The Rudolf Steiner Archive

Dear attendees! It is often said that there is a deep truth to the statement that the greatest mystery of all is man himself. Although this saying is often uttered, in its depth, in its full meaning, it is not understood. Rather, the full mysteriousness of man is felt and sensed deeply enough only in the rarest of cases. In truth, not only does man face himself as a significant, difficult-to-solve riddle when he looks beyond the most superficial things in life, but also every fellow human being faces us, in a certain, and very deep way, as a riddle in turn. And what should interest us today in particular is that when we talk about the human puzzle, we cannot hope to have solved this human puzzle with a single answer; but if we proceed not theoretically but in accordance with life, we must say: in this human puzzle there are basically as many individual puzzles as there are people in the world.

Within certain limits, each person can be seen as a separate puzzle within the greater puzzle of the human race. And what we are to deal with today is intimately connected with this view of the human being: that peculiar coloring of the human being, that fundamental tone of human individuality, which we encounter in one person in this way, in another differently, and which we describe with the word: the human temperament.

Everything that can enlighten us about the diversity of human nature is encompassed by this word, and we may hope that if we are able to shed some light on the mystery of human temperaments, we may also gain a handle to solve the human puzzle a little in its most diverse forms. Of course, when we approach this human puzzle not in a general, theoretical way, but in a lively, individual way, we must not succumb to the great illusion that an external knowledge of the human being, a mere sensual-physical knowledge of the human being, will somehow lead us to solve the human riddle in its most diverse forms. temperament; if we approach this human puzzle individually and full of life, then we must not succumb to the great illusion that an external knowledge of the human being, a mere sensual-physical knowledge of the human being, could somehow lead us further.

For spiritual scientific or, let us say, theosophical consideration, as we have often been able to mention here, the human being is a very diversely composed being, and we only understand him if we not only look at the outside of himself, at what eyes see and hands touch, what the outer senses can perceive, what the human, brain-bound mind can dissect, but we can only hope to fully understand man little by little if we also consider the supersensible aspects of human nature. And since it has often been said which are the members of human nature, they need only be mentioned briefly today, insofar as we need to do so in order to then enter into the consideration of human temperaments.

That which eyes see, hands grasp, and the physical organs can perceive in a person is, after all, only the outermost link of the human being for spiritual scientific observation, the link of the human being that it shares with the entire seemingly lifeless mineral nature around it. Beyond that, we have the next link of the human being, a link that cannot be perceived by the outer senses, which already belongs to the supersensible, invisible links of human nature. And while we call that which man has in common with inanimate nature the physical body, we call this supersensible first the etheric or life body. We find it in every living being, in plants, which it permeates and organizes just as much as it does in human beings, and in animals. In spiritual science, we do not speak of this etheric or life body in the same way that materialists speak of life, as if life were just something that emerges as an effect from the physical body and the interaction of the forces and substances of the physical body. No, for spiritual science this etheric body is not only something independent, something that the consciousness of the human being, which can see behind the world of the senses with clairvoyance, really sees as reality, just as the physical eyes see the physical body, but this etheric body is actually that which underlies the physical body as the first, as the actual creator. The physical body is not the cause but the consequence of the finer, the etheric or life body. Just as – this image has also been used here often – just as for someone who looks into a container in which there is water, ice can condense out of this water into lumps, so the spiritual is around us, and the physical is the condensation of the spiritual. Thus, within the human etheric body, the physical body, with all its substances and powers, is a condensation of the etheric body. And so it is with all living beings.

A third link in the human being, which he has in common only with animals, is the so-called astral body, the carrier of lust and suffering, joy and pain, desires, urges and passions, ideas and thoughts. The astral body is the carrier of all that surges up and down within the human soul. Just as the physical body is a densification of the etheric body, so the astral body is a densification of the astral body. The objection raised by the materialist is a very cheap one: Can you imagine that somewhere in the world there are passions, thoughts, feelings, desires and suffering flying around freely? Must they not be bound to a physical body? Of course, if someone has a vessel of water in front of them and only begins to see when the water has condensed into ice, then they may deny the water. So the materialist is quite right when he says that only the physical exists for him; but the one who recognizes the higher organs of the human being, which Goethe describes as spiritual eyes, must also recognize that our world is truly only filled with tangible and visible content, but with entities, with processes that only exist in passions and drives and desires that weave through each other and that can condense into the etheric and the physical. In short, we distinguish the third limb in the human being, the so-called astral body, the bearer of lust and suffering, joy and pain, desires and thoughts.

And as a fourth link, we have always recognized in the human being that which encompasses the name of the human being, which can only sound from within if it is to denote what it is applied to; as a fourth link, we denote the bearer of the human ego, of human self-awareness. The I can only name itself; only from within can it give itself the name “I”; the name “I” cannot possibly reach your ears from the outside if it is to mean you.

This is only a rough sketch of how we think of the human being as a four-fold creature. All these aspects interact in the most diverse ways. The I has an effect on the physical, etheric and astral bodies, the astral body on the I, the physical and etheric bodies, and so on, and so on. These four members of human nature are in a perpetual interaction. It is important that, in addition to this interaction, which can always be observed by clairvoyant consciousness during waking, we also consider the changes that can occur in the context of these four members, first of all those changes that take place every day in the alternation of the waking day consciousness and the sleeping consciousness.

When a person falls asleep, his physical and etheric bodies remain in bed. The astral body and the ego leave. In the morning, the ego and the astral body plunge back into the etheric and physical bodies and make use of the organs through which the environment can be seen as physical. The human being also exists at night, even if unconsciousness spreads around him. He just cannot see anything because, in his current state of development, he does not have spiritual ears and eyes in his astral body. He has to use the physical organs, and he can only do that if he submerges into the physical body. That is the change that a person goes through day after day. Human nature undergoes yet another change, the change that is characterized by the meaningful words that basically already encompass a large part of the human mystery: birth and death – or life and death.

Today, once again, we must briefly call ourselves to mind what happens to a person when they pass through the mysterious portal of death. It is not like when a person falls asleep. In death, the physical body remains as a corpse, and the I, the astral body and the etheric body separate from this corpse. What does not occur between birth and death, that the etheric body leaves the physical body, happens in death. We can see from this that throughout life, and indeed both during waking and sleeping states, the etheric body is a fighter against the disintegration of the physical body. Where the etheric body does not fight against disintegration, the physical body follows its own substances and forces and disintegrates, decays. This is the nature of the physical body, which it unfolds as a corpse. That it does not reveal them during life, that it does not follow the chemical-physical forces as it does in death, is due to the etheric body, which is a loyal defender against the disintegration of the physical body between birth and death. And when a person has passed through death, then, having discarded his physical body, he can live on in the spiritual world with the fruits that he has harvested in the life between birth and death, which he has harvested through his experiences. The etheric body, which withdraws from the physical body, contains a true image of all experiences between birth and death, and it is something like an essence, like an extract of the etheric body, which we take with us into the following life after death, into the life in the spirit. We take something like an extract of our etheric body with us, which usually also detaches from us as a second corpse after a few days, and this extract remains with us for all eternity. It contains something like a brief excerpt from the last life; we take this with us into the future life.

Now, however, we still have a task after death. We have to undergo a kind of probationary period, a period of getting out of the habit. You can best imagine this time if you start from a simple consideration, if you say to yourself: the astral body of man is the carrier of pleasure and suffering, of instincts, desires, all pleasures. The physical body is not the carrier of these; it only provides the instruments for enjoyment. The enjoyment itself lies in the astral body. But you take the astral body with you after death. Immediately after death, it is exactly as it was in life. Let us assume that a person was a gourmet. After death, he still has his astral body; it always longs for tasty morsels. But there is no possibility of satisfying this craving. It can only be satisfied if you have a palate. The physical body is discarded, so the astral body craves the pleasures of life after death. It is the same with everything that can only be satisfied by physical tools. All of this must be weaned off within a certain period of time.

