For every act of the School must be connected to the School's leadership: and that begins with having to request permission from the School's leadership for acts having to do with the School. Not the one who is to receive the mantras may ask, but only the one who is to give them, using the modality that I have just described. If someone takes notes on what is said here, except for the mantras, he is obliged to keep them for only one week, and then to burn them. All these things are not arbitrary rules, but they relate to the occult fact that esoteric matters are only effective if they are embraced by the School members' attitude. The mantras lose their effectiveness if they fall into the wrong hands. And it is a rule so firmly inscribed in the cosmic order, that the following once happened and a whole group of mantras, which had been in effect within the anthroposophical movement, have been rendered ineffective. I was able to give mantric verses to a number of people; I also gave them to a certain person, who had a friend. The friend was somewhat clairvoyant. And it happened that while the two friends were sleeping in the same room, the clairvoyant friend, when the other one merely repeated the mantra in thought, surreptitiously copied it and then did mischief with it by giving it to others as coming from himself. It was necessary to look into the matter, which revealed why the mantra became ineffective for all those who possessed it. Therefore, my dear sisters and brothers, you must not take these things lightly, for esoteric rules are strict; and when someone has made such an error, he should not excuse himself by claiming that he was unable to avoid it. Of course, if someone runs through a mantra in his mind, and someone else copies it clairvoyantly, he certainly can do nothing about it. Nevertheless, the rules are applied with an iron necessity. [2] I mention this so that you can see how little arbitrariness is involved, and how these things are being read from the spiritual world and that the practices of the spiritual world apply. Nothing is arbitrary in what occurs in a rightly existing esoteric school. And the earnestness from this esoteric school should stream out to the whole anthroposophical movement. For only then will this School be what it should be for the anthroposophical movement. But when something is done which only springs from personal motives and then it is pretended that it is because of devotion to the anthroposophical movement- well, I don't mean to say that it should not happen, because obviously, people today must be personal - but then it is also necessary that truth lives in what is personal, that for instance if someone comes here to Dornach for personal pleasure he should admit it and not pretend otherwise. There's nothing wrong with coming to Dornach for personal pleasure, in fact it is good. But one should admit it and not sidestep it by declaring pure dedication to spiritual life. I mention this; I could just as well mention another example, which is more real, for it is really the case that when most of our friends come to Dornach, a will to sacrifice is involved, and that only in the least of cases is untruthfulness involved. But I've chosen this example because it is the least applicable and thus the least harmful. If I had mentioned other examples, what I would like to have as a calm prevailing mood in the hearts and souls of all who are sitting here now could not exist in the necessary degree. After that introduction, I would like to start with the verse that is the beginning and end of Michael's proclamation to all unbiased human beings, and which contains what all entities in the world are saying, if one listens to them with the soul. For from all that lives in the mineral, vegetable and animal kingdoms, what sparkles down from the stars, what acts into our souls from the domains of the hierarchies, from all that crawls under and on the earth as worm-life, from what speaks in rocks and springs and fields and thunder and clouds and lightning; all these spoke to unbiased human beings in the past, speak at the present and will speak in the future: O man, know thyself! The previous lesson ended, my dear sisters and brothers, with the Guardian of the Threshold giving the last admonitions before one passes over the yawning abyss of being; the Guardian of the Threshold spoke the weighty, moving words: Come in, Our souls and hearts have been exposed to the important, weighty, meaningful words spoken by the Guardian of the Threshold on behalf of Michael. And everything he said was to prepare us for the attitude we must have when we come over after the gate has been opened - over the yawning abyss of being, where one does not come walking with earthly feet, where one flies with the spiritual wings that grow when the soul is imbued with a spiritual attitude, with spiritual love, with spiritual feeling. And now, now, my dear sisters and brothers, will be described what the human being experiences when he stands on the other side of the yawning abyss of being. The Guardian of the Threshold indicates to him: turn around and look back! Until now you have been looking at what appeared to you as black, night-cloaked gloom, about which you had to say that it will become inner light and will illumine your own Self. With the last admonitions—the Guardian of the Threshold says—I let it become lighter, at first most gently. You feel now the first light around you. But turn around, look back! And now, when he who has crossed over the yawning abyss of being and turns around and looks back, he sees himself as an earthly human being, what he is during his physical incarnation, over there in the part of his being that he has left behind and which now lies in the earthly sphere. He observes his own human self there. He has embodied himself in spiritual being with his spirit-soul. The earthly environment is over there now. He stands there in the region, in which we first were with all our humanity, where we saw what crawls beneath and flies above, where we saw the sparkling stars, the warmth-giving sun, where we saw what lives in the wind and weather, and where, knowing that despite all its majesty, how the sun blazes and illumines, despite all the beauty and greatness accessible to the senses, we said to ourselves: our own humanity is not here; we must seek it on the other side of the yawning abyss of being, in what seems at first, to the senses, to be black, night-cloaked gloom. The Guardian of the Threshold has shown, by the three beasts, what we actually are. Now will be described how in the gloom that is beginning to be light, we should begin to look back on what we as humans are in the sensory world, together with what was our only world in sensory earthly existence. And now the Guardian of the Threshold points directly back there to the earthly man, which we ourselves also are during earthly existence, and to which we must continually return, into which we must always penetrate when we leave the spiritual world and return to our earthly duty. For we may not become dreamers and go into raptures, we must return completely to earth life. Therefore the Guardian of the Threshold directs us to look at the person who stands over there, who we ourselves are, in a way that at first draws our attention to what this person is. [An outline of a human being is drawn on the blackboard.]
[IMAGE REMOVED FROM PREVIEW] He knows that he perceives the outer world through the senses, which are mostly situated in the head, and that he perceives his thinking through the impulse of the head. But the Guardian of the Threshold now says: Look into this head. It is like looking into a dark cell, for you do not see the creative light within it. The truth is that what you had as thinking over there in the sensory world is mere seeming, mere images, not much more than mirror-images. The Guardian of the Threshold admonishes us to be very aware of this, but also to be aware that what is only appearance in earthly thinking is the corpse - as we have heard in previous lessons - of a living thinking in which we were immersed in the soul-spiritual world before we descended to this earthly life. There thinking lived! Now thinking rests as dead thinking, as seeming thinking in the coffin of our bodies. And all the thinking we use in the sensory world is dead thinking. It was alive before we descended. And what has this thinking accomplished? It has created everything that is within the head, within this dark cell - as it appears to the senses - that is light-creating essence. The brain, which rests within as thinking's support, has been created by living thinking. [The interior of the head, yellow, is drawn on the blackboard.] It is living thinking that creates the support for our earthly semblance of thinking. Observe the brain's convolutions, observe what you carry within the dark cell that enables you to think, my sisters and brothers, observe the semblance of thinking in the dark cell, then you will find in what is felt above as thinking [drawing: red arrows] from out of which streams the force of will into thinking, so that each thought is streamed through with will. How the will streams into thinking can be sensed. And now we look back from the other side of the threshold at how that other person, who we ourselves are, has waves of will streaming out of his body into the head, which create the will, and finally, when we follow them back to the turning points of time which lead to our previous incarnations, how they create the waves of thought from worlds past into our present incarnation and form our heads, all of which makes the semblance of thinking in this incarnation possible. Therefore, we must be strong, the Guardian of the Threshold tells us, and imagine dead thinking being cast out into the cosmic nothingness, for it is only seeming. And the willing that then arises we should consider as what comes over from previous incarnations and interweaves and works, making us thinkers. Within [drawing: yellow] are the creating cosmic thoughts. These creating cosmic thoughts enable us to have human thoughts. Therefore, the first words the Guardian of the Threshold speaks after he has let us cross the threshold, and after he has announced that the gate has opened, that we can become true human beings, the first words he speaks are: See behind thinking's sensory light, The first words we hear on the other side, as we look back at the figure, which we ourselves are: [The first mantra is written on the blackboard, together with a heading. Blackboard writing is always in italics.] The Guardian is heard in the brightening darkness: I See behind thinking's sensory light, And then the Guardian of the Threshold adds - and one must strain to hear him: Now imagine that you are observing that figure on the other side who you yourself are; you turn around again and look into the darkness and try with all your inner imaginative force of remembrance - as one does when retaining a physical after-image in the eye. Try with all your strength to draw before you something like a gray outline of what you saw over there, but avoid drawing anything except the outline of the figure. [It is drawn.] Then, if one succeeds in seeing this gray outline of a figure, behind it appears an image of the moon [a sickle moon, yellow, is drawn], the gray figure before it. If one is able to keep inner calm, one sees the moon in the distance. The gray figure outline is also there, but it is active in us. And if we practice this over and over, we feel we have arrived at the spiritual figure of the head that we had over there, not the physical human figure, but at the spiritual figure of the head that we had over there, if we can feel what karma brings to us from previous earthly incarnations. [yellow arrow at the right of the sickle moon.] Therefore, you should meditate on this picture that I have drawn here, the sickle moon with this arrow; let the mantra unfold, with this picture as the marker for the gradual familiarization with what forcefully comes over from previous earthly existences. And secondly, the Guardian of the Threshold points with a stronger gesture to what feeling is to the person over there, who we ourselves are, and he admonishes that we are to see this feeling as a dim dream. In fact, we see feeling - which makes the person over there more real than thinking, for thinking is illusion, whereas feeling is half reality - we see the person's feeling enfold in numerous dream-pictures during the day. We learn by observing it that feeling, for the spirit and in the spirit, is dreaming. But what kind of dreaming is feeling? In this feeling, not only the individual dreams, but within it the whole surrounding world dreams. Our thinking is our own. That's why it's illusion. The world lives in our feeling. The world's existence is within it. Now we must achieve, to the extent possible, tranquility of heart, the Guardian warns, so that we can extinguish what lives and interweaves as feeling in the dream-pictures, just as dreams are extinguished in deep sleep. Then we can reach the truth of feeling, and we can see human feeling interwoven with the cosmic life that is present in spirit in all our surroundings. And then the real spiritual human being appears to us, who in his body lives at first in his half-existence. The human being appears to us from out of sleeping feeling. We feel ourselves to be on the other side of the threshold, on the other side of the yawning abyss of being, for feeling has fallen asleep and the cosmic creative powers, which live in feeling, have appeared around us. See in feeling's weaving in the soul, [This second part is written on the blackboard.] II See in (Before it was “behind”, here it is “in”; all the words in a mantric verse are important.) feeling's weaving in the soul, (Before it was “thinking”, here “feeling”; there “sensory light”, here “weaving in the soul”; “weaving” is much more real than merely semblance of light.) [In the first part “thinking” and “sensory light”, and in the second part “feeling's” are underlined. How in sleep's dim-like dawning (There it was “Willing arises from the body's depths;”, here “Life streams in from cosmic distance;”) [In the third line of the first part “Willing” is underlined, and in the second part “Life”.] Let in sleep through tranquil heart It is enhanced: Here [in the first part] it involved letting flow through the soul's force; here [in the second part] one must waft away human feeling. [the word “waft” is underlined.] And cosmic life spiritualizes —here [in the first part] it was the willing that is still in the human being; here it is cosmic As the human being's power. —the enhancement relative to cosmic thought's creation.— [In the first part “cosmic thought's creation” and in the second part “human being's power” are underlined.] The Guardian of the Threshold indicates to us that we should look back once again at the gray figure that stands over there, which we are ourselves in earthly life, but this time after having turned away, in our minds we turn it around in a circle. We will find, when we rotate the figure, that the sun appears behind it and rotates with it. [It is drawn - left, red]. And we will realize that at the moment we are brought into physical existence from the spiritual world, our etheric body has been compressed from the cosmic ether. Therefore, just as the first verse belongs to this [the drawing of the gray figure and the first verse are numbered “I”], this second verse belongs to this. [The drawing of the red rotating form and the second verse are numbered “II”.] Then the Guardian of the Threshold refers us to our will, which is active in our limbs. And he strongly draws our attention to the fact that whatever relates to the will is in a sleeping state, even when we are awake. He explains how as the thought works downward - I explained it last time, so may say it now -, how as the thought carries warmth downward into our limbs' movement so that it becomes will: this becomes clear in spiritual cognition and spiritual seeing. Normal consciousness hides this when we are sleeping, as it hides life in general during sleep. Now we should observe the will in the limbs as though sunken in deep sleep. The will is asleep. The limbs are asleep. We should see this as a firm mental image. Then, when it is firm, we realize how thinking, the source of willing in earthly man, sinks down into the limbs. Then it becomes light in him. The will becomes bright. It wakes up. When we first see it in its sleeping state, we find that it wakes up when thinking sinks downward and light from below streams upward, which is the force of gravity. Feel the force of gravity in your legs and arms when you let them relax: that is what streams upward, and which meets with the downward streaming thinking. We observe human will transformed into its reality and thinking appearing as what ignites the will in man in an enchanting, magical way. That is the truly magical effect of thinking on the will. It is magic. Now we become aware of it. The Guardian of the Threshold says: See above the bodily effects of will, [This third verse, with underlining, is written on the blackboard.] III See above the bodily effects of will, How into sleeping fields of activity Thinking sinks down from head forces; Let through the soul's vision of light human will transform itself; And thinking, it appears As the magical essence of will.Now we imagine that the Guardian of the Threshold again points to the person over there, who we are ourselves, telling us to look and retain the picture, but not to turn around, but to let this picture sink below the surface of the earth beneath where the figure is standing. We look over there. There stands the one who we ourselves are. We make the picture and develop the strong force to look below, as though a lake were there and we were looking at this image as now being within the earth, but not as a mirror-image, but as an upright figure. [Draws.] We imagine this picture: the earth [A white arc is drawn.] belonging to the third verse [This drawing and the third verse are given the number III.] We imagine: how the earth's gravitational forces rise, how the gravitational forces illuminate the limbs, feet and arms [white arrows]. In later observation, we acquire an idea of how gods and humans cooperate between death and a new birth to arrange karma. That is what the Guardian of the Threshold admonishes us about when he speaks to us for the first time after we have crossed over the yawning abyss of being. See behind thinking's sensory light, The circle always closes. We are looking again at the starting point, listening to all the beings and all the processes of the world: O man, know thyself! By this affirmation, Michael is present in this, his rightfully existing School. His presence is confirmed by his sign, which should loom over everything given in this School:
[IMAGE REMOVED FROM PREVIEW] [Michael Sign - in red] It is confirmed by his seal, that he has impressed on the esoteric striving of the Rosicrucian School, and which lives on symbolically in the threefold verse: Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus And as Michael impresses his seal, the first sentence is spoken with this gesture: [draws: Image 1, the lower seal gesture, yellow] The second sentence with this gesture: [draws: Image 1, the middle seal gesture, yellow] The third sentence with this gesture: [draws: Image 1, the upper seal gesture] The first gesture means:[3]
I esteem the Father It lives mutely as we say: “Ex deo nascimur”. [lower seal gesture] The second gesture means: I love the Son It lives mutely as we say: “In Christo morimur”. [middle seal gesture] The third gesture means: I unite with the Spirit It lives mutely in the Sign, which is Michael's Seal, as we speak: “Per spiritum sanctum reviviscimus”. [upper seal gesture] Thus, today's Michael affirmation is confirmed by means of his Sign and Seals: [Michael's Sign] [spoken with the seal gestures:] Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. Translator's notes:
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| Esoteric Lessons for the First Class III: Introduction
Translated by Frank Thomas Smith |
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| If the texts are available in German, why should they not be available in other languages, especially English, in order to be studied by members and non-members of the G.A.S and the Free School who do not understand German? Practically everything Rudolf Steiner wrote and said has been published in German. |
| Esoteric Lessons for the First Class III: Introduction
Translated by Frank Thomas Smith |
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I have received many comments about the publication here of Rudolf Steiner's First Class Lessons. Most of these comments have been positive, expressing the writers' thanks for finally being able to have access to the Lessons. But there have also been messages expressing surprise, even shock at seeing them online and available to everyone who may be interested. So I decided that it's time to write an “apologia” (not an apology). Those who object to the publication do so on both legal and moral grounds—I assume. I'll start with the legal aspect, because it's the easiest. All of Rudolf Steiner's literary work has been in the public domain since the year 2000. Previously it was the property of his literary estate, in the legal person of the “Nachlassvereinigung” in Dornach, and before that to Marie Steiner; never to the General Anthroposophical Society. Being in the public domain means that the original German works may now be published by anyone and read by everyone. A translation is a different matter. Its copyright may belong to the translator or to the publisher. There already is an English translation issued by the Anthroposophical Society of Great Britain and, I believe, copyrighted by that body. There may be other translations of which I am not aware. The translations published in SouthernCrossReview.org are new and are mine. So I could claim copyright if I wanted to. But my point is that I have the right to publish my own translations of texts which are in the public domain in their original language—without needing permission from anyone, least of all the General Anthroposophical Society. Now for the moral issue. Those who object to the publication in English and free availability to everyone of these texts are probably thinking about Rudolf Steiner's admonitions that the texts, and especially the mantras, are available exclusively to members of the First Class of the Free School for Spiritual Science. In respect to the mantras, he said that if they got into the wrong hands their esoterically positive effect on those for whom they were intended would vanish. In other words they would no longer be effective, no longer be alive. It is an occult rule. However, Rudolf Steiner died in 1925. The esoteric school since then has consisted of continuous readings of the transcripts of the unfinished First Class by so-called officially appointed “readers”. The second and third classes were of course never even begun. To believe that the Esoteric School still exists is an illusion. The texts in German are available to the public since they have been in the public domain. If we take what Steiner said seriously, the esoteric effect of the mantras no longer exists. Now the student must create his own effect with the help of the mantras. If the texts are available in German, why should they not be available in other languages, especially English, in order to be studied by members and non-members of the G.A.S and the Free School who do not understand German? Practically everything Rudolf Steiner wrote and said has been published in German. Keeping certain works, such as the First Class Lessons, secret for some and not for others, no longer corresponds to the times. The time for secrets in esoteric life is over. The publication of the First Class texts in English, and their availability to non-German speaking interested individuals and groups is a reflection of that reality. Frank Thomas Smith |
| 271. The Nature and Origin of the Arts
28 Oct 1909, Berlin Translated by Harry Collison |
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| “I have a name rightly applied over yonder among those only on the physical plane who bring men intelligence from the spiritual world. They understand how to apply only my name correctly, for I am called intuition, and I come hither from a wide-flung realm. |
| She comforted and tended her, and the other woman gradually grew warm under the influence of what the soul of her companion had brought back as the result of her night's experiences. |
| She hears the voice of the poet who has apprehended the majesty of the experience that can come into the human soul out of the imaginative world. She understands now that she must act as the savior of what upon earth is half frozen knowledge; she understands that she must warm it and permeate it with her own nature, especially with her art nature, and that she must recount the memories of her dreams during the night to this half frozen knowledge. |
| 271. The Nature and Origin of the Arts
28 Oct 1909, Berlin Translated by Harry Collison |
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Let us imagine a great snow-clad plain spread out before us and upon it here and there rivers and lakes hard frozen. The neighboring sea is mostly frozen over close to shore; further out huge floes are drifting; occasional stunted trees and bushes lift heads heavy with snow and icicles. It is evening. The sun has already set, leaving behind the golden splendor of its afterglow. Before our eyes are two female figures and out of the afterglow is born—we might say is sent forth—a messenger from the higher worlds, who stands before the women and listens with close attention to what they are telling of their inmost feelings and experiences. One of the two standing there hugs her arms tightly to her body, cowers together, and exclaims: “I am freezing cold.” The eyes of the other woman wander over the snow-clad plain, out to the frozen waters and over the trees thick with hanging icicles, and from her lips burst forth the words “how glorious this whole landscape is.” She is utterly heedless of her own feelings, utterly oblivious to her physical suffering from the cold. We feel warmth streaming into her heart, for she has no attention to spare for her physical bodily discomfort, being inwardly overwhelmed by the wonderful beauty of this chill and frozen scene. Then the sun sinks further and further, the color fades out of the afterglow and the two friends fall into a deep slumber. One of them, the one who had been so acutely conscious of the cold in her bodily self, sinks into a sleep which might easily become fatal; the other sinks into a sleep in which we can recognize the influence of the emotion expressed in the words “How glorious,” which continues to warm her limbs and keep them full of life throughout her slumber. And she hears the youth who, born out of the glory of the afterglow, says to her these words, “Thou art Art”; and then she falls asleep. With her she took into her slumbers all the results of the impressions made upon her by the landscape which has been described; and a sort of dream mingled with her sleep. And yet it was not a dream, but in a certain way a reality, although of a unique kind akin to dreaming in its form. It was the manifestation of a reality which this woman's soul had barely been able to conceive before. For the experience that befell her was not a dream; it merely resembled one. That which she experienced may be described as “astral imagination.” And if we are to describe her visions we cannot do it otherwise than by setting forth in words the picture by means of which “imaginative” perception speaks. For the soul of this woman became aware at that moment what the event signalized. By the words of the youth, “Thou art Art,” can be described intimately only by clothing the experiences of the imaginative perceptions in words. Accordingly let us thus clothe the impressions received by the soul of that woman through the channel of this imaginative percept. The Dance When her inner senses awoke and she began to take note of her surroundings, she became aware of a remarkable figure—very different in appearance from that which purely physical experience would lead one to anticipate in a spiritual figure, for it was poor in those characteristics which recall the world of the physical senses. The only manner in which it called to mind the world of the physical senses was by its outline, which resembled three interlacing circles. The circles stood one upon another, much as if one were horizontal, another vertical, the third running from right to left; and the currents which flowed through these circles and made their presence known were not reminiscent of any impression received by the physical senses; rather did they recall something purely psychic, something which can only be compared with the impressions and feelings of the soul. But a something streamed out from this figure which can best be described by saying that it was like a deep and repressed inner sorrow concerning some event. When the soul of the woman observed this she made up her mind to enquire “What is the cause of thy sorrow?” and this is the answer which came to her from that figure belonging to the spirit world: “Indeed, I have a real reason for manifesting this emotion, for I belong to a high spiritual race. I appear to thee now just as a human soul would appear, but thou must soar far into the realms of the hierarchies to discover the place whence I come. My sorrow is that mankind on the other side of my life, in the physical world where at present we are not dwelling, has robbed me of the last of my off-spring. I have descended to this level from the higher hierarchies, but men have torn the last of my descendants from me, taken him to live among them and chained him to a rock-like structure, after making him as little as possible. Thereupon, this woman's soul felt drawn upon to ask, “Who exactly art thou? At this moment I can only describe things with the words which I remember as the result of life on the physical plane. How canst thou make me comprehend thy nature and the nature of thy offspring whom mankind has enchained?” And the Spirit answered: “Over yonder in the physical world men describe me as one of the senses—as quite a minor sense—which they call equilibrium, which has become quite little, and is composed of three incomplete circles attached to one another in the ear. This is my last tiny offspring. They have torn him from me into the other world, and taken away that which belonged to him here, namely, the power to move freely in any direction. Similarly they have broken each of the circles, and attached him firmly on each side to a base. In this realm—as thou seest me now—I am not attached: I show perfect circles which ever way you look at me; I am complete in every direction. Now for the first time thou seest my real form.” Thereupon the woman's soul felt compelled to ask, “In what way can I help thee?” The figure from the spirit world replied, “Thou canst only help me by uniting thy soul with mine, and bringing into me over here all that men learn during physical life yonder through the sense of equilibrium. Thou wilt then grow to be a part of me; thou wilt become as great as I am myself; in this way thou wilt liberate thy sense of equilibrium and raise thyself—a spiritually free being—above thy attachment to the earth!” And the soul of the woman did so. She became one with that figure of the spirit world. And in becoming one with it she became aware that she must carry out some purpose. So she put one foot in front of the other, changing repose into movement, and changing movement into dance, completed it as a form. “Now thou hast transformed me!” cried the figure from the spirit world. Now I have become that which I can only become through thy agency if thou continuest to behave as thou hast just been behaving. Now I have become a part of thee, and become so in a manner that men can have only guessed at my real being. Now I have become the art of dance. Because thou hast will to remain a soul and hast not united thyself with physical matter, thou hast been enabled to set me free. And at the same time thou hast, by thine ordered steps, led me up to the spiritual hierarchies to which I belong, to the Spirits of Motion; and thou hast led me to the Spirits of Form by grouping thy steps into a rhythmic pattern. Thou hast brought me myself to Spirits of Form. But at present thou mayest go no further; for wert thou to advance but one step beyond what thou hast already done for me all that thou hast done would become useless. For it is the Spirits of Form who are charged with the bringing about of everything in the earth's evolution. Wert thou to intrude upon the mission of the Spirits of Form thou wouldst destroy everything thou hast accomplished; for thou couldst not help falling into the reign spoken of as the “Furnace of desire” by those who on earth describe the appearance of the spiritual worlds. Thy spiritual dance would be transformed into one arising out of mad passion. So long as men act on their very slightest knowledge of me as exhibited in their dances of today. But by doing only what thou hast just done and by grouping them into form thou makest in thy steps a copy of those mighty measures performed by planets and suns in the sky in order first to create the physical world of the senses!” The Stage The soul of the woman continued to live on in this condition of consciousness. And another spirit figure approached her—also very different in appearance from that which men, with their physical sense-perception, usually conceive when they think of a spirit form. The figure which confronted her was so to speak, bounded by a horizontal plane and consisted of only two dimensions, but it presented one unique characteristic. Although it was bounded by a horizontal plane, the soul of the woman, being in the condition of imaginative perception, could behold both sides of it at once, and this figure showed two totally different aspects—one on one side and one on the other. Again the soul of the woman put a question to the figure, “Who art thou?” And this figure replied, “My home is in the higher regions. I have come down to the region known to you as the region of the spirit, and which here is called the Region of the Archangels. I have descended to this level and was obliged to do so in order to come into touch with the physical realm of earth. But mankind tore the last of my offspring from me and took him away; and over yonder they have imprisoned him in their own physical form, where they call him one of their senses and describe him as the sense of individual movement—as that living part of themselves by which they move their limbs and other portions of their body. And the soul of the woman asked, “What can I do for thee?” Thereupon also this figure said, “Make thine own being one with mine, so that thine own being becomes a part of mine!” The soul of the woman did so. And she became one with this spirit figure and slipped entirely into it. Once more did this woman's soul expand, waxing great and beautiful. And the spirit figure said to her, Behold, by doing this thou has won the ability to endow the souls of men upon the physical plane with a special faculty which is exercised by a part of that nature which the youthful messenger assigned to thee; for by doing this thou hast become what is known as the “Art of pantomime, the art of expression by mimicry.” And since the soul of this woman still kept a memory of her earthly form, for she had been asleep but a little while, she could pour into that form everything now contained in the figure before her. And she became the archetype of the art of acting. “But thou must only go a certain distance,” said the figure from the spirit world. “Thou mayest only pour into the form just what thou expressest by movement. As soon as thou pourest in thine own desires, thou wilt distort the form into a grimace, and the destiny of thine art will be cut short. That is what mankind has been doing over there. They have been putting their desires and passions into their mimic pantomime in order to express themselves; But thou must let only selflessness come to expression; thus thou becomest merged with the archetype of the art of acting.” Sculpture The soul of the woman continued to live on in this state of consciousness, and another spirit figure drew near which veritably made itself manifest only on one plane, moving only along a line. The soul of the woman observed that this spirit figure also, moving on one plane was sorrowing, and when she enquired ““What can I do for thee?” the figure replied, “My home is in higher regions, in loftier spheres. But I have descended through the realms of the hierarchies to the one known to thee through the care of occult science as the Region of the Spirits of Personality, of which men possess only a copy,” For this figure too had to confess that on coming into touch with humanity it had lost the last of its offspring. And the figure continued, “Men call the last of my offspring their vitality, their sense of being alive, as long as they are on earth, meaning that which makes them aware of their own personalities; that which permeates them in the form of a momentary mood or pleasure, and that which lends energy and persistence to their individual forms. But they have fettered this sense in themselves.” “What can I do for thee?” asked the soul of the woman. Once more the figure demanded, “Thou must make thyself a part of mine own being. Thou must abandon all human feeling of selfhood and dissolve thyself in my form—thou must merge thyself in me and become one with me!” And the soul of the woman did so. And she became aware that although the figure had an extension on only one plane, she herself was filled with power radiating in every direction, and that she was now completely occupying the body that she wore on Earth, the body she remembered and which appeared to her here the more radiant and beautiful in consequence. Then the spirit figure said, “By this act of thine thou hast attained to something which endows thee with another individual talent in the great domain after which thou hast been named. At this moment thou hast become that which mankind over yonder possesses, though only as a possibility; thou hast become one with the archetype of the Art of Sculpture” The soul of the woman became merged with the archetype of sculpture, and could now itself pour out a talent into the souls of men by reason of that which it had taken up into itself. By the aid of that Spirit of Personality she was able to pour this into the souls of men; she could do this in the form of talent. And by doing so she endowed mankind upon the earth with plastic fancy, with the ability to create in plastic outline. “But thou must not go a step further than thou hast gone! Thou must abide entirely within the limits of thy form. For that which is in thee may only be taken up as far as the Spirits of Form and the regions where they dwell. For if thou goest beyond, thou wilt function as the realm which arouses human passions; if thou dost not stay within the limits of noble form nothing good can possibly be wrought within thy sphere. But if thou abidest within the noble confines of thy form, thou canst pour into that form that which can only be realized in the distant future. And then, although humanity is far from having attained the bodies by means of which they can enact with purity of life that which to-day is given over to quite other forces within them, Thou wilt be allowed to show them what humanity will at some time experience in a purified state, upon the future planet of Venus, when their bodies will have become quite different from what they are now. Thou canst contrast them with the human forms of to-day, and show how pure and chaste the human form of the future is to be.” And out of the sea of changing figures in the imaginative perception there arose something resembling the archetype of the Venus of Milo. “Thou mayst go only a certain length in the moulding of form. The instant thou passest the boundaries of form even a little, as soon as thou destroyest the powerful personality whose office it is to hold the human form together, thou standest at the boundary of that which can be beautiful and a work of art.” And once more a form arose from the tossing waves of the changing sea of astral imaginative world. And it's aspect disclosed that its content had brought the human figure to the edge of the boundary where the form would break the coherence of the personality, where the personality would be lost is a step or two further were taken. And the form of the Laokoon arose out of the picture in the astral world. Architecture And the soul of the woman continued to enjoy new experiences in the world of imagination. A figure now drew near concerning which she knew, “This being is not to be found yonder on the physical plane; the physical plane contains nothing capable of manifesting it; I am becoming aware of it for the first time. There are so many things upon the physical plane which distantly recall this figure—but nothing so complete in outline as that which I see here.” It was a strangely austere figure which, in response to an inquiry of the woman's soul, announced that its home was in wide-flung regions, not merely in lofty ones, but that at present it was obliged to function in the realm of the hierarchies known as the Spirits of Form. “Mankind over yonder.” Said this figure to the soul of the woman, “has never been able to give an exact representation of me, or bring anything into being which exactly corresponds to me. For my form, as it appears here, does not exist on the physical plane. Therefore they had to break me into pieces, and only through my having been shattered by them I am able to lend thee certain faculties, if thou accomplishest that which thou canst accomplish by joining thyself to me and becoming one with me. By this means thou canst place a creative picture-making faculty in the souls of men. But because this faculty is torn to bits in the world of men the whole of it can only appear as scattered fragments which come up individually here and there. No part of me can be termed a human sense, and therefore mankind has been unable to bind me. They have only been able to tear me to pieces. From me too have they taken my last offspring; but they have torn him into pieces.” Once again—not shrinking for the moment from the sacrifice of being torn to pieces—did the soul of this woman unite herself with this spirit being. Thereupon the spirit being said to her, “Now thou hast once more become, through this act of thine, another individual faculty of that which thou hast been called as a whole; thou hast become the archetype of architecture, and of the art of building. Thou canst bestow upon mankind the archetype of architectural fancy, by pouring into their souls that which thou hast just attained. But thou wilt be only able to bestow upon them an architectural fancy showing