This period of disaccustoming, during which man learns to have no more desire for anything that can only be satisfied by the physical organs, is usually called the time of desires, Kamaloka. For when man has gone through this period of disaccustoming, when he no longer desires anything that can only be satisfied by the physical senses, then he discards the third corpse. First he has discarded the physical body, then the etheric body, which dissolves a few days after physical death, and then he discards the unusable part of the astral body. And then man is that purely spiritual being who undergoes a time of purely spiritual life.

The transition from the period of weaning from physical passions makes itself felt in that man first has, as the innermost part of his experience, something that can be described as a feeling of bliss. Now begins the time when he works towards a new existence, when he begins to apply what he has learned in previous lives, what he has received as fruit, and to gradually develop it into a spiritual archetype, of which the next life can become an image. Creation is always connected with a feeling of bliss. And that creation in which we gradually form the archetype for a next existence, that is supreme bliss. I will not even talk about the bliss associated with every spiritual production, but there is bliss when only - forgive the comparison - the hen participates in the production of the new chicken. There is a bliss that permeates a being in all creation. It is therefore also a bliss that a person experiences when he is free from all the limitations of the physical world, when he brings everything together spiritually, which, when it is spiritually developed, leads to a new existence on this earth.

When the human being has fully developed his spiritual core, which takes a long time, then the descent into the physical world begins again, and then it is the case that the human being surrounds himself with three new bodies. Depending on the person's qualities, the substances from the astral world attach themselves, forming his new astral body. We can compare this formation with, say, when we have spread metal filings on a thin plate and pass a magnet underneath; these metal filings then arrange themselves into all kinds of shapes, in which they then shine. In the same way, the astral substance arranges itself around a spiritual core during the descent.

Then the person is led to a pair of parents and, through the connection of this spiritual core of the being, which has incorporated its astral cover, with what takes place between the parents, the further human covers around this core of the person's being are formed. In the interaction of what descends with the parents, a new etheric body and a new physical body are formed around the descending, so that every time we see a person enter into an existence, we have to say to ourselves: This human being receives from two sides what he actually is for this earthly existence. The inner being descends from spiritual heights. Because the human being is spiritual and astral, he descends from higher worlds. Through that which is inherited from generation to generation, from ancestors to descendants, what we see as the outer shell is formed around the human being, but also much of what belongs to the etheric body, to the fighter against the disintegration of the physical body.

And now, having realized that the human being is formed from two sides, let us ask ourselves what would happen if one or the other extreme were to prevail. Let us assume that a person brings with him only a few qualities from the spiritual heights, then his astral body would also have a little richer content, and what is structured around the person as an etheric and physical shell would have an overwhelming effect. That is to say, a person who brings only poor content with him would be in all his ancestors, a repetition, so to speak, within the line of inheritance. The richer the content that a person brings down, the more that which goes from the ancestors to the grandson, that which lies in the line of inheritance in general similarities, the more it is driven into the individual being changed. People who descend into poverty from a spiritual point of view are, so to speak, overwhelmed by the external, which closes around them through race, tribe, family and class. They have the character traits of their people, their family. People who descend with a rich content, with a significant inner development of strength, emerge as sharply defined individuals. They also absorb what passes from ancestors to descendants, but the similarity recedes in the face of the individual traits that are a consequence of the spiritual development of the individuality. We can see this when we look at “primitive” people, or especially when we turn our spiritual gaze back to the primeval times of the earth. The people of a nation resemble one another. Why do they resemble one another? Because the people who incarnated in such primeval times have experienced few past stages of existence, have learned little in earlier stages, and therefore bring little with them from the spiritual. With more developed peoples we have more developed stages; there we find people who have many, many lives behind them, who have absorbed rich, rich fruits from earlier lives and therefore bring down into the spiritual what they have carried up as fruits through many lives, and shape an individual existence for themselves. But every human being in our present period of humanity must, so to speak, make this compromise; he must descend and encase himself in a physical shell, which he must take from the line of inheritance. This duality is present in every human being and forms a whole. On the one hand, the human being is similar to what flows down through the ancestors; on the other hand, he is a being of his own.

Of course, materialistic thinking objects to such things in particular. For example, it is said: Oh, what are you talking about the descending human being; it's all inherited! We can also find the qualities of the greatest genius in our ancestors. There are people who take Goethe or Leibniz or this or that person and research them up to the earliest ancestors, and then find the characteristics that emerge in genius scattered among the ancestors, one characteristic in this person and one in that. And so these people tell us: You can see that genius is based solely on inheritance. Genius is very rarely found at the beginning of a generation, but usually at the end of it, so it has inherited its characteristics from its ancestors. – What a strange logic this is! For anyone who considers this logic will find that it says the opposite of what it claims. This logic wants to prove that genius inherits its characteristics. It would prove it if it could be shown that Here is a genius, the son has inherited his qualities, the grandson again and so on. But that is not the case. That is precisely what is denied. The genius is infertile. It is rare that one can simply inherit genius. If the genius is at the end of a line of succession, this does not mean that this individuality flows down in its entirety in the line. Of course, the physical and etheric bodies, which are the instruments of the human essence, come from the line of inheritance, and it is not surprising that they show the characteristics that can be read together here or there. That is just as clever as telling someone who has fallen into water and been pulled out: This one is wet. That is self-evident. So it is with the characteristics that one inherits. The logic that is usually applied to somehow refute the well-established fact that a person flows together from the two lines, one of which goes from generation to generation and is called race, people, tribe, family, but the other lies within the spiritual world, where a person progresses from life to life and, in long periods between death and a new birth, prepares for that new birth in a purely spiritual world, is wrong. These two lines merge.

How is the agreement created between what comes from the spiritual world and what lies within the line of inheritance and is determined by words like people, family? How is a balance created? This balance can only be created by the fact that the qualities that distinguish people in that they belong to a race, a tribe, a family, that these are countered by others that are similar to them and combine with those that come from below. If we were only the automata that reproduce in the line of inheritance, we would say: This is how we are. We look up the line of ancestors and find the qualities that are in our physical and etheric bodies in our ancestors. We find not only the shape of the nose and forehead, hair color and physiognomy in our ancestors, but also inner qualities, which come close to what can be described by the word “moral”, are inherited. There are concepts, for example about sensations and feelings, that are native to this family or that race or that tribe. How do they reproduce? If reproduction only took place from physical body to physical body, then people would only be similar in relation to this. The fact that they also agree in such qualities, which are character traits of a tribe, stems from the fact that an etheric body belongs to that which also continues through the generations. And just as the physical body reacts from below up onto the etheric body, which properties of the physical body from below up imprint on the etheric body after it is formed, these become the racial peculiarities. Originally, the physical body came into being as if through a kind of condensation of the etheric body. But once it is there, it absorbs impressions from the outside world. These in turn have an effect on the etheric body, and to the extent that they have an effect, they are transmitted within the line of inheritance. Thus, the etheric body of each person is endowed with very specific, typical, stereotyped, even racial characteristics, due to the fact that the latter is, so to speak, a descendant of some ancestor.

The spiritual core of the human being, in which he descends into the physical world, must adapt to what is available to him in this physical world as a cover. This must offer something that is related to the properties of the etheric body. In other words, the descending ego must now be able to imprint such properties into the etheric body that the etheric body, through these properties imprinted on it from above, from the astral body, can form a compromise between what comes from below and what comes from above. When a person enters a new existence, certain qualities flow together in the etheric body, which is connected to the physical body below and other qualities flow through it from above, which are imprinted on it by the descending astral body.