them single ideas if thou wilt follow up these ideas by which they will be able to build structures having the effect of something spreading downwards from the spiritual world, such as the Pyramids represent.” “Thou wilt endow men with the ability to make what can only be a copy of what I am, by leading them to devote the science of building to the erection of a spiritual temple and not to the construction of something to be used for earthly purpose, and causing them to impress this character on its very exterior.” And now there appeared—as the pyramid had formerly arisen from the tossing astral sea—the Greek Temple. And another figure arose out of this tossing astral sea—a figure that did not strive downwards from above, seeking to broaden out below, but one that strove upwards, becoming younger the higher it ascended; a third figure into which architectural fancy had to be born:—the Gothic Cathedral. Painting And the soul of this woman continued to live on within the world of the imagination, and another figure came up to her, even stranger and still more remarkable than the preceding. Something streamed out of it which felt like the warmth of love, and something again that produced quite a chilling effect “Who art thou” said the soul of the woman. “I have a name rightly applied over yonder among those only on the physical plane who bring men intelligence from the spiritual world. They understand how to apply only my name correctly, for I am called intuition, and I come hither from a wide-flung realm. And inasmuch as I have taken my way from a wide-flung realm to come down into the world I may say that I have come from the realm of Seraphim!” This figure of intuition was of the nature of the Seraphim. And once more the soul of the woman said, “What dost thou desire me to do?” “Thou must unite thyself with me! Thou must dare to unite thyself with me! Then wilt thou be able to kindle in the souls of mankind on earth a faculty which again is a part of their inventive activity, and whereby thou wilt become an individual faculty in that whole which the youth earlier described thee as being” The soul of the woman resolutely undertook this deed, and by so doing she became something which was in actual fact very different and very remote from a human bodily figure, something which could have been appreciated only by one who has looked deep into the soul of man himself. For that into which the soul of the woman had been transformed could only be compared with something purely astral, something etheric within it. “Because thou didst this,” said the seraphic spirit figure named Intuition, “thou art now capable of endowing men with the faculty which consist of representing ideas in color, and thus hast become the archetype of the art of painting. Thou wilt therefore be able to kindle faculty in men; to bestow it upon one of their senses, the eye, which contains a property that in its thought-activity is not affected by the individual human ego—namely comprehensive outlook upon the outer world—now that thou thyself possessest the painter's gift for visualizing ideas in color. And through this sense men will be able to see, shining through the surface of things which appear lifeless and soulless to ordinary vision, their soul being. Men will be able through this faculty of yours, to animate with soul all the qualities of color and of form. Which they ordinarily discern upon the surface of things. Moreover, they will so make use of their art that soul shall speak through form, and that color shall not convey merely an external sense-impression, but that the color which they spread with magical skill upon their canvas shall relate something about the inner nature of color, just as everything having its origin in me passes outwards from the inmost recesses. Thou wilt be able to give men a faculty by means of which they can, by their own soul-light, carry even into lifeless nature, otherwise regarded as a mere soulless mass of forms and colors, the quality known as soul-motion. And thou wilt be able to give them the means of transforming that motion into repose, and so fixing the changeable aspects of the outer physical world. The fleeting momentary tints down which the glory of the rising sun noiselessly speeds—the colors to be found in lifeless nature—these thou wilt teach them to preserve!” And a picture rose out of the surging sea of imaginative world, a picture representing a landscape. And another picture rose up representing something else which the spirit figure explained by the following comment: “That which occurs in the experience of human life, whether the time be long or short, whether it takes place in a minute or an hour or in centuries, and which is concentrated into one short moment, that experience thou wilt teach men to record through this faculty which thou art bestowing upon them. Even when the past and the future cross each other with a mighty sweep, even when the two movements of the past and future collide, wilt thou instruct men how to record the instant of the collision as a point of undisturbed rest lying between them.” And out of the tossing world of imagination rose Leonardo da Vinci's picture The Last Supper. “But thou wilt have difficulties as well. And thy greatest difficulties will occur when thou allowest men to exercise this faculty of thine upon objects already possessed of movement and soul, objects into which they have already sent movement and soul from the physical plane. There it will be the boundary where the copy of the original archetype which thou art, can still be called “Art.” “Yet danger is close at hand. And out of the tossing sea of the imaginative world rose the Portrait. Music And the soul of the woman continued to live on in the imaginative world. Another figure approached her—a strange figure once again, and one resembling nothing to be found in the physical world—also one that maybe termed a “heavenly figure” and not to be compared with anything upon the physical plane. The soul of the woman asked, “Who art thou?” and the figure replied, I have on earth a name that is rightly employed by those only who bring messages to men from the spirit world; these people call me Inspiration. I come hither from a wide-flung realm, but my immediate abode is in the region known—where the spiritual world is spoken of among men—as the region of the Cherubim.” The figure from the realm of the Cherubim freed itself from the embrace of the imaginative world. Again to a question asked by the soul of the woman, “What can I do for thee? What am I to do?” it answered, “Thou must transform thyself into myself. Thou must become one with me!” Despite the danger attendant on such an action, the soul of the woman dissolved itself into the being of this Cherubim. And when she did this, she became still more unlike all physical forms which are to be found upon earth. While one could say of the former figure, “There is at least something having analogy with it to be found on earth,” one could only describe this figure by saying that it possessed a being utterly foreign to everything earthly and incapable of being compared with anything on earth. The very soul of the woman became quite unlike all earthly things; her appearance became such that one could see that she had herself passed over into a spirit realm, and belonged, with her whole being, to the spirit realm, which is not found in the world of the senses. “Because thou hast done this, thou canst implant a faculty in the souls of men. And when this faculty is absorbed into the souls of men on earth, it will live in those souls in the form of musical fancy. Men will have nothing they can take from outside, so far has thy faculty estranged them from the earth—they will have nothing external upon which to record the impression received by the soul itself beneath thy inspiring influence. They must fan those impressions into flame in a new manner by means of a sense with which they are familiar in quite a different connection. They will have to give a new form to the sense of tone; they will have to find the musical tone in their own souls, as if they were creating from heavenly heights! And when men create in this fashion, something will flow out of their own individual souls which will be like a human reflection of all that can only grow and blossom imperfectly in external nature. From the human soul will flow reflected forth the murmuring of the brook, the power of the wind, the roll of the thunder. It will not be a copy of these things, but something that will step forth as self-evidently a sister of all these beauties of nature which flow, as it were, out of unknown spirit depths. This is what will surge forth from out of the souls of men. They will be enabled to create something that will enrich the earth, which is new to the earth, that would not have come into existence without this faculty of thine—something that is like a seed for the future of the earth. And thou wilt confer on them the ability to express certain living emotions in their souls which never could be uttered if mankind were confined to their present endowments of thought and conception. All the feelings which cause human language to shrivel up, or which would freeze to death if they were dependent upon verbal conception would be sheer poison, will attain through thee the possibility of breathing out the innermost being of the soul over the circumference of the earth, upon the wings of song and ballad, and the imprinting upon that circumference something that would otherwise not be there. All complicated and profound emotions, all emotions existing like a mighty world itself within the human soul—emotions which could otherwise never come to external expression in such shape and which could only be experienced by exploring, by means of the human soul, universal history and cosmic space and all other realms shut out from external experience (for all the opposing currents flowing through centuries and millennia would have to flow into the picture in order to show what mankind has learned at one time and another)—all this can be compressed by men, through thy faculty and poured into a form which they have made their own—the musical symphony.” And the soul of the woman understood how one brings down what we call inspiration from the spirit heights of the world, and how this should be expressed by the normal human soul; she understood that this can only be expressed by musical sound. The soul of the woman now knew that if the occult investigator desires to describe the world of inspiration, and if this world is to be reproduced upon the physical plane by physical means so as to be more than a mere copy—if it is to be presented directly to human beings, this can only be accomplished through a musical work of art. And the soul of the woman understood how a musical composition could express such a stupendous event as Ouranos kindling his own emotion in the fire of Gaia's love, or how it could portray what happened when Kronos desired to illuminate his inner spirit nature with the light of Zeus! Such were the deep experiences attained by the soul of that woman through contact from the Cherubim. Poetry And the soul of the woman continued to live on into that which is called the imaginative world. And another figure approached her: once again very different from anything to be found upon earth. To the question of the woman's soul, “Who art thou?” this spirit figure replied, “My name is only used correctly by those in the physical world who declare spiritual events to men. For I am Imagination! My home is in a distant country, but from that far country I have betaken myself to that region of the hierarchies known as the region of the Spirits of Will.” “What can I to do for thee?” the soul of the woman once more enquired. This figure also demanded that the soul of the woman should unite its own being with this figure from the Spirits of Will. And once more the soul of the woman became very unlike the ordinary soul figure; she was transformed entirely into a figure of soul. “By doing this thou hast obtained the ability to breathe into the souls of men that faculty which men on earth know as poetic or lyric fancy. Thou hast become the archetype of poetic fancy. And through thee, men will be able to express in speech something they could never express if they were to cleave to the outer world with a desire to reproduce only what is found in the physical world. Thou wilt endow men with the ability to express through thy fancy all that comes into touch with their own will, and which could not be expressed in any other form or stream out of the human soul through earthly means. Thou wilt enable men to express this. On the wings of thy rhythm and thy meter and all the gifts thou wilt be able to offer to men, they will express things for which speech would otherwise be far too coarse an instrument. Thou wilt enable them to express that which otherwise could not be expressed at all.” And in the vision of Poetry there appeared the events of the centuries in the history of nations, and its inspiring effect upon entire races. “Moreover, thou wilt be able to compass something that could never be represented by any outward physical event. Thy messengers will be the skalds and the poets of all the ages. They will put into their epics the compact history of human epochs, and thou wilt be able to lend a magic life upon the stage to the forms assumed by the will when heated passions are arrayed against one another. Thou wilt now show, how men, fighting upon solid earth, would vie in vain, how the shock of conflicting passions brings death to one side and victory to the other. Thou wilt give men the possibility of dramatic art!” And the soul of the woman became aware at this moment of an inner experience such had only to be described by the use of our earthly expression “an awakening.” How did she come to awake? She woke up by becoming aware of what we may call reflected images of things not to be found upon the earth itself. She herself had become of one nature with imagination. That which lives on our earth as poetry is a reflection of imagination. The soul of the woman beheld the reflection of imagination in the art of poetry. And through beholding this she awoke. She had to forsake the dreamlike spiritual world, it is true, by reason of her awakening; yet she had come at any rate to a region that resembles—though it be but a lifeless reflection thereof—the spirit life of spiritual imagination. This is how she came to wake. And when she awoke she observed that the night had passed. Once more the snow-clad landscape lay stretching around her; the drifting icebergs were floating off the shore and the icicles hanging on the trees. But as she awoke she noticed the other woman lying by her side, nearly rigid with the cold she had endured without being inwardly warmed by the impression “Oh! How glorious!” which her companion had received from this snowy scene. The soul of the woman who had encountered all these experiences during the night now became aware that the other woman, who had nearly frozen to death from inability to receive impressions in the spirit world, was Human Knowledge! And she took charge of her in order to be able to bestow upon her some of her own warmth. She comforted and tended her, and the other woman gradually grew warm under the influence of what the soul of her companion had brought back as the result of her night's experiences. In the east the dawn heralding the sun's approach begins to spread over the landscape, and its glow grows rosier and rosier. And now that she is awake the soul of the woman who had met with these experiences during the night can behold and hear the things that human creatures all the world over speak about when they have had a dim inner intimation of realities that can be experienced in the world of the imagination. She hears amid the chorus of human voices the utterances sung by the noblest among them, representing their conjectures about matters upon which they are in no wise informed by imagination, but which they let pour out of the innermost depths of their soul as a beacon for mankind. She hears the voice of the poet who has apprehended the majesty of the experience that can come into the human soul out of the imaginative world. She understands now that she must act as the savior of what upon earth is half frozen knowledge; she understands that she must warm it and permeate it with her own nature, especially with her art nature, and that she must recount the memories of her dreams during the night to this half frozen knowledge. And she observes how that which was half congealed can thaw into life again with the speed of the wind, so soon as knowledge accepts in the form of perception that which is brought to it in the form of revelation. Once again she gazes into the dawn which becomes a symbol to her of the state out of which she has awakened, and a symbol also of her own imaginings. And she understands the lines of the poet who has sung so wisely as the outcome of his premonitions. That which her new spiritual powers sang to her now comes ringing from the whole wide earth:— Only through the dawn of Beauty |
| 271. The Sensible-Supersensible in its Realisation Through the Arts
15 Feb 1918, Munich Translated by Violet E. Watkin |
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| The endeavour has been made plastically to awaken this gesture which in the ordinary human being is kept under—not the gesture made by the soul but the one that is killed before it leaves the soul, the one held under by the life of the soul—and then to bring it to rest again. |
| This something, a potentiality in every man but obviously held under by the higher life, is the asymmetry existing in us all—no-one's right and left sides being formed alike. |
| It is clear, however, that this is the way to understand how in one particular sphere the colour, the sketch, can be so used in creative art that in its application is everything of which I said it is held under the spell of nature, and from this spell we free the super-physical, which is hidden in the physical and deadened by a higher life. |
| 271. The Sensible-Supersensible in its Realisation Through the Arts
15 Feb 1918, Munich Translated by Violet E. Watkin |
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It was certainly out of a profound understanding of the world in general but above all out of a deep feeling for art, that Goethe coined the words: “The man to whom nature begins to reveal her open secret feels an irresistible longing for her worthiest exponent—art.” Without sacrificing any of the spirit in Goethe's words we may perhaps complete what he said by adding: “The man to whom art begins to reveal her secret feels an almost invincible antipathy towards her least worthy exponent, the science of aesthetics.” That science is not what I wish to dwell upon today. It seems to me not only true to the spirit of Goethe's words but wholly in sympathy with it if we speak of art and the experiences we can have, and may frequently have had, in connection with art, in the way we like to relate those we had, or still have, with a trusty friend. When human evolution is in question we speak of “original sin”. Today I don't want to enlarge upon whether the shadow-side of man's life—important as that side is—can be exhausted if we speak of original sin in the singular. But it seems to me that in connection with a perceptive feeling for art and the creations of art it is necessary to speak of two original sins. Certainly one of these is the copying, the reproduction of the physical, that is, of what belongs purely to the world of the senses. The other seems to me to be the wish to express, represent or reveal, through art, the super-physical,. But it becomes very difficult to approach art either perceptively or creatively if both physical and super-physical are rejected. Yet the following seems to me to be in keeping with a sound human feeling: Anyone wishing in art for the physical alone can hardly get beyond a refined form of illustration, imitation which may indeed be raised to the level of art but can never become true art. And it can well be said that it reflects a life of soul run wild when anyone is willing to be satisfied by the merely illustrative element, of copying the physical or what is given in any other way by the sense world alone. It is due, however, to a kind of possession—possession by one's own understanding and reason—when there is a desire for the embodiment of an idea, for the artistic embodiment of what is purely spiritual. Interpreting a world-conception poetically, or through pictorial art, is not compatible with cultured taste; rather does it correspond to a state of barbarism in man's life of feeling Art itself, however, is deeply rooted in life; were this not sort through the whole way in which it arises it would have no justification for existence. For in face of a purely realistic world-conception art must exhibit all manner of unreality and into it must play many of the illusions of life. It is precisely because art is obliged to introduce into life what for a certain understanding is unreal, that, in some way or other, its roots must go deep down into life. Now it may be said that from a certain boundary of perceptive feeling—from a lower boundary up to one that is higher, which in many people has to be first developed—artistic feeling in life makes its appearance everywhere. Even if not in the form of art itself this feeling arises when, in the ordinary physical existence met with in the world of the senses, what is super-physical and occult somehow makes its