The properties that are imprinted on the etheric body by the descending astral body establish the human temperament. This is where temperament is located. The human being brings this temperament with them. They do not yet have it when they only have the astral body; they have it because this astral body, as it descends, has to connect with the etheric body, which has certain characteristics of the race, of the people. Since it develops certain qualities, so to speak, that correspond to the lower nature, but are also appropriate to the original, core characteristics of the human being, temperament is something that is both individual and that, so to speak, casts its tone over the general characteristics that the human being shares with race, tribe, and family. If we only inherited the peculiarities of race, tribe, and family, we would be average figures; if we came from above with our core nature and now had to drive into it, so to speak, then little would fit. What we bring with us, what we may have developed thousands of years ago, would not match well with what we find. What can adapt as an individual to the stereotyped general from below is temperament.

Thus, through his temperament, the human being escapes from being a completely individual being. For through his temperament, the human being moderates his full obstinacy as an individual being, dulling it. But at the same time, he removes the stereotyped nature. Therefore, we also see that people's temperaments arise from the mixing of basically a few basic temperaments.

You all know these four basic colors of temperament, which are referred to as melancholic, phlegmatic, sanguine, choleric. Actually, there are not only these four, but seven shades of temperament. Only the choleric temperament is basically separate. The sanguine, phlegmatic and melancholic temperaments all have an active and a passive side, so they occur in two ways. This gives seven colors, just as seven colors can be distinguished in the rainbow, seven tones in the musical scale. The eighth is just a repetition of the prime. But that should concern us less. We should realize that we can never ascribe any one of these temperaments to any one person, but that each person is a mixture of all these temperaments; only the predominant one of the four makes him appear melancholic or phlegmatic or sanguine, and depending on that, we describe him as such or such. The melancholic contains the others, only they recede in comparison to the melancholic basic mood. You could easily prove this by looking at someone like Napoleon, for example; he certainly had a choleric temperament. Think about how phlegmatic he was in very specific things that didn't interest him. He could be very phlegmatic in certain fields. A person has one prominent characteristic, but is composed of the four, or rather seven, basic colors of temperament.

Now the question arises: when is a person primarily a melancholic, a phlegmatic, a sanguine, a choleric? It has already been said in the introduction that all aspects of human nature interact with each other. Thus, all higher aspects of human nature interact with the physical body. If the human being had no ego, no individually constituted ego, then his blood and the whole blood circulation would not be as they are. The blood circulation is the expression of the ego. The ego is purely spiritual, but the effect of this spiritual, this ego, is the blood in its whole circulation. How the blood circulates in us is the expression of our ego. The expression of the astral body is the nervous system – at least one expression. The expression of the etheric body is the glandular system. Only that entity can have a glandular system that is permeated by an etheric body; for the etheric body permeates the physical body with the glandular system, which is necessary for all life, for nourishment and reproduction. Only a being that has an astral body can think and feel, because an astral body permeates the physical body with a nervous system. And only a being that is an ego can have a blood circulation, because that is the physical expression of the ego. Thus, every limb that we count among the higher limbs has an effect on the physical body. But conversely, the physical body has an effect back again.

We have seen that the temperaments have their particular expression in the etheric body. Through this balance, which takes place between what is imprinted in the etheric body from above when a person descends and what comes into the etheric body from below in the form of certain qualities, the temperament arises. If, in a particular incarnation, a person has a physical body that makes a stronger impression on the etheric body than the astral body and the ego, then what is called the melancholic temperament develops in that person. Due to the nature of the descending astral body, because it does not, so to speak, fully master the laws of the physical body, this physical body, with all its heaviness, has an effect on the ether body, and this is how the melancholic temperament arises. In particular, in the case of a person, it must be that part of the physical body that is the physical instrument of thought, of the spiritual life in general, which, in the case of the melancholic temperament, has a retroactive effect on the etheric body, on the person's entire life circumstances. Therefore, the person who, through his astral body and ego, cannot, so to speak, master the physical brain, that which is otherwise the physical instrument for thoughts, will be under the control of his thoughts. The physical body forces the etheric body to do this, so that the person is not master of his thoughts, but is ruled by them.

This is the cause of the melancholic person's tendency to brood. They drag themselves along behind their masses of thoughts and feelings, which keep coming back, because the physical body has the predominant influence on the ether body. And wherever the physical body has a predominant, that is, too great an influence on the human being, wherever his life proves to be such that he cannot be fully controlled by the higher limbs, the consequences of this are evident, even when they become pathological. It is only the consequence of the fact that the higher members of human nature cannot exercise their full dominion over the physical body when, for example, epileptic seizures or nervous headaches occur. As soon as the melancholic character tends towards the pathological, such things can occur.

That is why in Greece, where they still had clairvoyant feelings, they called a person a melancholic when the densest part had the most predominant influence. The physical body is what humans have in common with mineral beings, which are grouped together under the concept of the earth. The ancient Greeks still knew what is no longer known today, namely that the human physical body is formed by its various fluids. These were not merely seen as something physical, nor were they merely examined in the chemical retort. Rather, it was known that they underlie everything spiritual. therefore designated this temperament, in which the physical body exercises the predominant influence, as black — melas —, as the melancholic temperament, because one saw the secretion of juices in man, which causes the tenacity of the physical body, whereby the latter withdraws from the normal influences of the higher limbs and thus makes man a dark, introspective being. For through his higher members, man belongs to a much greater totality. Through his etheric and astral bodies and his I, he would feel himself as belonging to the great whole, the great cosmic I, the Godhead. That which is the human being's spiritual being is precisely what makes him personal, in that he is enclosed in the skin of his physical body. This is why the melancholic person finds it so difficult to detach from their physical existence, because this physical aspect exerts the predominant influence.

If the etheric body is not strongly influenced by either the physical body or the astral body and I, if the impulses of the family, the peculiarities of the race, are not strongly pronounced, if there is no strong effect on the etheric body from above and below, if it remains neutral, so to speak, then the phlegmatic temperament arises. The phlegm is the balanced part of the etheric body. In this case, neither the physical nor the astral body and the I have a particularly strong effect. In this case, the person has the balanced phlegm of the forces of his ether body surging through him. You can see this in the physical form of the body, which you can see projected outwards. You can see how, in the phlegmatic person, the etheric body receives no strong influences from above or below, and so what is surplus in life settles in the fat. You can see in every detail the consequences of what we must see in the spiritual; the physical is in every detail an expression of the spiritual. We can only understand the physical if we grasp the spiritual.

When the distribution of the faculties is such that the astral body has a predominant effect on the etheric body, making its impressions particularly strong, and suppressing what comes up from the physical body, then what we call the sanguine temperament arises. Here the astral body is active; the surging feelings and sensations are lively and animated. The person is open to all impressions from the outside world. We will soon hear that it is the ego that contains the images that arise in the astral body and have their physical instrument in the nervous system, and that the blood, the expression of the ego that contains them, is physical. In fact, the blood and nervous systems work together in a very strange way. Imagine that the blood weakens. What happens? Fantastic images, hallucinations, fantasies that do not correspond to reality appear. The right inhibitions for these hallucinative and imaginative powers are formed physically by the blood and spiritually by the ego. There is nothing pathological about the sanguine person, but he is therefore open to all impressions from the outside world because the actual ego does not yet appear strong enough. What appears strong is the astral body and the nervous system. That is why the sanguine person is open to all impressions; that is why the sanguine person is mobile because his astral body is mobile. Look at the sanguine gait of the sanguine child, how it bounces, how it is interested in this and that. If it were not the case that the child is alternately interested in this and that, then the impressions would have to be regulated by the ego and the blood.

This is the case with the choleric person. When the I and its blood are active, predominantly active, and have an effect on the etheric body, then this establishes the choleric temperament, which goes too far in the other direction, which does not rush from image to image, but instead develops forces that contain the change. These forces are there with him.

Thus we see how we learn to understand the different shades of temperament, which are caused by the impact of what comes from above and below. If the influence of the physical body on the etheric body predominates, the result is the melancholic temperament; if the etheric body is neutral, the phlegmatic temperament. If the astral body is particularly active internally, we have the sanguine temperament, and if it is the ego that is primarily given the right of mastery in the human individuality, then the choleric temperament is the result.