presence known. It arises within the super-physical, the result of pure thought, what is feelingly perceived and experienced in spirit—not by means of empty symbols or lifeless allegories but as if it would itself take on life in a physical form—lights up in a form that is perceptible to the senses. That what is ordinarily physical in everyday life has within it the super- physical, as if conjured there by magic—this is perceived by everyone who confines his mood of soul within the two boundaries mentioned. We can certainly say this: If I am invited by anyone into a room with red walls, I take something for granted about the red walls which has to do with artistic perception. When I am taken into a red room and am face to face with the man who invited me there, I shall have the quite natural feeling that he is about to tell me all kinds of interesting things. If he does not do so I shall feel that my being invited into the red room had something insincere about it and I shall go away dissatisfied. If anyone receives me in a blue room and by his chattering stops me from getting a word in edgeways, the whole situation will make me uncomfortable and I shall complain that in the very colour of his room the man has been lying to me. One is constantly coming across such things in life. On meeting a woman in a red dress we shall feel that she rings untrue if she seems shy; and a woman with curly hair will appear genuine only if rather pert and if she is not pert we shall feel disappointed. It goes without saying that things need not be like that in in life; it is right that life should lead us away from such illusions. But there is a certain limited sphere in our mood of soul in which our feelings tend in this direction. Naturally, too, these things are not to be taken as universal laws; they may be differently perceived by many people. The fact remains, however, that everyone in life, when confronting the external things of the sense-world, has a feeling that they contain, enchanted within them, what is spiritual—a spiritual situation, a spiritual attitude, a spiritual mood. It may really appear as if what is seen here to be a demand of our soul, and which so often in our existence affords us bitter disappointment, must call for a special sphere of life to be created for the satisfaction of these particular needs. This special sphere seems to me that of art. Art fashions out of the rest of life precisely what satisfies the tendency lying within the limits of perception mentioned above. Now it may be that we can fully realise what is experienced in art only by investigating more deeply the processes taking place in the soul, either in artistic creation or in the enjoyment of art. For we need only to have lived a little with art, we need only have made some attempt to get on intimate term with it, to find that the soul-processes in the artist and the lover of art we are about to describe are in a certain sense inverted yet in reality the same. What I am wanting to describe is experienced in advance by the artist; he experiences to begin with a certain process of the soul which then resolves itself into another process; whereas the man who just enjoys works of art experiences first the second process I refer to, and only afterwards the one from which the artist makes his start. Now it seems to me that the difficulty in approaching art psychologically lies in people not going deeply enough into the human soul to grasp what actually evokes the need for art. Perhaps ours is the first age fitted for giving clearer expression to this artistic need. For whatever we may think about a great many of the trends in the art of recent times, whatever we may think about impressionism, expressionism, and so on—the discussion of which often springs from a source that has nothing to do with art—whatever we may think about all this, one thing cannot be denied. We cannot deny that since these trends have prevailed, artistic perceptions, artistic life, out of certain regions of the soul far down in the subconscious and formerly not drawn from thence, have now been brought more to the surface of consciousness. Today there is of necessity more interest in the artistic and art-appreciating processes of man's soul—promoted by all the talk about things such as impressionism and expressionism—than was the case earlier, when the artistic concepts of the scholar were very far from what was actually living in art. In recent times, where the study of art is concerned, concepts, conceptions, have arisen which in a certain respect—at least in comparison with former days—come very near the creations of present-day art. The life of the soul is really infinitely more profound than is generally supposed. Few people have any idea that, subconsciously and unconsciously, the human being has in the depths of his soul a number of experiences seldom spoken of in ordinary life We have to go deeper down into this life of the soul to discover the mood lying between those two boundaries. Our life of soul swings, as it were, between the various conditions, which all more or less represent two different types. On the one hand there is in man's soul something that seems to surge freely from its depths, something that often torments it, though quite unconsciously. It is something that, when the soul is especially susceptible to the mood mentioned, has a constant urge to discharge itself into consciousness as vision—though this should not take place in the case of a soundly-constituted human being. Our life of soul, when it has a tendency to this mood, is always striving, far more than we recognise, to transform itself in the sense of this vision. A healthy life of soul consists simply in confining the wish for visions to the striving for them, so that they may never actually arise. This striving after the vision, which in reality exists in the soul of each of us, can be satisfied if we confront the soul with an external impression, an external form—for example, a work of sculpture—containing what is striving to arise but should not succeed in doing so when the soul is sound: the morbid vision. This work of art then, this outer form of what is thus striving to arise, will confine in a beneficial way to the depths of the soul what is actually wanting to become vision. We offer the soul, as it were from outside, the content of the vision, but we offer it a real work of art only if we are able out of our legitimate striving for the vision to divine what form, what plastic impression, we have to offer the soul to compensate for its longing after the visionary. I believe that many of the modern ways of approach which meet us in what is called expressionism get near this truth, and that explanations of them show a groping after what I have just been saying. People do not go far enough, however; they do not look sufficiently deeply into the soul, nor do they come to know that irresistible desire for that is visionary which is actually In the souls of us all. This is however, only the one side, and on becoming familiar with artistic creation and the appreciation of art, we can very well see how there is a source of artistic work which reflects this need of man's soul. But there is another source of art. The source of which I have just been talking lies in a certain constitution of the human soul, in its desire to have what is visionary as a spontaneous conception. The other source lies in this—that secrets magically conjured within nature herself can be discovered only by allowing oneself, not to make scientific assumptions which are not needed, but to perceive what these deep mysteries really are in the nature that surrounds us. These deep mysteries in nature around us, when spoken of, may perhaps appear very strange to the consciousness of present-day people. Yet there is something that precisely from our time onwards will make the kind of kind of mysteries to which I refer more and more recognized by the general public. There is in nature something which is not just the growing, sprouting life that delights the healthy souls in nature, there is also what we call death, destruction, what is constantly destroying and overcoming one life by another. Whoever is able to perceive this will also find—to make this excellent example—when confronting the human figure that this figure in its outer realisation in life, is all the time being killed by a higher kind of life. It is the secret of all life that there is ceaseless extermination of lower life by one that is higher. The human form, permeated as it is by the human soul, the human life, is continuously being killed, overcome, by this human life, this human soul. This happens in such a way that the human form may be said to bear something within it which, if left to its own life, would be quite different. It cannot pursue its own life, however, because within it a higher life, a life of another kind, is always deadening it. On approaching the human form the sculptor, if only unconsciously, discovers this secret through his perception. He finds that this human form is wishing for something that does not come to expression in the human being but is killed by a higher life, the life of the soul. The sculptor conjures forth from the human form what is not existing in the actual man, something missing in the actual man hidden by nature. Goethe perceived something of this kind when he spoke of “open secrets”. We can go further and say: This secret is underlying the wide realms of nature everywhere. Strictly speaking no colour, no line, appear in nature without something lower being overcome by what is higher. The reverse can also be true; the higher can be overcome by the lower. It is always possible, however, to break the spell and to re-discover what has thus actually been overcome—and this is what constitutes artistic creation. If , on reaching what has been overcome and then freed from enchantment, we know how to experience it in the right way, it becomes artistic perception. About this same artistic perception I should like to say something more precise. A great deal in Goethe's work still has to be brought to light, and that often contains truths very important from the point of view of man. Take Goethe's theory of metamorphosis which starts out with how, for example, the petals in a plant are merely transformed leaves, and which is then extended to all forms in nature. When once what lies in this theory is brought fully to light by a more comprehensive development of natural science than was possible in Goethe's day, when through an all-embracing perception nature has been unveiled, Goethe's theory of metamorphosis will be capable of fuller life and of far wider application. I may say that the understanding of this theory of his is still very limited; it is capable of wide extension. If we keep to the human figure the following may be said by way of illustration: Whoever studies the human skeleton finds, even when studying it quite superficially, that this human skeleton consists of two definite members; this might be carried further but would lead us too far afield for today. The skeleton consists firstly of the head, which to a certain extent merely rests on the remaining skeleton, and secondly of that remaining skeleton. Anyone sensitive to the metamorphosis of form, anyone. who can see how one form passes over into another—in the sense Goethe meant when he said the green leaf passes over into the colourful petal—will be able, on extending this mode of observation, to see that the human head is a whole, the rest of the organism another whole, and that one is the metamorphosis of the other, In a mysterious way the whole of the rest of man may be said—when suitably perceived—to be capable of transformation into a human head. And the human head is something which in a rounded and more developed form contains the entire human organism,. The remarkable thing is, however, that when we are capable of perceiving this when inwardly we are able really to transform the human head into the appearance of man himself, the result in both cases is something quite different, In the one case, when the head is transformed into the whole organism, something appears which shows man as a kind of ossified being, contracted, narrowed, driven throughout. into a sclerotic condition. If we let the rest of the organism work upon us so that it becomes head, we get something in appearance very unlike an ordinary man but reminding us of one only in the forms of the head, Something appears that in its growth shows no tendency to form the bony structure of the shoulder-blades, but aims at becoming wings, at spreading indeed above the shoulders, and from the wings. developing upwards over the head to appear like a kind of hood that is trying to seize hold of the head in such a way that what in the human form constitutes the ear is spread out and joined up with the wings, In short, there appears a kind of spirit-form and this spirit-form rests enhanced within the human form. This it is which, if we develop further the perception of what Goethe foreshadowed in his theory of metamorphosis, throws light into the mysteries of human nature. From this example we can see how nature in all her various spheres has the characteristic of striving—not abstractly but visibly, concretely—to be something absolutely different from what is presented to our senses. When our perceiving is thorough, nowhere do we have the feeling that any form, anything at all in nature lacks the possibility of developing beyond what it is into something quite different. Such an example as this shows particularly well how in nature one life is constantly being overcome, and even killed, by a higher life. We do not bring to visible expression what is thus perceived as a double man, as this twofold quality in man's growth, only because something higher, something superphysical, so unites these two sides of the human being, so balances them, that we have the ordinary human form, The reason why nature—not now in an outward, spatial way but inwardly and more intensively—seems to us so magical, so mysterious, is because in each of her works she is wanting to offer us more, infinitely mores than she can, and because she puts together her several parts, all that she organises, in such a way that a higher life swallows up the life inferior to it, allowing it only partial development. Whoever directs his perception to this, will everywhere find that this open secret, this magical quality running through the whole of nature is—like the inward striving after the vision, but here working from outside—what stir a man up to take his stand somewhere beyond nature, to choose something special out of the whole, and from there to let shine forth what nature is seeking to do in one of her works—what can become a whole but has not become so in nature herself. Perhaps I may mention here that in the Anthroposophical Society's building at Dornach, near Basle, an attempt has been made to realise in plastic form all that has just been indicated. We have tried to make a sculptural group in wood to represent what may be called the typical man; but this group represents the typical man in such a way that what otherwise is only tendency, and held in check by higher life, first comes to expression in the whole form only in gesture which is then brought back into a state of rest. The endeavour has been made plastically to awaken this gesture which in the ordinary human being is kept under—not the gesture made by the soul but the one that is killed before it leaves the soul, the one held under by the life of the soul—and then to bring it to rest again. Thus it has been sought first to set the resting surface of the human organism in movement through gesture and then to return it to a state of repose. Through this one came quite naturally to see that something had to be given greater prominence. This something, a potentiality in every man but obviously held under by the higher life, is the asymmetry existing in us all—no-one's right and left sides being formed alike. But when this has been given greater prominence and what is held together in a higher life has been set free, then with a slightly humorous touch it has to be united with another, higher stage; then it is necessary for what approaches us in a natural way from outside to become reconciled. It becomes necessary to atone artistically for the offence against naturalism—for this stressing of asymmetry and for this translating into gesture of various things which have then to be brought to rest again. This inner offence had to be atoned for by our showing, on the other hand, the overcoming brought about when, through metamorphosis, the human head passes over into the sombre, constricted form which, in its turn, is overcome by the representative of man. This form is at the feet of the representative of man and thus can be felt as member, as part of him. The other form we had to create in addition expresses what feeling demands when not the head but the rest of the human form becomes powerful—as indeed it is in life though held in check by higher life—when all that generally remains in a stunted state is too prolific in its growth; what, for example, is characteristic in the shoulder-blades, what unconsciously is in a man's very formation, in him as a certain Luciferic element, an element that strives to get outside man's essential being. If all that lies in the human form, as arising from impulses and desires, takes actual shape—whereas otherwise it is overrun by a higher life, by the life of the understanding, the life of the reason, which develops and comes to realisation in the human head—then this makes it possible for us to free nature from enchantment, to capture from nature its open secret, by ourselves separating again the parts which nature killed by making them into a whole. Thus the onlooker is obliged in his heart to bring about what nature has already done before him. Nature has done all this, she has brought harmony to man in such a way that his various single members are combined in a harmonious whole. By setting free what has been enchanted into nature, we at the same time break nature up into her super-physical forces. Then there is no need to seek through dry allegory, nor in a way that is intellectual and without artistic feeling, for any idea, anything thought out, anything purely superphysical and spiritual, behind the objects of nature. One just asks nature quite simply: How would you develop in your various parts were your growth undisturbed by a higher life? We come to the rescue of something superphysical that has been held in the physical by enchantment and free it from the physical bonds that held it spellbound. We actually come to be naturalistic in a supernatural way. I believe that in all the various tendencies and endeavours of recent times, still very much in an elementary stage, which call themselves impressionism, I believe we may perceive in all these the longing of our time really to discover and give shape to secrets of this kind, to this kind of physical-superphysical. For a feeling is abroad that what is actually accomplished in art—in artistic creation and in the appreciation of art—must today be raised into fuller consciousness than has been the case in former epochs. What is accomplished, namely, that a suppressed vision is appeased or that nature is confronted by something which repeats her process—this has always been striven for. Actually these are the two sources of all art. But let us go back to the time of Raphael. In his time the striving naturally took a different form from that of our day, of, for example, Cézanne or Hodler. What in art is represented by these two streams, however, has always been aimed at, though more or less unconsciously. But in former times it would have been looked upon as very primitive had the artist himself been unaware that in his soul something approaches nature, of a spiritual though unconscious kind, which when the artist seeks it in the physical-superphysical removes the spell from what has been enchanted into nature. Thus if we stand before one of Raphael's works we always have the feeling—if we are willing to attempt the interpretation of what otherwise remains in the obscurity of the subconscious without occasion for expression—the feeling that in this work of art we come to an understanding with something, and also indirectly with Raphael himself. About all this we may have the feeling (as I said, there is no occasion to speak of it even in our own soul) that we have been together with Raphael in a former life on earth, when we learned from him many things that have entered deeply into our soul, and that this centuries-old connection with the soul of Raphael had become entirely subconscious—suddenly, however, springing into life again as we stand in front of his works. We believe we are face to face with something that took place long ago between our soul and that of Raphael. From the artist of more recent times we get no such feeling, The modern artist leads one spiritually, as it were, into his studio; what there takes place comes very near to the level of consciousness and belongs to the immediate present. Because this longing, this need of the age, prevails, the rising conception that is actually a suppressed vision, seeks in our time satisfaction through art. On the other hand there meets us, though today in a rather elementary form, a breaking- up of what is otherwise union—an imitation of nature's own process. What infinite significance everything gains that recent painters have attempted in order to study the various colours, to study the light in its variety