Once you have grasped these things in the spiritual, you will also find them distinctly manifested in the physical. Imagine choleric people, people in whom the I is strongly developed. They contain the astral body. And now this is the original creator of the physical body. The astral body has the need, the longing, to make the physical body as slender as possible, to develop it as diversely as possible. In the case of choleric people, the ego works against this, thus curbing growth. Now look around you at choleric people, and you will see the repressed growth of the physical body. I would like to draw your attention to the picture of a spruce that was a choleric person; it had precisely this expression in the physical body; and I only need to mention Napoleon and the expression of the small, stocky figure. Here, too, the restrained growth has been expressed.

In particular, the characteristics of temperament are revealed precisely in what the person can give through his or her individuality, can give in contrast to what generally characterizes him or her. You can see how the human being flows together from these two currents. The human being has firmly established forms in himself; that which is permanent, rigid in facial expression, is inherited. What is mobile becomes an expression of the individual, which comes down from the spiritual. It is into this mobile element that temperament is laid. The facial features can be an expression of rigidity, of what has been inherited; the gaze comes from the person's individuality. The gaze is the expression of temperament: the piercing gaze of the choleric, the restless gaze of the sanguine, the restrained gaze of the melancholic, and the dull gaze of the phlegmatic. As for me, take a look at the shape of the feet. Those who are connoisseurs would be able to say that this breed has this foot shape, another that. But it is different when it comes to walking. In that, we have an individual expression. At most, the basic forms of the gait show the racial character, but otherwise the individual comes into it. Therefore, the gait is something like the mediation between the individual and the general. You can see the sanguine person's bouncing gait, the choleric person's firm gait, the melancholy person's heavy step, which is caused by the heavy physical body with its predominant influence on the etheric body, and you can see the phlegmatic person's casual gait. In all the characteristics where the individual plays a role, what is semi-individual is revealed because it has to balance with what is generally racial in man; temperament plays a role here.

If we now understand this secret of temperament and how it works, then on the one hand we will say to ourselves: Oh, it is precisely in such subtle peculiarities of the human being that we see how we can only understand the human being if we understand not only the physical body but the whole being. And on the other hand, it also shows us how necessary it is to know all this when we work on a person by promoting their development. We know from other lectures that the physical body develops until the age of seven, the etheric body from then until the age of fourteen, and then the astral body and the I. The individual parts are interlinked. We see, therefore, that we can only grasp the right thing if we listen to the peculiar nature of the chemical composition — so to speak — of the temperaments, to hear something of the unique imprint of the developing human being. Only in this way can we, as educators or counselors, cultivate human nature if we understand this unique, almost chemical composition that presents itself to us through the four temperaments. Truly, just as every human being is composed of four elements - the physical, etheric, astral body and the I - so the influences of these four mix and show themselves to us in all possible nuances, which can be traced back to these four or seven temperaments. And now we see - because such a multiple mixture can be - how each individual person can be an enigma, and how only if we grasp the person in a lively way can we understand him. If we perceive each person as an enigma, then we are truly facing him for the first time.

Temperament is not something theoretical, but something that works from person to person. We will not only want to unravel the human being with our minds, but we will accept the whole person and let him perceive us as a riddle. Then we will approach the human being with full respect and love when we perceive his or her individual nature in such a way that he or she ultimately appears to us as a riddle that we marvel at and admire, but that we grasp in our perception, in the way we approach each individual through our respect and love, through our appreciation. Oh, there are also other riddles than just those that are solved with the mind. People are all riddles, and they are not solved merely with the mind, but the way we appreciate, honor and respect them, how we approach them with our feelings and how we act for them, that is also a way of solving riddles, and we will develop this way when we learn to feel how the individual mixes with the general through its intermediate thing, the temperament. Indeed, we see two currents flowing together in the human being when he enters this earthly existence. And we see at the same time that these currents must work together in order to bring forth fruit through this life, to take it with him for a subsequent life, to live out in a new embodiment. There is change and there is eternity in man. The eternal core ascends from spirit world to spirit world; but that which is changing is not unnecessarily experienced. In the balance between temperament and racial character, we create the fruits out of our etheric body, which we take with us through our entire subsequent life.

And so it is absolutely true for this area, too, that freedom exists alongside necessity, that we enter into life through the confluence of the two currents and are shaped by necessary laws, but that nothing is destroyed that we ourselves shape within our individuality and the general.

Freedom and necessity are equally beautiful, one as much as the other, expressed in Goethe's word - if only we fully understand it - which is meant to tell us how the law passes through human nature; when we see how the temperaments interact in their chemical mixture, then we find, especially in this mystery of the human temperament, the truth of what the Symbolum Goethe so beautifully says and with which we want to conclude:

Just as on the day you were born,
The sun greeted the planets,
You immediately thrived and thrived
According to the law by which you came into being.
That is how you must be, you cannot escape it!
So said the Sibyls, so said the prophets,
And no time and no power dismembered

In the past I have spoken here on a variety of subjects concerning spiritual life. It may be permissible today, therefore, for me to touch upon a more prosaic theme from the standpoint of spiritual science. Problems of nutrition undoubtedly offer a more mundane subject than many we have heard here. It will be seen, however, that particularly in our age spiritual science has something to say even concerning questions that directly affect everyday life.

On the one hand, spiritual science stands accused, by those who know it only from the outside, of aspiring too loftily to spiritual realms, thus losing the firm ground under its feet. On the other hand, the opposite can perhaps also be heard again from those who have become acquainted with spiritual science or anthroposophy through only a single lecture or brochure. This consists in the statement that anthroposophists are entirely too concerned with, and talk too much about, questions of what they should eat and drink. In some respects these critics might well be called idealists in that they believe they view the common aspects of life from a certain exalted level. They raise this objection particularly by taking a stand that can be expressed in the following way. “What man eats and drinks is unimportant. It does not matter what food one takes, rather must one rise above the material dimension by the strength of one's spirit.” Even a well-intentioned idealist might level this objection against anthroposophists.

Well, at a time when these questions are being widely discussed from other angles, it might be interesting to hear what spiritual science has to say about them.

It was a German philosopher, Ludwig Andreas Feuerbach, to whom the phrase, “A man is what he eats,” is attributed. Many thinkers of consequence have agreed with Feuerbach that what man produces is basically the result of foods ingested by him and his actions are influenced by the food absorbed in a purely materialistic way through his digestion. With so much discussion of eating going on, somebody might get it into his head to believe that man is indeed physically nothing more than what he eats. Now, we shall have several things to say on this point.

We must understand each other precisely as to the purpose of today's lecture and the intention behind it. We are not agitating in favor of particular tendencies, nor are we trying to be reformative. The spiritual scientist is obliged to state the truth of things. His attitude must never be agitatorial, and he must be confident that when a person has perceived the truth of what he says, he will then proceed to do the right thing. What I have to say, therefore, does not recommend one course as opposed to another, and he who assumes that it does will misunderstand it completely. Merely the facts will be stated, and you will have understood me correctly if you realize that I am not speaking for or against anything.

Bearing this in mind, we can raise the question from the standpoint of spiritual science as to whether the statement, “A man is what he eats,” does not have a certain justification after all. We must continually bear in mind that the body of man is the tool of the spirit. In discussing the various functions the body has to perform, we see that man utilizes it as a physical instrument. An instrument is useless if it is not adjusted correctly so that it functions in an orderly manner, however, and similarly our bodies are of no use to our higher organism if they do not function properly. Our freedom can be handicapped and intentions impeded.