of shades, and to discover how, ultimately, every effect of light, every shade of colour, aims at becoming more than it can be when forced into a whole where it is killed by a higher life. What have they not attempted in order that, starting from a feeing of this kind, light should be awakened to life, treated in such a way as to set free what, when the light has to serve in bringing about the ordinary processes and happenings in nature, remains enchanted within light. We are only at the very beginnings of all this. From these beginnings, which today are the expression of a legitimate longing, it will probably be possible, however, to experience that something in the realm of art becomes a secret—a secret which is then revealed. When put into words this sounds rather trite but many things that sound so hide secrets; we have to draw near these secrets, especially to perception of them. What I am meaning here answers the question: Why is it impossible to portray fire and air? It is quite clear that in reality fire cannot be painted. No one could have the true perception of the painter who would want to paint the glittering, glowing life that is only to be held fast by the light. It should never enter the head of anyone to want to paint lightning—still less to paint the air! On the other hand we have to admit that everything contained in light conceals within it what is striving to become like fire, striving to develop in such a way that it says something, gives an impression of something welling up out of the light, out of each single shade of colour—just as human speech wells up from the human organism. Every effect of light wants to tell us something, every effect of light has something to say to some other effect of light nearby. In every effect of light there is a life which is overcome, deadened, by higher conditions. If our perception takes this path we discover what the colour feels, what the colour is saying, and what is being striven for in this age of “plain air” panting. If we discover the secret of colour this perception is widened and we find that, strictly speaking, what I have just been saying is perfectly valid; but not in the same way for all colours because the colours say very different things. Whereas the bright colours, the reds and the yellows, attack us and tell us a great deal, the blue colours take the picture more into the realm of form. Through blue indeed we enter form, enter essentially into the form-creating soul. We have been on the road to such discoveries but often we have stopped short halfway. Many of Signac's pictures seem so little satisfying—though in another respect they can give much satisfaction—because blue is always treated in the same way as, let us say, yellow or red, without any recognition that a patch of blue when next to yellow expresses something quite different in value from yellow beside red. This appears rather trivial to anyone with a feeling for colour, yet in a deeper sense people are only just beginning to discover such secrets. Blue, violet, are colours which take the picture right out of the realm of the expressive into that of the inner perspective. It is quite conceivable that, solely by the use of blue in a picture by the side of the other colours, one can produce a wonderfully intensive perspective without the aid of any drawing. It is possible to go further in this direction. We come then to recognise that a design might be called the work of colour itself., When anyone succeeds in putting movement into his use of colour so that, in a mysterious way, the design follows the guidance of the colour, he will notice that this is particularly the case with blue. It is less so with yellow and red for it is not in their nature to be led in that way to inner movement, to move from one point to another. If we want to have a form inwardly in movement—in flight, for instance—a form which by reason of its inner movement at one time becomes small inwardly, at another big, a form moving in fact within itself, then without having recourse to any rational principle or any, never justifiable, intellectual aesthetics, but proceeding from a quite elementary feeling, we shall find ourselves absolutely obliged to use and bring into movement various shades of blue. We shall notice that in reality a line is able to come into being, the design able to make its appearance, definite form to arise, only when we continue what we began when setting the blue colour into movement. For every time we pass from the realm of painting, of working in colour, to that of outline of form, we carry the physical over into what is essentially superphysical. Passing from the bright colours through the blue and from there somehow inwardly into the picture, we shall have in the bright colours the transition to a physical-superphysical, which may be said to contain a slight superphysical tone: this is because colour always has something to say, because colour has soul that is always superphysical. We shall then find that the further we go into the realm of drawing the more we enter the abstract superphysical, which, however, because it makes its appearance in the physical must take to itself physical form. Today I can give you only an indication of these things. It is clear, however, that this is the way to understand how in one particular sphere the colour, the sketch, can be so used in creative art that in its application is everything of which I said it is held under the spell of nature, and from this spell we free the super-physical, which is hidden in the physical and deadened by a higher life. How, if we look at plastic art we shall find that here both for plane surfaces and lines, there are always two interpretations only one of which, however, I shall be speaking about. To begin with, right feeling will not suffer the plastic surface to remain what it is, for example in the ordinary human form; there it is killed by the human soul, by the life of the human being, thus by what is higher. When we have first drawn out, spiritually, the life of the soul in the human form, we have then to seek the life of the surface itself, the soul of the soul of the form itself. We see how this is to be found if we do not bend the surface once only but a second time as well, so that we get a double curve. We notice how in this way we can make the form speak, how, deep in our subconscious, as opposed to what I have shown to be more an analysing tendency, there is also a tendency that is synthetic. The physical nature falls into what is genuinely physical-superphysical, which is overcome only by the higher stages of life. Inside those barriers of the soul of which we have spoken, we have as instinctive urge to free nature from enchantment in this way, in order to see how the physical-superphysical lies hidden in nature in as many different forms as, shall we say, crystals in their rock bed, which because they are in that rocky bed have their surfaces worn down. But a man has within him, often very decidedly so, just when in his subconscious this cleavage, this analysing, this breaking down of nature into the physical-superphysical is very pronounced—he has within him the faculty that may be called aesthetic synthesis, a tendency to synthesize in art. The strange thing is that anyone with a capacity for rightly observing his fellow men will discover how they always use one of their senses in a very one-sided way. When with the eye we see colours, forms, effects of light, we are giving the eye a most one-sided development. In the eye there is always something resembling the sense of touch; the eye while looking is, at the same time, always feeling. In ordinary life this is suppressed. Because the eye is given this one-sided trend, however, if we are able to perceive such things, we still find the urge in us to experience what is thus suppressed, namely, what the eye develops as a sense of feeling, a sense of self, a sense of movement when we move through space and feel the motion of our limbs. What in the eye is thus suppressed of the other senses, we feel—although it remains quiescent—to be aroused by looking at the other man, What is thus aroused by what we see, what, however, is suppressed by the one-sided trend of the eye, it is this that is given form by the sculptor. The sculptor actually models forms which the eye indeed sees but sees so dimly that this dim vision remains in the subconscious. The sculptor makes use of that point where the sense of touch is just passing over into the sense of sight. Therefore he must, or will anyway try to, reduce the quiescent form, which to the one-sided eye is only an object, to reduce this form to gesture that is always inciting imitation of itself, and then to bring back this gesture, that has been thus conjured up, into a state of rest. In reality what in one direction has been aroused and in another direction brought again to rest, what when we create or enjoy artistic work is active in us as a process of the soul, is always, from one aspect, like a man's in-breathing and out-breathing in ordinary life. This process drawn up from the human soul has, at times, a grotesque effect, although on the other hand it promotes a feeling of the vastness, the endlessness, of all that has been enchanted into nature. The development of art—we see this in certain attempts made in recent decades and especially in those of today—moves altogether towards penetrating these secrets and more or, less unconsciously putting such things into form. There is no need to talk much about them; they will increasingly find expression through art. We shall perceive, for example, the following. In the case of certain artists it can indeed be said that more or less consciously or unconsciously they have perceived something of this kind—we understand the recently-deceased Gustave Klimt, for instance, particularly well if we allow such assumptions to hold good for his perceptions and his reason. Some day the following will be perceived. Let us suppose someone were to feel the desire to paint a pretty woman. There must then take shape in his soul some kind of image of her. Anyone, however, who is sensitive can perceive that, the moment he has made this fixed image of her, he has inwardly, spiritually, super-physically deprived her of life. The very moment we decide to paint a portrait of a pretty woman we have spiritually given her over to death, we have taken something away from her. Otherwise, we could look at the woman as she is in life, we would not give shape in our picture to what it is possible to present there artistically. For artistically we have first to kill the woman; then we must be able to bring to bear that light touch of humour in order inwardly to call her back to life. Now anyone with a naturalistic approach cannot do this; naturalistic art suffers from the inability to adopt this lighter touch. Naturalistic art therefore offers us a great deal that has no life, that kills all that is higher in nature; and it lacks that light touch needed for giving renewed life to what in the first place it has to kill. In the case of many charming women it appears indeed as if they had not only been secretly killed but maltreated beforehand. This deadening process always moves in one direction and is connected with the necessity for creating anew that which, on a higher level of life, overcomes in nature what is striving for existence There is always first a deadening, then through this lighter mood a giving of fresh life. This process must take place both in the soul of the creative artist and in that of the art-lover, Anyone wishing to paint some cheery young mountain-peasant has no need to make a faithful copy of what he sees; he must above all be clear that his artistic conception has killed the young peasant or anyway benumbed him and that he must awaken fresh life in this stiff image by fashioning him in a way that brings him into new connection with the rest of nature. This was attempted by Hodler and. is entirely in sympathy with what artists are longing for today, These two sources of art can be said to represent very deep needs, subconscious needs, of the human soul. The satisfying of what would become actual vision, but is not permitted to do so in a man of a sound nature, this always develops more or less into the form of art called expressionism—though the name is not of importance. What is created with the purpose of re-uniting what in some form has been broken up onto its physical-superphysical constituents, or has been deprived of its immediate physical life, will lead to impressionism. These two needs of the human soul have ever been the source of art; and by reason of man's general development in recent times, the first of these needs has taken the expressionistic path , the second the impressionistic. In all probability as we hasten towards the future this will increase very much. If our perception is extended, and not just our intellectual consciousness, the art of the future will be perceived as the intensifying particularly of these two trends. These two trends—and this must be constantly emphasized if we are to avoid certain misconceptions—do not represent anything in the least unsound. Men will fall into an unsound condition if, between those two boundaries, the healthy, primitive and natural pull towards the visionary is not satisfied through artistic expression. Or they will do so when what is always going on in the subconscious, namely, the breaking down of nature into what is physical-superphysical in her is not, through the true touch of artistic humour, constantly permeated by a higher life so that they are enabled to recreate in their artistic work what is creatively brought to expression by nature. I firmly believe that the processes of art lie in many respects extremely deep in the subconscious, yet in certain circumstances it can be important for life to have living, telling conceptions of the artistic process such as have an effect upon the soul that no weak conceptions can exercise, conceptions which flow actually into the feeling. When in accordance with feeling these two sources of art hold sway in the human soul, we shall certainly realise out of what sound perception Goethe spoke when at a certain moment of life (such things always savour of one-sidedness) he felt the pure, genuine, artistic nature of music: “Therefore music represents what is supreme in art, because it has no possibility of imitating anything in nature, being in its own element both content and form.” (As I said, this is one-sided, for every art can reach these heights; but characterizations are always one-sided.) Every art, however, in its inherent element becomes its own content and form, when it does not wrest nature's secrets from her by subtle reasoning but discovers in the way indicated today, the physical-superphysical. I believe that in the soul there often takes place a quite secret process when we become aware of the physical-superphysical in nature. It was Goethe himself who coined the expression “physical-superphysical”; and in spite of his having called the secret “open” it can be discovered only when subconscious forces of the soul are able to sink themselves deeply into nature. What is visionary comes into being in the soul because the superphysical experience is pressing to discharge itself, is surging up out of the soul. The outward experience that is spiritual experience, not through vision—which in spiritual science is purified till it becomes Imagination—but through Intuition. Through the vision we place what is within us to a certain degree outside, so that the inner becomes in us the outer. In Intuition we go outside ourselves—step out into the world. This stepping out, however, remains an unreality as long as we are unable to set free what is spell-bound in nature and is always wishing to overcome nature by a higher life. If we made our way into what belongs to nature when this is freed from enchantment, we then live in Intuitions. In so far as these Intuitions prevail in art, they are indeed connected with intimate experiences possible for the soul when, outside itself, it is united with external things. This is why Goethe, out of his actual, highly impressionistic art, could say to a friend: “I will tell you something that can explain people's attitude to my work. It can be really understood only by those who have had the same kind of experience as myself, those who have been in a similar situation.” Goethe already possessed this artistic perception. This is apparent poetically in the second part of his Faust, which up to now has met with but little understanding. He was able artistically to perceive that the physical-superphysical is to be sought in the recognition of how each part of nature is striving beyond itself to become a whole, through metamorphosis to become something different; it comprises with this something different, a new product of nature but is then killed by a higher life. When we thus penetrate into nature we come to true reality in a much higher sense than ordinary consciousness believes. What we here come to is the most conclusive proof that art has no need either to make merely a faithful copy of the physical or to bring to expression the superphysical, the spiritual, alone That would mean erring in two directions, But what art can shape, can express, is the physical in the superphysical, the superphysical in the physical. It is perhaps just this that constitutes man's naturalism in the truest sense of the term—that he recognises the physical-superphysical and can grasp it precisely through his being at the same time a super-naturalist. Thus, real artistic experiences can, I believe, be developed in the soul in such a way that they arouse understanding of art, appreciation of art, and that a man is enabled indeed to train himself to a certain extent to live in art as an artist. In any case a profound study of this kind of the physical-superphysical, and its realisation through art, will make Goethe"s words comprehensible—words arising out of deep perception and wide understanding of the world, words with which I began this lecture and now bring it to a close. These words will give a comprehensive picture of man's relation to art when once we are able to grasp in all its depths the relation of art to what is genuine, superphysical reality. Because human beings can never live without the superphysical, they will through their own needs be brought to realise more and more the truth of what Goethe has said: “The man to whom nature begins to reveal her open secret feels an irresistible longing for her worthiest exponent—art.” |
| 272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Goethe's “Faust” from the Point of View of Spiritual Science
23 Jan 1910, Strasburg |
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| The second part was sealed at his death, like the great testament he had to give to humanity. It is a momentous document. We can only understand this document if we follow Goethe a little, as he himself sought to struggle towards knowledge. |
| Then that appears to him which appears to everyone who undergoes development: the worry that approaches everyone who still has selfish aspirations within them and which does not allow them to ascend into the spiritual world. |
| It may appear pedantic when I state here something that one must know to understand the final words. Goethe spoke somewhat unclearly in his old age because he was toothless. |
| 272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Goethe's “Faust” from the Point of View of Spiritual Science
23 Jan 1910, Strasburg |
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Spiritual science that wants to live into the modern cultural current does not want to be something new and precisely in this way differs from the many world views and other schools of thought that come forward and believe that they can prove their right to exist by claiming to bring something new to this or that question of spiritual life. In contrast to this, the subject that is called spiritual science should emphasize that the sources of its knowledge and its life have been present in the same way at all times when people have thought and striven for the highest questions and riddles of existence. I have often been able to emphasize this, also in this city, when I had the honor of speaking in previous lectures. It must now be particularly appealing to consider not only the various religious beliefs and world views that have emerged in the development of humanity from this point of view, but also to look at personalities who are close to us from this perspective. For if something is to be true in spiritual science, then at least a kernel of this truth must be found in all those who have honestly and energetically striven for knowledge and for a dignified human existence. Now when spiritual science is discussed today, the most diverse judgments are asserted from one side or the other, and those who have not penetrated deeper into the corresponding field, who have gained a superficial knowledge from these or those lectures or pamphlets, will, depending on his point of view, regard this spiritual science as the fantasy or reverie of a few unworldly people who have strange ideas about life and its foundations. It must be fully admitted that, if one does not look more closely, such a judgment may seem understandable, because although today we are not talking about a specific topic, it should be pointed out that some of the main insights of this spiritual science are based on a special theme. And as soon as these are mentioned and characterized, our contemporaries may well feel, in all honesty, “What curious stuff is this?” On the whole, spiritual science, if taken seriously, is based on the premise that what surrounds us in the sensual world, what we can perceive with our senses, what we can grasp with the mind that is bound to our senses, is not the whole world, but that behind everything that is sensual lies a spiritual world. And this spiritual world is not in an indefinite hereafter, but is always around us, just as the phenomena of color and light are also around the blind. But in order for us to know about something that is around us, we need to have an organ to perceive it. And just as the blind man cannot see color and light, so too, as a rule, people in our age with normal abilities cannot perceive the spiritual facts and beings that are around us. But when we have the good fortune to operate on a blind person, then there comes for him the moment of the awakening of the eye, and what was not there for him, light and colors, now floods into his inner being. From the moment of his operation, this is a perceptible world for him. In the spiritual realm, there is a higher awakening, the awakening through which a person becomes initiated into the spiritual world. To speak with Goethe, there are spiritual eyes and ears, but as a rule, human souls are not ready to use them. But when we apply the means and methods by which these powers come into existence, then something happens in us on a higher plane, as when a blind person is operated on and is then flooded with the world of colors and light. When a person's eyes and ears are opened, he becomes awakened. A new world is around him, a world that was always there, but which he can only perceive from the moment of awakening. But then, when a person is ready, he learns to make various insights his own, insights that brighten life, insights that can give us strength and security for our work, that enable us to see into the essence of human destiny and the secrets of fate. And only one of these insights will be discussed here, one of those insights that, if not crazy, must often seem strange and dreamy to today's people. It is an insight that is nothing more than the revival of an ancient process of knowledge, its continuation in a higher realm, a truth that was only recently attained for a lower realm. In general, humanity has a short memory for great events in the spiritual world, and that is why so few people today remember that in the 17th century not only laymen but even scholars believed that lower animals, even worms and fish, would develop from river mud. It was the great naturalist Francesco Redi who first pointed out that no earthworm or fish grows out of dead river mud unless an earthworm or fish germ is present in it beforehand. He stated that life can only come from life, and from this it can be seen that it is only an inaccurate way of looking at things to believe that a fish or worm can grow out of lifeless river mud. A closer examination shows that we have to go back to the living germ, and that this living germ can only draw from its environment the forces that are there to bring to the greatest development what is alive in the germ. What Redi said, that living things develop only from living things, is taken for granted by science today. When Redi uttered these words, he only just escaped the fate of Giordano Bruno. Such is the way of the development of humanity. First, a truth must be so hard won that those who first express it are branded as heretics. Then it becomes a matter of course, the common property of humanity. What Redi did for natural science should be done for the spirit through spiritual science today, by transferring the sentence that Redi pronounced for natural science from the knowledge of the awakened spiritual eye and spiritual ear to the soul realm. And there this sentence means: The spiritual and soul can only arise from the spiritual and soul. This means that it is an inaccurate way of looking at it when we see a human being come into existence, to believe that everything that comes into life comes only from the father and mother and the ancestors. Just as we have to go back from the developing earthworm to the living earthworm germ, so we have to go back from the human being, who develops from the germ into a specific being, to an earlier spiritual existence, and we have to realize that this being, which comes into existence through birth, draws from its bodily ancestors only the strength for its development, just as the earthworm germ draws strength from its inanimate surroundings. And in a corresponding extension, this sentence: Living things can only come from living things, leads to the other sentence: The present life, which comes into existence through birth, not only leads back to physical ancestors, but through the centuries back to an earlier spiritual-soul. And if you delve deeper into it, you will see that it is scientifically shown that there is not just one, but repeated lives on earth, that what is in us now between birth and death is the repetition of a spiritual soul that was already there in earlier stages of existence, and that our present life is in turn the starting point for subsequent lives. Spiritual-soul-like comes from spiritual-soul-like, goes back to spiritual-soul-like, which was there before birth, which descends from the spiritual world and lives in physical embodiments. We now see something completely different when, for example, we as educators are confronted with a child who gradually develops his powers. At birth we see something indeterminate on his face, how something unfolds from within, ever more distinctly and distinctly, which does not come from heredity but from previous lives. We see how this center of the spiritual soul unfolds more and more from birth through talents. Today, spiritual science has something to say about repeated lives on earth. Today it may be a mere reverie, as what Francesco Redi said in the 17th century was considered a mere reverie. But what is considered a mere reverie today will become a matter of course in the not too distant future, and the sentence: spiritual-mental comes from spiritual-mental, will become common knowledge for humanity. Today, heretics are no longer treated as they were in the past. They are no longer burned at the stake, but they are considered fools and dreamers who speak out of random fantasy. They are ridiculed, and those in the know sit in the high chair of science and say that this is not compatible with real science, not knowing that it is true, genuine science that demands this truth. And now we can cite a hundred and a hundred such truths that would show us how spiritual science can illuminate life by showing that there is an immortal essence in man that passes through death into the spiritual world and, when it has fulfilled its destiny there, returns to physical existence to gain new experiences, which it then carries up through death into the spiritual worlds. We would see how the ties that are woven from person to person, from soul to soul in all areas of life, those traits of the heart that go from soul to soul and cannot otherwise be explained, can be explained by the fact that they were formed in previous life circumstances. And just as the spiritual bonds we weave today do not cease when death draws over existence, but just as what passes from soul to soul as bonds of life is immortal like the human soul itself, how it lives on through the spiritual world and will revive again in other, future earthly conditions and new embodiments. And it is only a matter of development that people will also remember their earlier experiences on earth, what they have gone through spiritually and soul-wise in earlier lives and states of existence. Such truths will become established in human life in the not too distant future as necessary things, and people will gain strength and hope and confidence from such conditions. Today we can only see that a few individuals in the world are drawn by their healthy sense of truth to what spiritual researchers have to proclaim from their experiences in the spiritual world. But spiritual-scientific knowledge will become the common property of mankind and will be assimilated by those who earnestly seek the truth. And those who have trodden the paths of earnest seekers after truth have always, in all that they have offered to mankind, developed the great wisdom and knowledge that spiritual science brings again today. An example should arise before our soul in a personality that is close to our modern life: the example of Goethe, and with him again that which occupied him as his most comprehensive and greatest work throughout his life: his “Faust”. If we approach Goethe and try to illuminate his striving with what spiritual science can give, we can actually start quite early on. One can say that from his entire disposition, one recognizes in Goethe how there was soul and spirit in him. Everything that pushes one to seek a spiritual element behind the phenomena of the sensual world was an early predisposition in him. There we see the seven-year-old Goethe, who could have absorbed ordinary ideas from his surroundings, as a boy can absorb them, for his first soul perception. That does not satisfy him; he recounts it himself in 'Poetry and Truth'. There we see how the seven-year-old boy begins something quite remarkable to express his yearning for the divine. He takes a music stand from his father's collection and makes an altar out of it, placing all kinds of minerals and plants and other products of nature on it, from which the spirit of nature speaks. The boy's soul builds an altar, puts a little incense on it, takes a burning glass, waits for the morning sun to rise, collects the first rays of the rising sun with the burning glass, lets them fall on the little incense, so that the smoke rises. And in his later years, Goethe remembers how, as a boy, he wanted to send his pious feelings up to the great god of nature, who speaks through minerals and plants, who sends us his fire in the rays of the sun. This grows with Goethe. We see how, at a more mature stage – but still out of a yearning soul, as it lives in Goethe – after he comes to Weimar and is appointed by the duke as his advisor, how this feeling for the spirit that speaks through all of nature is expressed in the beautiful prose hymn. There he says: “Nature, we are surrounded and embraced by it, unable to step out of it and unable to get deeper into it. Unwarned and uninvited, it takes us into the cycle of its dance and carries on with us until we are tired and fall into its arms. We have not done what we do, she has done everything; she is constantly thinking and pondering, looking at the world with a thousand eyes.” And again later, in the beautiful book about Winckelmann, ‘Antiquities’: ”When man's healthy nature works as a whole, when he feels in the world as in a great, beautiful, dignified and valuable whole, when the harmony of pleasure gives him pure, free delight: then the universe, if it could feel itself, would exult in reaching its goal and admire the summit of its own becoming and being. Thus Goethe felt, like everything that lives and moves outside in nature, a resurrection celebrating from the human soul, and like a higher nature, a spiritual nature is brought forth from the spirit and soul of man. But it took Goethe a long time to fully grasp the spiritual realization of nature. And there is no clearer or more obvious example of how Goethe was a lifelong seeker who never rested or paused, always striving to reshape his knowledge and reach higher levels, than his life's poem, “Faust.” From his earliest youth, he had begun to put everything that filled his yearning and intuitive soul into his poem; and as an old man in his later years, shortly before his death, he completed this poem, on which he had worked for over fifty years and into which he had put the best of his life. The second part was sealed at his death, like the great testament he had to give to humanity. It is a momentous document. We can only understand this document if we follow Goethe a little, as he himself sought to struggle towards knowledge. [IMAGE REMOVED FROM PREVIEW] For example, there is the student Goethe at the University of Leipzig. He is supposed to become a lawyer, but that is of secondary concern to him. Even then, the young student was possessed by an invincible urge to fathom the secrets of the world, to seek the spiritual. He therefore immerses himself in everything Leipzig has to offer in the way of knowledge about nature. He seeks to eavesdrop on what nature has to say to us in its phenomena, to eavesdrop on the world's riddles of existence. But Goethe needed, in order to rework what natural science could offer him, to re-melt it in his soul to that all-powerful urge of his inner being, which does not seek abstract knowledge but warm hearted a great experience, an experience that really leads the human being to that knowledge which is the gate toward which we intuitively look, the gate that closes for today's normal human being, the invisible, the supersensible: the gate of death. At the end of his student days in Leipzig, he experienced death. A serious illness had prostrated him, brought him close to death. For hours and days he had to face the fact that at any moment he could pass through that mysterious portal. And the mysterious, impetuous urge to understand demanded the utmost seriousness in the pursuit of knowledge. With this newly formed attitude of knowledge, Goethe returned to his native city of Frankfurt. There he found a circle of people, headed by a woman of great and profound talent: Susanne von Klettenberg. Goethe created a wonderful monument to her in his “Confessions of a Beautiful Soul”. He showed how this personality, to whose spiritual world he had such close access at the time, contained something that can only be described as a soul. In Susanne von Klettenberg, there lived a soul that sought to grasp the divine within itself in order to find, through the divine within itself, the spiritual that lives through the world. Goethe was introduced at that time by the circle to which this lady belonged, to studies that, if you, as a truly modern person, let them have an effect on you today, seem crazy. Goethe immersed himself in medieval writings. Those who pick them up today cannot do anything with them. When you see the strange signs in them, you ask yourself: what is the point of this in the face of science's modern quest for truth? — There was a book called “Aurea catena Homeri”, “The Golden Chain of Homer”. When you open it, you find a strange symbolic illustration: a dragon at the top in a semicircle, a dragon full of life, bordering on another dragon, a withering dragon dying within itself. All kinds of signs are linked to it: symbolic keys, two interlocking triangles and the planetary signs. To our contemporaries this is fantasy, to today's science it is fantasy, because one does not know what to do with these signs. Goethe senses in his intuition that they express something, that one can do something with them when one looks at them. They do not immediately express something that can be found here or there in the world. But if you let these signs take effect on you, by memorizing them so that you become deaf and blind to your physical surroundings, only letting these signs take effect on you, then you experience something very peculiar, then you experience that the soul within itself senses something that was dormant before, like a spiritual eye that opens. And if you have enough stamina, you will grasp what you can call meditation, concentration, which will develop your soul to such an extent that you will actually undergo something like an operation of the spiritual eye, through which a new world will open up. At that time, a new world could not yet be opened up for Goethe; he was not yet that far. But what came to life in his soul was the inkling that there are keys to this spiritual world, that one can penetrate into this spiritual world. One must visualize this mood; the vivid sensation, the vivid feeling: something is being stirred in me, something is coming to life; there must be something that leads into the spiritual world. But at the same time he senses: he cannot yet enter it. If Goethe had ever been identical with Faust in his life, we would say: Goethe was in the same situation in which Faust appears at the beginning of the first part, when Faust, after having studied the most diverse fields of human science, opens books in which there are such signs and feels surrounded by a spiritual world, but cannot enter into the spiritual world. Goethe never felt identical with Faust. Faust was a part of him, but he outgrew what was only a part of himself. And so, what went beyond Faust in Goethe grew because he, fearing no discomfort, always strove further and further, saying to himself: “One does not get behind the secrets of existence in a flash , not by incantations and formulas, but by patiently and energetically penetrating, step by step, in a truly spiritual and soulful way, whatever comes our way in the physical world. — It is easy to say: “What is higher knowledge must be absorbed by the soul.” This higher knowledge must penetrate the soul, but it only takes on its true form when we strive with patience and perseverance to get to know the real phenomena of the physical world step by step and then to seek the spiritual behind these phenomena of the physical world. But with what Goethe took with him from his time in Frankfurt, he was able to summarize everything else, he was able to see everything in a different light. Goethe came from Frankfurt to this city, Strasbourg. We could cite many things that led him higher here. But what is particularly characteristic is how that which has such great significance in this city came before his soul: the cathedral, the minster. At that time, the idea of this wonderful building presented itself before Goethe's soul, and he understood why every single line is as it is. He saw with spiritual vision, with the vision gained through his immersion in Frankfurt, every triangle, every single angle of this significant building as belonging to the whole, and in his soul the great idea of the master builder celebrated a resurrection, and Goethe believed he recognized what had flowed into this building as a thought, as an idea. And so we could cite many instances of what had entered this soul as an inner vision and what it had taken up from external world processes entering into a marriage in Goethe's soul. Therefore it is not surprising that when he later came to Weimar, he took up natural science from a new angle, botany, zoology, bone theory and so on, in order to consider everything like letters that together make up the book of nature, leading into the secrets of existence. This is how his studies of plant development and the animal world came about, which he later continued as a student, only that he sought the spirit behind the sensual phenomena of existence everywhere. Thus we see how, during his Italian journey, he regarded art on the one hand and natural objects on the other, and how he observed the world of plants in order to recognize the spirit that reigns in them. The words he wrote to his friends, while he was engaged in this kind of spiritual natural science, are great and beautiful. He said: Oh, here everything presents itself to me in a new way; I would like to travel to India to look at what has already been discovered in my own way. — That is to say, as his development demanded, according to the indications we were able to give. And so we see how he also looks at the works of art that come to him. He writes in a letter: “This much is certain: the ancient artists had just as great a knowledge of nature and an equally sure concept of what can be imagined and how it must be imagined as Homer. Unfortunately, the number of works of art in the first class is all too small. But if one also sees these, one has nothing to wish for but to recognize them correctly and then to go there in peace. These lofty works of art are at the same time the highest works of nature, produced by man according to true and natural laws. All that is arbitrary and imaginary collapses; there is necessity, there is God.” Just as the great spirit of nature spoke to the seven-year-old boy from the altar he had erected, so the great spirit of the existence of the spiritual world spoke to him from these works of art, which he regarded as a unity. Thus Goethe gradually arrived at the contemplation of the individual in energetic, devoted work. Then he could calmly await the moment when a real insight into the spiritual world leaped out of his observations, a true spiritual science, which then confronts us, artistically transformed and reworked, in his “Faust”. Thus the first sections of Faust that were written have all the atmosphere of a man who senses the secrets of existence but is unable to penetrate these secrets. We see how Faust allows the signs to take effect that surround him with spiritual reality, but we also see how he is not yet mature enough to really feel this spiritual reality. These are the sentences where Faust, as the Nostradamus aura, allows the signs of the macrocosm and the earth spirit to take effect on him, where the spirit of the earth appears before him. Faust characterizes the earth spirit in wonderfully beautiful words. We see how he senses that what the planet Earth is, is not simply the physical sphere that natural science regards it as, but rather, just as the body contains a soul, so the Earth body contains a spirit.