When we as spiritual scientists consider our organism, we can ask ourselves if we do not make our bodies unfit for the execution of the intentions, aspirations and impulses of our lives if we become bound by and dependent upon our bodies through an unsuitable diet. Is it not possible to mold the body in such fashion that it turns into a progressively more suitable instrument for the impulses of our spiritual life? Will we lose our freedom and become dependent upon our bodies if we ignore what is the right nourishment for us? What must we eat so that we are not merely the product of what we eat?

By asking such questions, we come to look at the problem of nutrition from another perspective. You all know, and I only need allude to this generally familiar fact, that speaking purely materialistically, people continuously use up the substances that their organisms store and they therefore must take care to replenish them with further nourishment. Men must concern themselves with replenishment. What, then, could be more obvious than to examine those substances that are necessary for the human organism, that is, to find out what substances build up the animalistic organism, and then simply see to it that the organism is given them. This approach, however, remains an extremely materialistic one. We must rather ask ourselves what the essential task of a man's food is and in what way it is actually utilized in his organism.

I must stress that what I say about man is applicable only to him, since spiritual science does not consider man to be so closely connected with the animals as does natural science. Otherwise, one could simply state that the human organism is composed of proteins, fats, carbohydrates and mineral substances, and consequently search for the best method to satisfy man's nutritional needs of them. But spiritual science holds to the principle that every material occurrence, everything that takes place in the physical sense world, is only the external aspect of spiritual processes. Indeed, even the nutritional processes cannot be purely physical, but as material processes they are really the external aspects and expressions of spiritual processes. Similarly, man is a unity even though the composition of his physical body appears to be a conglomeration of chemical events.

Our attention has frequently been focused on how the ascent from the purely physical to the spiritual realm can be made. We have often heard that the physical body is sustained by the etheric body. This is the architect of the physical body, which must not be viewed as if only chemical processes took place in it. We will be wrong if, by observing only the chemical processes, we simply ask in a materialistic fashion what happens to the chemical substances. Beyond the etheric body, we must remember, is the astral body. Through it are expressed the instinctive feelings and in certain respects the various aspects of the soul. When we behold man from the standpoint of spiritual science, we find that his etheric body as well as his physical body are inter-penetrated by his astral body. We must not see only one side but also perceive the astral body beyond the physical. Added to these is the ego, the fourth member of the human being. We have the total man before us only when we see in him this fourfold being. Only with the total fourfold man before us can we do justice to the scope of the problem of nutrition. Only then can answers be given to the question of how these four members of man's organism react to the influences of various diets.

Now, you all know that men eat food derived from the vegetable, animal and mineral kingdoms, and with it they sustain their bodies. Let me emphasizes again for the sake of those who are more narrowly inclined toward the care of the inner life that I am not speaking to mystics nor to anthroposophists who are striving to develop themselves spiritually in particular, but to all men. Men take their sustenance from the animal, vegetable and mineral kingdoms. We must realize that plants represent the direct antithesis of men, and the animals represent the mean between the two. The external physical expression of this contrast is to be found in the breathing process. It is a familiar fact that men inhale oxygen, assimilate it and subsequently combine it with carbon that is finally exhaled as carbon dioxide, while in plants, which absorb carbon to sustain themselves, the reverse is true. In a sense, plants also breathe but their breathing process has a completely different significance for them. Hence, we can say that in a spiritual respect plant and man stand opposite each other.

We can become even more aware of this relationship by bearing in mind the influence of light on plants. The effect of deprivation of light on plant life is well-known. The same light that maintains life in plants makes it possible for us to perceive the light-filled world of our surroundings. Light is also the element that maintains life in plants. This is physical light but it is also something more. Just as there is a spiritual counterpart to everything physical, so there is spiritual light in the physical light that rays down on us. Each time a man rejoices over the brilliance of physical light he can say to himself, “Just as when I see another person and it dawns on me that in this man there lives a spiritual counterpart, so also I can imagine that in light there lives a spiritual counterpart.” Indeed, the spiritual light that permeates the physical sunlight is of the same kind and being as the invisible light that dwells within the human astral body. A portion of the spiritual light that permeates the cosmic realm lives within the astral body. It is, however, physically invisible and in this it can be seen that it is the opposite or complement of physical light.

The invisible light lives within us and fulfills a definite task. We might say that since they are opposites, it is to physical light what negative magnetism is to positive magnetism. We perceive it in its external expression when we realize the relationships existing between physical body, etheric body and astral body, which, in turn, is permeated by the ego. It has often been explained that throughout life the etheric body fights against the deterioration of the physical body. Men as well as animals also possess an astral body and hence the inner light. Now, the function of this inner light is the opposite of that of external light. When external light shines on a plant, the plant builds up its living organism by producing proteins, carbohydrates, etc. Conversely, the task of inner light is to break down, and this process of disintegration is part of the activity of the astral body. There is indeed a continuous dissolution and destruction of the proteins and other substances that we consume so that these substances are utilized in a sense to direct counter-effects against what external light has built up. Without this activity of inner dissolution a man could not be an ego being, and it is only by virtue of his ego nature that he can have inner experiences. So, while the etheric body is concerned with the preservation of the physical body, the astral body takes care that the food a man consumes is constantly built up and again destroyed.

Without this process of disintegration within the physical body, the astral body, in which the ego is incorporated, could not live a full life within the material world. As we have seen, there is an alternating process obtaining between men and plants, that is, exhalation of carbon dioxide in men and absorption of carbon dioxide by plants; exhalation of oxygen by plants and inhalation of oxygen by men. These processes reach such extremes only between men and plants. Animals do not have individual egos as is the case with men, but they have collective group egos. Thus, the animals of a species have one common group ego that governs them from without. The significant difference between men and animals is found in the fact that the disintegration processes within animals are directed by an entity external to them, whereas the same processes in men are conducted by their individual inner egos. Moreover, a man's individual ego can gradually become master over what takes place within him.

Let us consider how the ego can gradually take a central position within the bodily functions. Let us examine what the astral body does when it dissolves the substances assimilated by men. In regard to nourishment an entirely different viewpoint must be stressed. The body permeated by the ego performs an action in disintegrating substances, and through this action something is created inwardly. The inner activity of consciousness particularly comes about through the astral body's processes of dissolution. Actions, activities are called forth by the process of destruction. First, inner warmth is produced and second, something that is less noticeable than inner body heat the physical expression of inner light. Just as the internal warmth that permeates the blood is the result of the dissolution of proteins, so the activity of the nervous system is the expression of this inner light. In regard to its inner activity the nervous system is also a result of the disintegration process not the nerves themselves but the activity of the nerves, the actions within the nerves, that which makes possible imagination and calls forth thinking. It is this activity that can be called the physical expression of the invisible light and that is brought about through the degeneration and dissolution of substances.

Basically, as has been said, inner body heat is generated by the disintegration of protein. Inner light is produced within the organism as a result of protein. Inner light is produced within the organism as a result of processes involving fats, carbohydrates, starches and glucose that are also utilized in the production of warmth and inner movement. In all this is contained the expression of the activity originating from the astral body. Men do not nourish themselves properly simply by ingesting the correct quantity of food, but rather when these inner processes can be carried out in the right way. The inner life is founded on them. Men are beings continually occupied inwardly with movement and liveliness and their inner life consists of these. If this inner life is not produced in the right way, it cannot react properly and a man then becomes ill.