That is what lives in the earth as the spirit of the earth, just as our spirit lives in us. But Goethe characterizes Faust as not yet mature, his spirit as still unfinished. He must turn away from the terrible sign like a timid worm curled up. The earth spirit answers him: “You resemble the spirit you comprehend, not me.” In Goethe's soul there lived the realization, even if at first only a presentiment, that we cannot declare ourselves satisfied at any stage, but must strive from each stage to higher and higher stages, that we cannot say at any stage that we have achieved something, but must always strive higher from each stage. Goethe was led into these secrets by his diligent studies from phenomenon to phenomenon. And now we see him grow. The same spirit that he first summoned, and of whom he could only say, “Terrible face!” is addressed by Goethe through Faust, after Goethe himself had reached a higher level after his trip to Italy, after his journey, which I have characterized as one in which he wanted to permeate all of nature and art with his vision. Now Faust is attuned to the same spirit that Goethe himself was attuned to. Now Faust stands before the same spirit, which he thus addresses:
There Goethe has arrived, and with him Faust, to the heights, no longer turning away from the spirit that he had wanted to reach by leaping. Now the spirit presents itself as such that he no longer needs to turn away from it. Now he recognizes it in all living things, in all realms of nature: in forest and water, in the silent bush, in the giant spruce, in storm and thunder. And not only there. After it has appeared to him in the great outdoors, he also recognizes it in his own heart: its secret, deep wonders open up. This is a step forward in Goethe's knowledge of the spirit, and Goethe did not rest on his laurels. We then see how, spurred on by Schiller, he sought to deepen his knowledge, particularly in the 1890s. This knowledge enabled him to go beyond the vague characterization of spiritual consciousness that a spirit lives in everything. He succeeded in grasping this spirit in a concrete way. But Goethe needed much preparation before he was able to depict the life of the human spirit in the sense that spiritual and psychological things can only come from spiritual and psychological things. However, the fact that Goethe never failed to attempt to get deeper is shown by some of the works he created before the second part of Faust was completed. The second part of Faust shows the heights to which he has risen. Some have already turned away from him when they got to know the introspective Goethe in Pandora. Even today we hear people say: the first part of Faust is full of life, it breathes direct naturalness, but the second part is a product of Goethe's old age, full of symbols and contrivances. Such people have no idea what is in it, what infinite wisdom is in this second part of “Faust”, which only the Goethe of his rich life could have produced in his old age, leaving it as a testament. Therefore, we also understand when Goethe writes the lines about some works that already breathe the spirit of “Faust”, and we know that he presents Faust as a struggling soul, a soul that has been overtaken by something new. We recognize it in the anger he poured out on those who called “Faust” an inferior work of old age. He says of them:
Goethe once put into words his feelings towards those who believe that only what Goethe achieved in his younger years has validity, who do not want to ascend to what he achieved in his more mature years. After Goethe has introduced Faust into the life that directly surrounds us, and has allowed him to experience that wonderful tragedy of Gretchen, he leads him out into the world that is outwardly the great world, first of all into the world that is outwardly the great world: the world of the imperial court. There Goethe now wants to show that Faust should now really penetrate spiritually into the secrets of this world. But then Faust should be introduced to the real spiritual world, to the supersensible world. Right at the beginning of the second part, we see how Goethe has Faust surrounded by all kinds of spiritual beings. This is to express that Faust is not only to be led into an external physical world, but that he is also to experience what can be experienced by someone whose spiritual eye is open, whose spiritual ear is learning to perceive. Therefore, in the second part, Goethe shows us step by step the nature of the human soul, human development. What is Faust to experience? He is to experience the knowledge of the supersensible world. He is to be initiated into the secrets of the supersensible world. Where is this supersensible world? When we consider the spiritual content of “Faust”, we can only begin to address the question of Mephistopheles, the spirit that surrounds Faust from the very beginning and plays a part in everything Faust undertakes. But it is only in the second part, where Faust is to be led into the spiritual world, that we see what role Mephistopheles plays. After Faust has gone through the events at the “imperial court”, he begins to see what is no longer there in the sensual world: the spirit of Helen, who lived centuries and centuries ago. She is to be found for Faust. She cannot be found in the physical world. Faust must descend into the spiritual world. Mephistopheles has the key to this world, but he cannot enter this spiritual world himself; he can describe it intellectually. He can say: You will descend. One could also say: You will ascend. He then actually describes the spiritual world into which Faust is to descend in order to get to know it supersensibly, to find in it the spirit, the immortal, the eternal that has been left behind from Helena. A word is spoken, a wonderful word: Faust is to descend to the Mothers. What are the “Mothers”? One could talk for hours if one wanted to characterize exactly what the Mothers are. Here we need only say that the Mothers were for spiritual science at all times what man gets to know when his spiritual eye is opened. When he looks into the physical world, he sees all things limited. When he enters the spiritual world, he comes into something from which all physical things come out as ice comes out of a water pond. As one who could not see the water would say: Nothing is there but ice, it piles up out of nothing — so says he who knows not the spirit: Only physical things are there. He sees not the spirit that is between and behind physical things, out of which all physical things are formed as ice is formed out of water. There, where the source of physical things is, which is no longer visible to the physical eye, are the Mothers. Mephistopheles is the being that is to represent that intellect which only knows what is outwardly formed in space, which knows that there is a spiritual world but cannot penetrate into it. Mephistopheles stands there beside Faust, as the materialistic thinker stands today beside the spiritual researcher, and says: “Ah, you spiritual scientist, you theosophist, you want to see into a spiritual world? There is nothing in there, it is all a dream. It is all nothing. To the materialist, who wants to build firmly on what the microscope and the telescope reveal, but who wants to deny everything that lies behind physical phenomena, the spiritual researcher cries out: “In your nothingness I hope to find the All.” Thus the materialistic thinker stands opposed to the spiritual man, who hopes to find the spirit precisely where the other sees nothing. These two powers will confront each other forever. And from the very beginning, Mephisto confronts Faust as the spirit that can lead to the door, but cannot cross that threshold. The theosophist or spiritual scientist does not say: material science is nothing, is unnecessary. — He says: we must take this science seriously, study it, but it only has the key, it leads us to where the true spiritual life is to be found. Faust then descends into the realm of the mothers, into the spiritual world; he succeeds in bringing up the spirit of Helen. But he is not yet mature enough to truly connect this spirit with his own soul. Hence the scene where passion stirs in Faust, where he wants to embrace the image of Helen with sensual passion. That is why he is repulsed. This is the fate of everyone who wants to approach the spiritual world from personal, selfish feelings. He is repulsed, as Faust is repulsed when he has brought up from the realm of the mothers the spirit of Helen. Faust must first mature, learn to recognize how the three members of human nature really come together: the immortal spirit that goes from life to life, from embodiment to embodiment; the body that lives between birth and death; and the soul that stands between the two. Faust is to learn how body, soul and spirit are connected and how they belong together. Faust has already sought the archetype of Helen, the immortal, the eternal that passes from embodiment to embodiment, from life to life, but in an immature state. Now he is to mature in order to become worthy of truly entering the spiritual world. To do this, Faust must learn how this immortality first approaches the human being when he can embody himself again in a new life between birth and death in his physical existence. Therefore, Goethe must show how the soul lives between spirit and body, how it places itself between the immortal spirit and the body that stands between birth and death. This is what Goethe shows us in the second part of “Faust”. In Goethe, the soul is hidden in that wondrous structure about which Goethe researchers do not know much to say, in which spiritual researchers who are well-versed recognize the archetype of the soul. This is nothing other than the wonderful structure of the homunculus, the little human being. This is an image of the human soul. What does this soul do? It is the mediator between body and spirit; it must draw the elements of the body from all realms of nature in order to connect with them. Only then can it be united with the immortal spirit. Thus we see how Faust is led by this homunculus into the realm of the natural philosophers Anaxagoras and Thales, who have been reflecting on the origin of nature and life. Therein is shown the true doctrine of evolution, which goes back to the fact that not only an animalistic element underlies human development, but also a soul that gathers the elements from nature to gradually build up the body. Hence the advice given to the homunculus: you must start from the lowest realm in order to ascend to higher and higher ones. The human soul is first referred to the mineral kingdom. Then it is told: “You have to go through the plant kingdom.” There is a wonderful expression here: “It grunts so” to describe the passage through the plant world, the juicy green. There the soul gathers all the elements of the natural kingdoms in order to ascend. It is explicitly said: “And you have time until you reach the human being.” Then we see how the spirit of love, Eros, approaches after the soul has formed the body out of all the realms of nature. There it unites with the spirit. Body, soul and spirit are united. Here that which is the soul of the homunculus, that which it organizes into the body, unites with the spirit of Helen. That is why Helen can appear to us in the third act of the second part in the flesh. We see the doctrine of re-embodiment poetically and artistically enshrined in the second part of Faust. One does not unite with Helena by drawing her to oneself in stormy passion, but by truly living through the secrets of existence, truly living through the re-embodiment. Goethe was not yet able to express the idea of repeated lives on earth in the way we can today, but he did include it in the second part of his “Faust”. That is why he was able to say to Eckermann: “I have written my ‘Faust’ in such a way that it is suitable for the theater; that the images it presents are outwardly sensually interesting for those who only want to see outwardly sensually. But for those who are initiated, it will be evident that the deepest things have been woven into the second part of “Faust”. - Goethe expressly pointed out that one can find his view of life, his spiritual view, in this poetry. And so we now also understand that Goethe was able to illustrate to us in this reconnection of Faust with Helena what true mysticism is. Faust unites with the spiritual world. Not an ordinary child is born, but Euphorion, who is as true as he is poetic. He represents for us what comes to life in our soul when it unites with the spiritual world. When the soul penetrates into the secrets of the spiritual world, there comes a moment of development in the soul that is of tremendously deep significance for that soul. Before the soul can go further, it must first, for brief moments, gain connection with the spiritual world, to know for a very short time what the spiritual world is. Then it is as if a spiritual child were born out of spiritual knowledge. But then come the moments of life again, when this spiritual child seems to have disappeared into the spiritual world. One must grasp this with the heart, full of life, then one feels, like Euphorion, the mystic's spiritual child, despite all the poetic truth of life, sinks down into the spiritual world, cannot yet fully enter Faust, but as he passes over, something else does. That is an experience of the spiritual researcher, the spiritual seeker, when our soul has the hour when it truly senses its relationship to the spiritual world, and when knowledge appears as a child of a marriage with the spiritual world. Then it experiences it deeply when it sinks into the everyday, and it is as if it takes with it the best that we have. It is as if our own soul were to escape and go with it into the spiritual world. When one has felt this, one feels the spiritual words of Euphorion, who has sunk down, and who cries out from the dark depths: “Let me not alone in the gloomy realm, mother, let me not alone.” The true mystic knows this voice, the voice that calls from the spiritual child to our soul as its mother. But this soul must go further. It must break away from that which is only personal passion. We must be able to devote ourselves to the spiritual world impersonally. As long as there is still self-interest, self-will, we cannot grasp the spiritual world. Only then can we grasp this spiritual world when all that is personal has been erased before the higher things of the spiritual world; only then can we truly enter the spiritual world permanently. But there are still many moments when we have already experienced that moment that pushes us back into the physical world, moments that take away all mysticism for a long time. These are the moments when we have to say to ourselves: Yes, even if we have overcome all selfishness and self-will, there still remains this or that, as it is left behind in Faust, even after he has said: “I stand here in the open, I only want to work, to gain everything from nature, to do something only for others.” But he has not yet come that far. As he looks at the hut of Philemon and Baucis, something disturbs his view, he shows: he has not yet overcome the selfishness that wants to be pleased by the sight. He wanted to create a possession, selflessly, but he cannot yet bear what disfigures him: the hut of Philemon and Baucis. Then the spirit of evil approaches him once more. The hut is burnt down. Then that appears to him which appears to everyone who undergoes development: the worry that approaches everyone who still has selfish aspirations within them and which does not allow them to ascend into the spiritual world. Here it is, worry, and we learn to recognize it in its true form; then it is something that can lead us to the last of real spiritual knowledge. It is not intended to show that man should become unworldly, hostile to the world, but how man in the world should get to know that which does not let him go from the world. In wise self-knowledge, we should let worry take a back seat so that we can become free from the selfishness of worry, not from worry itself, which is illustrated by the fact that worry says it creeps in through a keyhole. When we get to know this worry, not just feel it, but learn to bear it, then we attain that degree of human development that opens the spiritual eye to us. This is illustrated by the fact that Faust goes blind in old age, can no longer see with his physical senses, but can look into the spiritual world. “The night seems to penetrate deeper and deeper.” It is dark on the outside, but inner bright light, the light that can illuminate the world, shines, the light in which the soul is between death and birth: the realm of the mothers. Only now can Faust begin his journey into the spiritual world, where his ascension is so beautifully described. Then Goethe can summarize what has become of Faust, from the intuitive striving of that person who despairs of science and turns away, to what he has become from that stage to the highest spiritual knowledge. He can summarize it in the Chorus mysticus, which, as its name indicates, is intended to signify something deeper. In this Chorus mysticus, it is intended to summarize paradigmatically in a few words what holds the key to all the secrets of the world, how everything that is transitory is only a parable for the immortal. That which the physical eye can see is only a parable for the spiritual, the immortal, of which Goethe showed that he even attained the knowledge of re-embodiment when he entered into this spiritual. It shall finally be shown that when man enters into the spiritual kingdom, then all that is present in the physical world as presentiment, as hope, is there a truth. What is striven for in the physical world becomes a presentiment in the spiritual world. It may appear pedantic when I state here something that one must know to understand the final words. Goethe spoke somewhat unclearly in his old age because he was toothless. He dictated the second part of his “Faust” to a scribe. Since he still had some of the Frankfurt dialect, some words and sounds came out a bit unclear. So for some words, the scribe used g's where there should have been ch's. For example, “Erreichnis” was written as “Ereignis”. When dictating the final words of Faust, Goethe spoke “Erreichnis”. The inadequate becomes here something that can be achieved, an “Erreichnis”, that is, with two r's and two ch's. Everywhere, in all editions of Goethe's works, you will find “Ereignis” written. Goethe researchers know so little about penetrating into the sense. That which is inadequate in the physical world becomes “achievement” in the spiritual world. What cannot be described in the physical world is done in the spiritual world. There it becomes a living deed. And finally, we experience the great thing that Goethe is allowed to express in the closing words of the second part of “Faust”: “The eternal feminine”. Oh, it is a sin against Goethe to say that Goethe means the female sex by this. Goethe means that depth which the human soul represents in relation to the mystery of the world, that which longs as the eternal in man: the eternal feminine, that draws the soul up to the eternal immortal, the eternal wisdom, and that gives itself to the eternal masculine. The eternal feminine draws us up to that which is the eternal masculine. It does not refer to something feminine in the ordinary sense. Therefore, we may well seek this eternal feminine in man and woman: the eternal feminine that strives towards the eternal masculine in the cosmos in order to unite, to become one with the divine-spiritual that permeates and interweaves the world, towards which Faust strives. This secret of men of all times, towards which Faust has been striving from the very beginning, this secret to which spiritual science in a modern sense is to lead us, is expressed by Goethe in a paradigmatic and monumental way in those beautiful words at the end of the second part of Faust, which he presents as a mystical spirit-choir, that all physical things which surround us in the world of sense, Maja, illusion, deception, are a parable of the spiritual. But we see this spiritual when we penetrate to what covers it like a veil. In this spiritual we see what cannot be achieved here on earth. We see that which is indescribable for the mind bound to the senses, transformed into real action when the spirit of man unites with the spiritual world. “The indescribable, here it is done.” And we see that which is significant, where the soul unites, lives together with the eternal masculine of the great world, which lives through and weaves through this world. That is the great secret that Goethe expresses with the words:
Goethe was able to say to himself: Now I have done my life's work. It does not really matter now what I accomplish on earth during the rest of the time I have left to live. Goethe sealed up the second part of his “Faust”. And this second part was not given to mankind until after his death, and mankind will have to draw on all of its spiritual science to penetrate the secrets of this mighty work. Today, only sketches could be given. One could spend hours and weeks using all the means of wisdom to illuminate what Goethe gave to mankind as a testament. May humanity open up this testament more and more! Seal after seal will fall, the more people will have the will to penetrate the secrets of the second part. The voices of those who say, “You are seeking to find something in there that Goethe never intended to put in his work,” will fall silent. Those who speak thus do not know the depths of Goethe's soul. Only those who see the highest in this work and in what Goethe condenses into the mystical chorus, which can conclude so many reflections that are intended to lead to the spirit, recognize this. |
| 2. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: The Relationship Between Goethe's “Faust” and Goethe
17 Dec 1911, Berlin |
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| So it could well be that here and there his “Faust” seemed rather questionable to him, when he undertook what he had written decades ago. In the meantime, he had progressed. Now, what he had created years ago is to be continued. |
| Faced with this figure, Mephistopheles says, because he does not understand her: With this potion in your body, Soon you will see Helens in every woman. |
| With these words of conviction, commentators have tried to explain the strangest thing, because they could not understand that it is not a matter of conviction here, but that Goethe, in the sense in which he speaks of the superhuman, is speaking here of a conviction. |
| 2. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: The Relationship Between Goethe's “Faust” and Goethe
17 Dec 1911, Berlin |