The right kind of inner flexibility offers the foundation for the right solution of the nutritional problem. This statement points to the fact that all internal processes that men must execute must be carried on in the opposite direction from the processes of plants. A man must begin his processes where the plant processes leave off. A specific example will clarify what this means. When a man eats vegetarian food, it demands a great deal of his organism. Plant food does not combine much fat. The human organism, which is able to produce fats, is thus required to produce fat from something that in itself contains no fat. In other words, when a man eats vegetarian food, he must produce an activity within himself and make an inner effort to bring about the production of fats. He is spared this task when he eats ready-made animal fats. The materialists would probably say that it is advantageous for a man to store up as much fat as possible without having to make too much of an effort. Yet, speaking from the spiritual viewpoint, the unfolding of this inner activity signifies the unfolding of the actual inner life. When a man is forced to produce the forces that make it possible for him to produce fat on his own, then, through his inner flexibility, the ego and the astral body become master of the physical and etheric bodies. When a man eats fat, he resultingly is spared the task of producing fat himself. Yet, if he takes the opportunity to unfold his own inner activity through producing his own fat, he is made free and thus becomes lord over his body. Otherwise, as a spiritual being he remains a mere spectator. Everything that takes place in him in such wise that he remains a passive spectator becomes a heavy weight in him and hinders his urge to let the astral body come to full life. Thus, the astral body's inner flexibility comes up against an internal obstacle if it is denied the opportunity to produce its own fat.

The essential question now to be asked is what internal activities are aroused by what substances. Here we shall try to throw light on the relationships of vegetable and meat substances in human diets, and thereby to gain some idea of the manner in which animal and vegetable foods react in the human organism.

For a man to eat animal protein is not the same as for him to eat plant protein. Up to a certain point the inner processes of the animal are quite similar to those of the human organism, since the animal also possesses an astral body. Even though the animal astral body causes the dissolution of the synthesized substances of its physical body the human organism carries the processes a bit beyond the limits reached by that of the animals.

In reflecting upon the animals around us and by looking spiritually into their ways and characteristics, we shall, by comparing men with the multitudes of animals, find distributed among the animals the various and manifold characteristics of men. In spite of the fact that one can point out great human differences between the various peoples, one must still conclude that each individual man represents a species. Men appear to be the spiritual consolidation of all that can be observed distributed in the various animals forms. If one were to picture all the individual characteristics of the various animal species as being mutually complementary, one would arrive at the essence of what is contained in appropriate moderation in each individual man. Each individual animal one-sidedly contains within itself something of the forces that are harmonized within men, and its whole organism is constructed accordingly. Everything down to the most minute structure of substances is so organized in the animal kingdom that it is like a tableau of human characteristics spread out before one.

If a man is to find the physical expression of the characteristics of his astral body, he must strive to utilize all its forces. He must become master of his own inner processes and activate his astral body in such wise that the plant processes will be continued inwardly. In the food we consume from the animal kingdom, we not only take into ourselves the physical meat and fat of the animal but also the product of its astral body contained in these substances. When, through a vegetarian diet, we enlist the virginal forces of our astral body, we call forth our whole inner activity. In a meat diet part of this inner activity is forestalled.

We can now proceed to consider the relationships of these two types of diet from a purely spiritual basis.

If a man desires to gain an increasing mastery over the inner processes of his body, it is important that he become correspondingly active in the external world. It is important for him to unfold certain external qualities such as stamina, courage and even aggressiveness. To be able to do [so], however, it is possible that a man may not yet find himself strong enough to entrust everything to his astral body and may have to fall back upon the support of a meat diet.

It can be said that man owes everything that liberates him internally to the substances derived from plants. Faculties, however, that enable him to be actively engaged in earthly life, need not necessarily grow out of the virginal nature of his astral body. These qualities can also be derived from a meat diet. This fact that men are to become progressively freer while at the same time needing qualities that they can acquire with the help of impulses found spread out in the animal kingdom, has induced them to resort to nourishment in animal food. If the eating habits of the people of those militant nations that have striven to develop qualities enabling them to unfold their physical forces are investigated, it will generally be found that they eat meat. Naturally, there are exceptions. On the other hand, a preference for an exclusively vegetarian diet will be found to prevail among people who have developed an introverted and contemplative existence. These two aspects of the problem should be kept in mind. A person, of course, can adopt either diet as a panacea if he wishes to propagandize rather than to act out of knowledge. Nevertheless, it is not without reason that a mixed diet has become acceptable to many people. To some extent it had to happen. We must admit, however, that even though a vegetarian diet might indeed be the correct one for some people purely for reasons of health, the health of others might be ruined by it.

I am speaking here of human nature in general, of course, but men must be considered as individuals if they are to find the right path to satisfy their needs with a vegetable or meat diet. Today, an extreme diet of meat naturally brings its corresponding results. If by eating meat a person is relieved of too large a portion of his inner activities, then activities will develop inwardly that would otherwise be expressed externally. His soul will become more externally oriented, more susceptible to, and bound up with, the external world. When a person takes his nourishment from the realm of plants, however, he becomes more independent and more inclined to develop inwardly. He will become master over his whole being. The more he is inclined to vegetarianism, the more he accepts a vegetarian diet, the more he will be able also to let his inner forces predominate. Thus, the more apt he will be to develop a sense for wider horizons and he will no longer restrict himself to a narrow life. The person who is fundamentally a meat eater, however, limits himself to more narrow vistas and directs himself more rigidly toward one- sidedness.

Naturally, it is the task of men today to concern themselves with both aspects so as not to become impractical. A man also can be so completely unprejudiced as to have no judgment at all. Still, it is a fact that everything that limits men and leads them to specialization is derived from a diet of meat. A man owes to a vegetarian diet the impulses that lift him above the narrow circles of existence. An extreme diet of meat is definitely connected with a man's increasing dogmatism and his inability to see beyond the confines into which he was born. In contrast, if men would show more interest in the food coming from the realm of plants, they would discover that they are able more easily to lift themselves out of their narrow circles. The person who abandons the task of fat formation by eating meat will notice that the activity thus forestalled erects a sort of wall around his astral body. Even if one is not clairvoyant but judges these matters only with common sense, he can tell from the look in a person's eyes whether or not he produces his own fat. It can be seen in the eyes of a person whether or not his astral body is obliged to call forth the forces necessary to produce its own fat.

Now it can be seen how two opposing conditions of character are created when a person takes his nourishment from either the plants or animals. We find that we indeed penetrate into the world through our organism and must again rise above it by means of the right kind of food. A time will come when a vegetarian diet will be valued much more highly than is the case today. Then thinking will be so flexible that men will be willing to investigate such matters knowing that what they believe today to be foolishness could, viewed from another standpoint, also have its merits. They will realize then that their whole physical and spiritual horizon can be widened through a vegetarian diet, thus counteracting the rigor of specialization within them. Particularly in certain areas of science would perspectives be widened if vegetarian diets should become prevalent.

Let me mention a few more examples to demonstrate that men are indeed what they eat and drink.

Consider, for example, alcohol, which is obtained from plants. It would take too long to explain the spiritual scientific reason showing that alcohol produces physically and in an external way out of the plant, just what a man should develop physically within himself through his ego being centered within him. It is a fact inwardly perceived through spiritual science that when a person drinks alcohol, it takes over the specific activity that otherwise belongs wholly to the person's ego. A person who drinks much alcohol needs less food and his body will require less nourishment than is normally required in the process of combustion.

It calls forth forces that otherwise would be called forth by the ego's inner penetration. Thus, a person can externalize the activity of his ego by infusing his body with alcohol. Consequently, alcohol imitates and copies the activity of the ego, and you can understand why it is that people turn to it. To the extent, however, that a man replaces his inner self with such a substitute, to that extent does he become its slave. If otherwise qualified, a man will be better able to unfold the best forces of his ego when he abstains from alcohol altogether. By drinking alcohol an inner hindrance is created behind which something takes place that actually should and would be accomplished through the activity of the ego itself if the hindrance had not been produced.

Some foods have a specific effect of their own on the organism. Coffee is an example. The effect of coffee becomes manifest through its influence on the astral body. Through caffeine and the after-effects of coffee, our nervous systems automatically perform functions that we otherwise would have to produce through inner strength. It should not be claimed, however, that it is beneficial under all circumstances for a man always to act independently out of his astral body. Men are beings who are not dependent on themselves alone. Rather are they placed within the whole of life.

Coffee is also a product of the plant kingdom that externally has raised the specific plant process up a stage. Consequently, coffee can take over a certain task of man. Trained insight perceives that everything in the activity of our nerves that has to do with logical consistency and drawing conclusions is strengthened by coffee. Thus, we can let coffee take over in making logical connections and in sticking to one thought, but this, of course, is in exchange for a weakening of our specific inner forces. What I mean can be seen in the tendency of gossips at a coffee break to cling to a subject until it is completely exhausted. This is not only a joke. It also demonstrates the effects of coffee.

Tea works in a totally different and opposite way. When large quantities are drunk, thoughts become scattered and light. It might be said that the chief effect of tea is to let witty and brilliant thoughts, thoughts that have a certain individual lightness, flash forth. So we can say, coffee helps those, such as literary people, who need to connect thoughts in skilled and refined ways. This is the positive aspect of the matter. The negative aspect can be observed in coffee table gossip. Tea, which tears thoughts asunder, is the opposite. This is why tea is not without justification a popular drink of diplomats.

It might be of interest to cite as a last example a food that plays an important part in life, that is, milk. Milk is completely different from meat in that it expresses in the weakest possible form the animalistic process brought forth by the astral body of the animal. Milk is only partly an animal product and the animal or human astral forces do not participate in its production. For this reason milk is one of the most perfect foods. It is suitable for people who want to abstain completely from meat but who do not yet possess sufficient strength to work entirely out of the inner forces of the astral body. Even from a purely external standpoint it can be seen that milk contains everything a man requires for his organism. Although this applies only in a restricted sense, it has little to do with the individual characteristics of a man.

Weak as well as strong organisms can gain support from milk. If a person were to live exclusively on milk for a time, then not only would his regular forces be awakened but it would also go beyond this. He would receive from it an influx of forces giving him additional strength. A surplus of forces would be acquired that could be developed into healing forces. In order to possess a force, it must first be acquired, and in milk we see one means of developing certain forces in ourselves. Those who are moved by the earnestness of life to develop certain psychic healing forces, can train themselves to attain them. Naturally, we must remember that what is suitable for one, is not suitable for all. This is a matter for the individual. One person is able to do it, another not. A man can if he wishes build up his organism in a wise manner. He can contribute toward the unfolding of free, independent inner forces. So through spiritual science we come back to the saying of Feuerbach mentioned at the beginning, “Man is what he eats!”

Man can nourish himself in such fashion that he undermines his invisible independence. In so doing he makes himself an expression of what he eats. Yet he ought to nourish himself in such a manner that he becomes less the slave of his nutritional habits. Here spiritual science can direct him.

The wrong food can easily transform us into what we eat, but by permeating ourselves with knowledge of the spiritual life, we can strive to become free and independent. Then the food we eat will not hinder us from achieving the full potential of what we, as men, ought to be.

It would have been nice if we could have opened our art room earlier and brought today closer to the anniversary of Ludwig Uhland's death on November 13. Since this was not possible, today at least we want to recall his life with some sounds that came to us from the great poet Ludwig Uhland. If one wanted to describe what is essential for his poetry, one could characterize Ludwig Uhland with a single word. One need only say: Uhland is one of those poets who are thoroughly healthy in every respect. Healthy in his feelings, in his thinking, healthy in his head and heart, that was Ludwig Uhland. And if you want to get to know him, if you want to feel your way into what inspired him to write poetry, you can see that there were two things that constantly filled his heart insofar as he was a poet. The first was a deep, emotional love of nature. However uplifting it might be for him to look at works of art that perhaps proclaimed the beauties of ancient times, he preferred to admire the great art of the forces of nature. And so it is spoken from the bottom of his heart when he says, as if in a creed in a poem:

Not in cold marble stones,
Not in temples dull and dead,
In the fresh oak groves
Weaves and rustles the German God.

And this was not just an artistic sentiment for him, but from his boyhood on, this feeling of being at one with nature was something that took hold of his entire being. He could say of himself:

There was no better pleasure in those days
than to penetrate the forest
where the thrush sings and the hawk cries,
where deer and roe deer leap.

Then his heart opened up to nature, and he felt the warmth in his soul, which is expressed in his strong, healthy poetic sounds.

The other thing was his preference for the times in European life when the great events of the people were told in legends, not just experienced in an external way. Today's man can no longer really understand these times of the Middle Ages. One must try to revive a little in oneself, before all observation, the soul that lived in people at that time, in order to feel what a person in Central Europe felt about the great deeds of world history, on which the weal and woe, the elevation and happiness and suffering of people depend. In those days, people did not learn history from schoolbooks; it was quite different from what it is today, when we sit down in school and the schoolboy begins to tremble when the teacher asks: When did Charlemagne reign? and he then says, sweating: Then he lived – and so on. It was not like that at all back then, but rather more like the way in which one is more likely to get an idea if one is still lucky enough to let the last remnants take effect on oneself, how people back then spoke to each other about such great people who were much involved in the weal and woe of history, as, say, about Charlemagne. And since personal experiences are always the most vivid, I would like to start with a little story that represents something like a last remnant of the way people in earlier centuries spoke of history.

When I was a boy, I knew an elderly man who was employed in a bookshop. He was from Salzburg. There is the Untersberg mountain there. And just as people say that Barbarossa is in the Kyffhäuser, they say that Charlemagne is still in the Untersberg. And that man once said to me: Yes, it's quite true, Charlemagne is sitting in our Uhntersberg. I said: How do you know that? He said: When I was a boy, I went to the Untersberg with a firm stick, and I found a hole. And since I was a bad rascal, I immediately let myself into this hole. I let my staff down and then let myself down. Right, I came down very deep. And there was a large palace-like cave, all lined with crystal. That's where Charlemagne and old Roland sit inside, and their beards have grown terribly long. – I don't want to encourage the boys present to do that; only a native of Salzburg can do that. Now I said, “Have you really seen Charlemagne and Roland, my dear Hanke?” He said, “No, but they are there!” You see, a piece of something that really existed in Central and Western Europe in the Middle Ages was still alive there. And when people sat around the stove in winter and the parents told the children about Charlemagne and his heroes, how did people tell the younger ones, for example, about the great Charles who once ruled over the Franks, and about his heroes, who included Roland, Olivier and so on?

If we could listen to such a story, as was common in those days, we would hear the following: Yes, Charlemagne was a wonderful person, blessed by Christ. He was completely imbued with the idea that he had to win Europe for Christianity. And just as Christ himself was surrounded by twelve apostles, so Charlemagne was surrounded by twelve people. He had his Roland, just as Christ had his Peter. And there were the heathens in Spain, against whom he marched, because he wanted to spread Christianity among them, with his twelve people.

At that time, the Bible was read less, but also treated more freely. The people told stories at the time of Charlemagne in such a way that the way they told them was reminiscent of biblical stories, because they did not look at what they knew from the Bible in such a rigid way, but took it as a model. And it became the case for medieval people that they talked about Charlemagne in a similar way to the way they talked about Christ.

Roland had a mighty sword, so it was said, and a mighty horn. He once received the sword Durendart from Christ himself when he felt very fervent as a champion of God. And with this sword, which he received from Christ, he, who was the nephew of Charlemagne, went to Spain. Now it was further told that Charlemagne not only did everything possible to ensure that Roland grew up to be an exceptionally capable and proven hero, but it was generally said of him that, with strength and perseverance, he became a champion of God to the greatest degree, as people rightly suspected.

When Charlemagne marched on Zaragoza, they wanted to try to convert the Moors to Christianity, and on the advice of Roland, an ally of Roland, Ganelon, was chosen to negotiate with the pagan population of Spain. Ganelon was spoken of as if he were the Judas among the twelve companions of Charlemagne. This Ganelon said: If Roland persuades Charlemagne to send me to the pagan population, they will persuade me to death. Ganelon negotiated with the enemies. They surrendered in pretence, so that Charlemagne withdrew, leaving only his faithful Roland behind. And when Charlemagne had left, the enemies approached Roland, and he saw himself surrounded by the whole horde of enemies, he, the strong hero, the champion of God.