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Since Ms. Wandrey's illness has prevented her from giving her Faust lectures during our time together in Berlin, I would like to make some brief and rather random remarks about Goethe's “Faust” this morning. I have often lectured on Faust and I hope to one day put together a compilation of what I have said in various lectures in a smaller publication. The Faust theme is an extraordinarily comprehensive one on the one hand, and on the other hand it is extraordinarily difficult, difficult because there are probably not many works of world literature that are as inextricably linked to their author as Goethe's Faust is to Goethe. We need only consider the fact that Goethe brought with him to Weimar a kind of first form of the Faust legend, which he had developed as a Faust legend, and that in Weimar, in a relatively early period, he only had to add a little and work it out in detail, and then he could read it aloud. It is the figure that was published at the end of the 19th century, found in a copy that bears the rather distasteful name “Goethe's Urfaust”. So with this we actually have the Faust figure before us, which Goethe had very early on. Then we have a version of the Faust poem that Goethe published in 1790 out of certain feelings, a “Faust fragment”. I say out of certain feelings, of course, because the fact that Goethe published it was associated with the fact that Goethe actually despaired of finishing this Faust poem at the time. So it was a matter of repelling what he had thought up to that point because he no longer saw any possibility of continuing it. Then we have the form in which 'Faust' appeared in the early 19th century. That is roughly our first part today with the 'Dedication', the 'Prologue in Heaven' and so on. But that is not the end of it, because the “Helena Scene” was already finished at the time, and this now appears as the third act of the second part, so that at the time when Goethe had this figure of “Faust”, he already had in his feelings and thoughts a connection between this Faust figure and the figure of Helen. And then, in 1824, when Goethe was seventy-five years old, he energetically set about rounding off the second part and making it into a full-fledged poem, which he then left as a testament after his death. We therefore have a piece of writing before us that not only accompanied Goethe throughout his entire life, on which he not only worked throughout his entire life, but which also continually changed its entire inner structure, content, form, conception, everything at all in the course of time. To this we must add that Goethe shows himself in this “Faust” as one of the most truthful poets that we find in world literature. For in writing Faust, his aim was never to present something outwardly beautiful or perfect, but always to give what he could give out of the deepest, innermost sincerity, to give unadorned what his soul had grasped as truth at the time. If we add to this the fact that this Goethean life was a striving through and through, that we can follow how this Goethean life developed and rose from decade to decade, how Goethe thought and recognized new things, formed relationships to new worlds, then we will recognize the importance that lies in the fact that Goethe always let what was in him flow into the Faustian poetry. So it could well be that here and there his “Faust” seemed rather questionable to him, when he undertook what he had written decades ago. In the meantime, he had progressed. Now, what he had created years ago is to be continued. One thing will be considered here to take a look into Goethe's soul with the help of “Faust”. If you take what has now been published as “Urfaust”, you have something that you can call: It is approximately what brought Goethe to Weimar and rounded off the first Weimar years. It is something that could be called the poetry of a young, extraordinarily talented poet who, however, has not yet been able to bring much of what was actually in his soul out of his soul for himself. For this form of Faust poetry still lacks all the connections that Goethe would later in life call connections with the spiritual world. There are actually only the external, quite realistic human scenes that could be conceived in such youthfulness. It is self-evident that people who want to remain in such a relationship to the spiritual world all their lives, and who do not want to see the becoming, the development in Goethe, find contradictions. Of them, Goethe said:
But let us look at Goethe's situation, let us look at the matter with regard to Goethe's soul. We can stop at the time when Goethe was in Italy, when he was in Rome, that is, in the second half of the penultimate decade of the 18th century, 1787 to 1788. What happened in the time between when Goethe wrote what is now combined in the Urfaust, until the time in the Goethean soul when he was in Italy, when he regarded as most appropriate the form of art he had given in “Tasso” and in “Iphigenia”? Consider what it means that it is the same personality that had already written the strange, chaotic “Götz von Berlichingen” in its first form on the one hand and then gave the wonderfully rounded form in “Tasso” and “Iphigenie” on the other. It is the same person. For reasons that will become clear later, when we no longer know that these works are by the same poet, it will be possible to prove that the same poet could not possibly have written these things. We can say that there were already different people in Goethe himself in the truest sense of the word. In 1775, Goethe had overcome Goethe, and in 1788, it was the Goethe who wrote “Hexenküche” (Witch's Kitchen) in the Villa Borghese in Rome and the wonderful scene “Sublime Spirit, thou gavest me, gavest me everything, why I asked”. It is a fact of profound significance for our knowledge of Goethe's soul that the images of the original Faust, which he wrote in youthful titanic rebellion against the prevailing intellectual currents, arise before Goethe's spirit in the same mood in which “Götz von Berlichingen” was created. In Rome, the same Goethe felt the urge to bring measure and harmony into his conception and to take up the old figures again. He must again honestly and sincerely add something from his present to Faust, seek to continue Faust himself, as he himself has progressed. That was a very difficult situation. The earlier time is no longer there, but it confronted the poet Goethe. He would have had to rewrite everything that had been written so far, or he had something in front of him that was really as if he, at the age of forty, had his figure at seventeen, twenty-five, thirty, and so on, as if he had all that in front of him. And again, if he had completely reworked the whole of Faust, it would not have been true, because he would not have expressed the mood that was in him when he was interested in these scenes. All this makes the Faust legend so tremendously important and so unfit for the philistinism we find in life. But there is still something in Goethe when he wrote the “witch's cauldron” and the scene “sublime spirit”, there is still something there. What had already occurred before Goethe? Goethe had approached everything that was in his soul, the fourth post-Atlantic cultural period, the Greek-Latin period. He is full of enthusiasm for this fourth post-Atlantic cultural period, for the Greek-Latin period. I have the suspicion, he wrote from Italy, that I am on the trail of the laws of Greek art. The artists proceeded according to the same laws that nature itself follows. After reading Spinoza deeply to find God in nature, when he stands before the works of art in Italy, what appears to him as art, stands before him, as he said: “Here is necessity, here is God.” Now, he felt himself confronted with what he had absorbed in the north from a culture in which what had emerged as the first dawn of the fifth post-Atlantic cultural period had essentially played a role. No matter how strange some of the beliefs, legends, and superstitions that emerged during the strange twilight of the Middle Ages may seem, they are connected to the cultural period that followed the Greco-Latin period. And now, in this period, the completion of the human being in the Greco-Latin period stands before Goethe's mind in a very remarkable way. It was a perfection that was brought about by the fact that this cultural period, which is the middle of the post-Atlantic period, is preceded by three periods that are repeated to a certain extent later, but that this fourth period is the middle, the center of gravity of the post-Atlantic period, that at that time man went out into the physical world to the utmost. Hence the sense of completion and calm perfection in this art. That was what made such an impression on Goethe. He felt: when you have such a work of art before you, you do not need to go out into space, into the external world, everything has been poured into the work of art. — It was this outpouring into form, into the “how”, that particularly gripped him. In the north, he was confronted by what he himself loved so much with the other side of his nature in the early days. Take a Gothic cathedral or the art of Dürer, Holbein and so on. There we have what prepared the fifth period. The works of art are not closed. You have to look for what is inside the work of art. A Greek temple is complete, so complete that no one needs to be there. The Gothic cathedral is not; it is only complete when there are devoted people in it. Until the time of decline in Greece, we always have the spiritual in the outer form. But in Dürer's form, we have the endeavor everywhere to go deeper than what the outer form expresses. The forms are sometimes ugly in the Greek sense because a powerful will wants to express itself there. In his youth, Goethe was a follower of this art, of Shakespearean art, which is the opposite of Greek art. What is here like two opposing elements in Goethe's soul would hardly have caused such inner turmoil in another soul. For Goethe wanted nothing less than to have everything that confronted him in the external world, and at the same time the supersensible, the spiritual. He was not one of those people who were satisfied with the external form, but rather one of those who valued the external form that he saw in Greek-Latin art so much because the supersensible was present at the same time. Form itself was a super-sensible reality. For Goethe, what is given in nature, what otherwise confronts him in the world, is already Maya, great illusion; Maya or great illusion is everywhere present. But from art he demanded that it place the true in the midst of Maya, the Greek temple, the Greek god, which from the super-sensible point of view is the true. Thus Goethe was thirsty for the truth of the supersensible in the sensible, drunk with Greek-Latin art because he wanted to place a realm of truth in the realm of Maja through art. All that is untrue should be removed from art. But on the other hand, he saw how dangerous such an artistic demand is. Through spiritual science, we know why it is dangerous. Because every form of art is tied to a particular epoch, because it cannot reappear later. That was something for the fourth period, but not for the fifth. There, people had to focus on the supersensible, which cannot express itself in form. That was the fate of humanity, to be judged by that. Hence the struggle in the Nordic cultures against all outward appearance, the grotesque appearance of the spiritual in everything. As long as one — Goethe said to himself — merely talks about these things — Goethe said this to himself when he was sitting in the Villa Borghese —, as long as one merely talks, as I also did in my youth, one is not really true. For in external speech, the phrase is unavoidable as long as it is not imbued with inner soul. Everything Goethe had created up to that point seemed to him to be untrue compared to the plan he now had to place truth in art in the Maja. Thus arose in him the urge to bring across into the new era that which, like an eternal, can live on in every epoch, to bring across from the Greek-Latin epoch that which can live on. Do you grasp that? No, it is unconsciously brought across, because every cultural epoch stands on the earlier one. Unconsciously, the fourth lived on in the fifth cultural epoch. All this lived in Goethe as an urge: how can one consciously bring this across, how can one let that which lived at that time and has eternal value flow over? How would it appear if people could consciously transfer what lived in Greco-Latin culture into their consciousness? — This was something that lived in Goethe's soul: What would a person who had lived entirely in the Greco-Latin period and who now consciously transferred his consciousness into later times be like? — This was the beginning of the whole problem of reincarnation in Goethe's soul. It could not have been more deeply felt at that time. He wondered how one could consciously transfer earlier cultural ideas into later cultural ideas. It lived in him so much that he did not know how to grasp it in his own soul. In the subconscious soul lay that which had transformed the soul in such a way that in the transition from the fourth to the fifth period a figure as remarkable as Faust could appear. Faust really lived and is registered in the records of the University of Heidelberg. What kind of a person was he? In a certain sense he was a contemporary of Nostradamus. He was a man who felt, in a certain way, the longing to bring forth, more or less consciously, what must now be brought forth again from the hidden depths of the soul. The third cultural epoch is to be brought up again. It is Faust's destiny to bring up this third cultural epoch again. The justification of such a spirit, alongside the spirit that arose as an ideal in Goethe's soul, was always clear to Goethe. He could never doubt that this modern spirit had a right to exist alongside the ideal man in his soul from the Greco-Latin period. But now he said to himself: This spirit must dive down into the depths of its own soul, must become acquainted with all that divides man when he enters the higher worlds. No sooner has man approached the “Keeper of the Threshold” than Goethe felt that a multitude of figures immediately confront him. Thus, for Goethe, Faust became a highly questionable figure, but one that he could not ignore: “How is the spirit that I have carried over from the fourth cultural period legitimately contained in a spirit in transition to the fifth cultural period?” It is contained in such a way that all the dangers that confront man when he passes the “keeper of the threshold” and enters the supersensible worlds must play a part in the striving. That Faust enters the supersensible worlds emerges from his longing, from his intuitive contemplation. Goethe was aware of this from the outset, but only gradually became aware of the dangers that still existed at that time, but no longer do today, because they can be avoided by following the teachings in “How to Know Higher Worlds”. But Faust still faced these dangers. The way in which Faust enters the supersensible worlds is such that, simultaneously with the arising of a certain imaginative realization, an arousal, an inflammation and ignition of the lower passionate life must go along with it. Both things cannot be separated unless a regular spiritual path is taken. These things cannot be separated, you can also read that in Blavatsky. She says that one can only notice how the karma of someone who wants to penetrate into the spiritual worlds changes, how he can bring misfortune upon those around him if he does not enter the higher worlds in a regular way, how he spreads the circles that emanate from the impulses within him over his entire environment. In return, his own urges and passions also mingle in the higher worlds; worlds of forms surround the human being. Goethe had to picture these real seekers of the spirit before his soul because he stood on the ground of having an inkling within himself of the absolute truth of Greek and Latin culture. He had to picture this seeker of the spirit of the fifth period with all its difficulties before his soul. What surrounds such a man, what dangers befall him? In the whole world of sense there is nothing that corresponds to what such a man experiences. He must enter into the spiritual world. But first one must know how what such a person experiences differs from the sense world. That is why there is the 'witch's kitchen': because Goethe wanted to show the whole supersensible environment into which Faust had to enter, because it had to be shown how the supersensible worlds present themselves in all the antecedents of which we have spoken. One must accept this 'witch's kitchen' as part of the spiritual world. It must be realized that Goethe knew certain secrets of the supersensible world, so that he was able to describe accurately how things are actually perceived by the clairvoyant consciousness. Thus the supersensible world is described with extraordinary accuracy, with all the seething human passions being described when the terrible process of entering the spiritual world takes place. All the seething passions that arise there are reflected in the monkeys, which have the names Meerkat and Meerkat, and are reflected in everything that is appropriately depicted in the “witch's kitchen”. But Goethe has the urge to get Faust up to the truth, not to this world of untruth. It is a world that is absolutely true in fact, but a world that is even more illusion than the ordinary world of the senses is for the senses, Maja. Goethe must endeavor to approach the truth. He must depict how the external world, to which Mephistopheles belongs, the supersensible world, which is depicted in the “Witches' Kitchen”, is surrounded. Goethe wants to show that Faust can get out of the world from which Mephisto can receive his inspiration. Imagine a person placed in the supersensible world, as Faust is in the “witches' kitchen.” If one can no longer find one's way in this world, then not even the ordinary laws of the number system can be right. It does not depend on a witty interpretation of the witches' multiplication table; one must feel what it means to really stand in the presence of what is written in the witches' multiplication table:
It is about putting oneself in the shoes of a person who suddenly finds themselves in this world, where everything is different, after having known the ordinary number system. If you interpret these things more or less ingeniously, you do a disservice to the poetry, because it then seems as if the poet himself had symbolized it that way. No, the situation was vivid before the poet. Anyone who calls Goethe a symbolist or an abstract thinker shows that he is incapable of grasping the meaningful and real aspects of this situation. What had to happen to Faust if he did not want to destroy his own karma and that of those around him, such as Gretchen? It was a long way from this Faust to the one who speaks out of the contemplation of the fourth cultural epoch: Oh, from the human heart arise the imaginations that spin a web around the whole world of illusion:
That is Faust, who speaks with nature by connecting his imaginative world with what is present as Maja or illusion, who is different from the one to whom Mephistopheles may say so strangely:
How did he cure him? By introducing him to the transcendental world. But Faust is not to be cured of imagination in this way, but rather in such a way that he recognizes imagination as the all-embracing Maja, the illusion. What is necessary for Faust to be able to say:
In order for this classical sense of calm to arise, what must Faust confront in the “witch's kitchen”, where he must lose himself if he does not develop something very specific? He must not proceed like a theosophical theorist; he must come to himself like a human being with a very specific experience; he must see himself objectively. He must encounter something in the “witch's kitchen” in which he sees himself. Something of higher truth must appear in the imagination, but something that has a higher reality than the “witch's kitchen”. The higher self is feminine for man. This is very realistically depicted in the appearance of “Helena” in the “witch's kitchen”, the appearance of the etheric body, which can only be seen from a certain distance. Faced with this figure, Mephistopheles says, because he does not understand her:
This is portrayed from a true poetic impulse that strives for what people of the outer world will not see as what is important. For the people of the fifth period, there will still be a question about what they need, a question that could easily be somewhat ambiguous, but when it is truly answered, it is easy to understand. How could one speak to the most important matter of the people of the fifth period?
It is a remarkable enigmatic speech with which Goethe approaches us at the beginning of the second part. One could find enough words to solve this riddle, but for our humanity the best solution will be found if one word is applied to everything that is asked. The word: Spirit. But Goethe did not want it to be so easy to solve the riddle, he did not want to present it so bluntly. But the spirit is enchanted in the most diverse ways and yet always welcome. One need only observe the spiritual development of mankind to know: What is longed for and always chased away? One need only point to spiritual science, for example. In those days, the spirit was only allowed to show itself in the guise of the court jester, otherwise it was not very welcome. The big question is how the fifth post-Atlantic culture should come to spirit, to spirit from what it has, how it can grasp the actual basic essence of the world. Now, in no cultural epoch has humanity been better suited to finding the spirit in the form of the ego than in our cultural epoch. But how could one find the true nature of man if one could grasp this I on the basis, on the background of the astral body? Let us assume that if a person in the 19th or even the 16th century wanted to find out what the astral body is. Imagination is not something that a person has in their external perception. Man should seek the astral body, that which lies at the basis of the moon-time of the outer development of the I. Of course, because all the powers can reach everywhere, even when man applies the intellect to things, he can arrive at something, but what will he bring out of the astral body? Let us assume what emerges from the astral body when we apply to it that which is well suited to the external world of maya. We cannot express this more aptly than by calling what emerges from the astral body the homunculus. The homunculus has something to do with the astral body, as it is structured around that which is the I. We are dealing with the supersensible, so that Goethe is allowed to coin a word here that from the outset refers to something that is created in the supersensible world. Then Wagner says – the philistine intellect does indeed produce the homunculus in the laboratory –:
With these words of conviction, commentators have tried to explain the strangest thing, because they could not understand that it is not a matter of conviction here, but that Goethe, in the sense in which he speaks of the superhuman, is speaking here of a conviction. But the second part of Faust has been commented on in such a strange way that the spelling mistakes have been commented on. For example, when Goethe dictated and the writer wrote: “Only do not strive for higher orders” and so on — it is truly not meant here, but the one to whom Goethe dictated wrote “order” instead of “places”. These things that we have here show us that for Goethe, after he had envisioned Faust in all his spiritual striving, the question now becomes particularly urgent: How can one consciously bring across consciousness? — The consciousness that lived, for example, in Helena, who now came before his mind. That was the burning question. In this context, I must mention – you have to take the Goethe of 1797 – that the greatest change that has ever taken place in the entire soul of Goethe has occurred. At the same time that the Faust figure in him, as a result of the necessity to think it, not only as a result of processes of the inner soul, when he had to write the “Prologue in Heaven”, all things in his inner being changed, so to speak. Then necessity also approached him, to give ever more definite form to this conscious coming over of consciousness from the fourth to the fifth period. Hence also the endeavor to solve the question somehow. I have often hinted at how Goethe attempts to solve the question of reincarnation in poetry by showing that the eternal part of Helena rests in the spiritual world of the “mothers”. But man cannot enter the spiritual world without further ado, otherwise what happened to Faust when he looked at the image of Helena would paralyze him. The spirit must first envelop itself with the soul, then with the natural body. Helena envelops herself with the soul when soul material is made available in the astral as a homunculus. In the homunculus we have the forces of the astral body of a human being entering into existence.
Everything is described quite appropriately, and finally the enveloping with the outer nature, where we are shown how the external corporeality is taken up. There he must pass through all the elements of nature, beginning with the mineral world and passing through the plant world. Goethe finds the wonderful word “It grunelt so” (it grunts so) to indicate what can pass from the greening plant world into human nature. So it goes through everything. “... until you reach man.” But then you cannot go any further.
This continues until the human being comes into existence through the mystery of love, which is so wonderfully portrayed, as the human being is called into existence through the mystery of love, through the mystery of the sexual opposition. After Goethe has portrayed everything that precedes the mystery, he has the sirens express the wonder:
And man comes into existence.
And we turn the page. Act Three: Helena has arrived. These things must not be grasped with coarse hands, must not be entrusted to external interpretation. These things can only be described by running after and slipping into what is being expressed, by dissolving them in the metamorphosing water, as in Goethe. But that is all there is to it. In Goethe is the urge to consciously bring up what has unconsciously lived in man of the fourth cultural period and what must consciously come up. And then Goethe still uses the moral-religious-mystical element of the north to show how what has shown itself unjustifiably in the “witch's kitchen” can indeed come out justified. He shows this so magnificently in the final scene, where spiritual science and mystery interact so wonderfully, where everything that lived in Goethe is so wonderfully compressed in the 'Chorus mysticus', that this Chorus mysticus can almost be used as a symbol of spiritual science, which is already expressed by the scattered roses, and when it is said:
In just a few lines, everything that we recognize as spiritual scientific truth is expressed. |