Now there is a beautiful train that is always told, that should express something. They always told of the close relationship between Charlemagne and Roland. It was not so quiet for Charlemagne that he had left Roland behind. But then he heard Roland's call. From this, the saga has made that Roland blew into his horn Olifant. The name Olifant already suggests that Karl sensed it. And then the saga tells that Roland wanted to smash his sword on the rock; but it was so strong that it remained whole, only the sparks sprayed. Believing himself lost, he surrendered the sword to Christ.

This same Roland then lived on in the sagas with Charlemagne. And most of the sagas are such that one can see how people have adopted the poetically beautiful content of the Bible. You can see it in Roland's fight with the heathens. But this act, how Roland faces his enemies with his sword and horn and they surround him on all sides, how he wants to smash his sword on the rock and how he then dies for a cause that was told everywhere and found important, this is infinitely significant, as if predestined for poetry.

And the thoughts that have once sunk into the souls, we see them again, even where in the 12th century through the priest Konrad was inserted into the German language the death of Roland. And the connection of the human soul with the whole of nature, one could not imagine it differently at that time than when such a person dies, then everything possible also happens outside in nature. This scene was still being wonderfully depicted in the 12th century by the cleric Konrad.

He relies on his weak arm,
which he does not hold low,
which he extends up to
the Almighty Lord,
to whom he commands his soul:
with St. Michael,
St. Gabriel, St. Raphael,
he entrusts himself forever more.
When Ruolant from the world departs,
from heaven there comes a Michael light,
since after a while I was born in Pibble, the sun and the stars in the two empires of China and Spain. The winters were long there, they fell like the ancient trees; the people harvested their crops, they saw the fearful sky brighten, the sun shining, the rest; the heath was burning, she sank in the sun, in the water she drowned. The bright day
became dark as night.
The towers fell to the ground,
the beautiful palace was destroyed.
The stars scattered;
the weather grew worse:
they all wanted to prove
that the time had come
that the world should come to an end,
and God would have his judgment.

Thus they spoke of Roland's death. And at the same time we can form an idea of the changes in language since 1175. From this you will see how everything in the world changes and changes quickly. The language was richer and more intimate. Until the time of the Crusades, something like the saga of Charlemagne lived in almost every house in our regions, all the way down to Sicily and up to Hungary. It touched people's souls, and today we have no idea how these things were back then.

Ludwig Uhland was unique in this field, delving so deeply into things. And he not only expressed what he felt in many a beautiful poem, but there are also books in which he brings to life the ancient times of the German people. The fact that Uhland, on the one hand, had an infinite love for nature and, on the other, a warm heart for the lost sagas that have lived and that today only need to be artificially invoked, is something that one should actually know better than one knows it. And one can hope that even if some of the fashions in poetry that are around today can sometimes “inspire” hearts, a time may come again when one can gradually learn to create like Uhland. He loved communicating directly from soul to soul the most of all. And it actually dawned on me what Ludwig Uhland was able to be to young people, also in turn, when I was able to feel an echo in my own life.

I had learned most of all how to express thoughts in language, and to grasp thoughts that now introduced me to the spiritual life with my heart, by being allowed to participate with my late teacher Karl Julius Schröer in what he called “exercises in oral presentation and written expression”. He would listen to us and then say a few words in which he placed himself at the level at which we ourselves were. It was a very stimulating experience. Where did Schröer get that? Because he knew Uhland! It was a very lively collaboration with the young people. Uhland did it.

And so we may say: the 50th anniversary of the death of Ludwig Uhland, who died on November 13, 1862, may mean something in the hearts of people who are still receptive to genuine, healthy poetry and have feelings , may mean something, may mean that one must always return to those who, in connection, bring us together as people who live in the present, with all that humanity has experienced in earlier and ever earlier times.

Uhland's connection to earlier times was twofold. First, he himself still had much of the character and personality of strong, indomitable characters, who are becoming increasingly rare in the present day. One need only recall that in 1849 Uhland spoke the weighty words that he could not imagine a German empire without a drop of democratic oil having been poured into it. He stands there like a refreshing and, in its strength, self-reinforcing German oak. He also rejects, with all his striving and living, with his art in times when the intimate, far-reaching folk fantasy flourished and lived, which brings together the past and the present in a heartfelt way, the inheritance of the soul that humanity has from its predecessors with that which moves the present.

We do not always think about how small the time span is that separates us from something that is very different from us. Let us think, it is about 800 years that separate us from the time when people in Germany spoke and wrote as I have read to you. There are twenty-four generations in eight hundred years. If you imagine these generations reaching out to each other, you have the time when Pfaffe Konrad tried to write this touching scene into German hearts. And it was Uhland's particular concern to renew this, to allow some of it to be felt again.

So it is that we remember today, albeit a little late, the anniversary of the death of Ludwig Uhland, and on this day we remember the man who tried to capture so much of the beauty and grandeur of nature, of the beauty and grandeur of Central European prehistory, in his poetry. He deserves to be revived in the hearts of people who want to know about such healthy, genuine, true poetry, and they will always be there, as will some fashionable illnesses and fads that would like to separate souls from this poetry of the real and the true.

The order of the poems in the lecture is not known.

You will allow me to precede the recitation of poems by our most esteemed and beloved member Christian Morgenstern with a few words. On such an occasion, I would like to speak differently than I usually have to speak before you. Otherwise, when I speak, I feel obliged not to touch on personal matters and to let our spiritual-scientific worldview speak. This time, however, I may speak to you as I need to speak when I am not bound by such an obligation. I may speak to you very personally on such an occasion.

I would like to see the souls of our dear friends in a kind of festive adornment on such an occasion, because it seems to me that this is an occasion when we can and may feel something directly human about the value and truth of this our spiritual movement in a certain respect. But we can also know something of the value and truth of our spiritual movement through the fact that we give the reasons and the good evidence for this spiritual-scientific world view. But these are things that everyone must do for themselves, if we understand each other correctly, quite regardless of whether they agree with this or that point of view in our world view or not. But there are other proofs. There are proofs that can speak to our hearts. Let me say it plainly and simply: that this evidence of our worldview can exist quite well. But this plain speaking is meant very warmly. It is the word that gives our worldview some of its inner truth by saying: poets also come to us. And he will understand me best at this moment who, as deeply as it can be felt towards Christian Morgenstern, feels the word: Poets also come to us - especially with regard to the inner truth and the clarification of that which may be the core of our spiritual-scientific worldview.

There are experiences of the human heart that, as far as one looks around in all the worlds of the natural, human and divine, are only right when they are experienced at the side of the soul of the poet. And to feel this is to truly experience what the poet is to earthly life. And there are moments when the poet can give the human soul something everlasting.

As I said, I would like to speak only of a few symptomatic, very personal things, just because in this way we may prepare ourselves for that adornment of the soul that I would so much like to see, when something like Christian Morgenstern's poetry descends on the soul in the leisurely moments that one has. Then one feels something of what I have just hinted at.

For me personally, there has been something very special in connection with these poems in the last few days. I read a few pages that our dear member Christian Morgenstern wrote, and I may confess – perhaps Christian Morgenstern himself will not be offended if I take a few minutes to do so before reciting – , that reading some of the unpretentious, simple words that appeared as “Autobiographical Notes” in the publishing house almanac Piper, Munich, is one of those moments of rare joy, of very inner joy. I may speak personally. One feels, precisely through the touches of Christian Morgenstern's love-awakening community soul with another, immersed in regions where, with this soul, one finds oneself alone but surrounded by the world's powers when reading something like the opening words to the autobiographical note. You feel as if you were being blown towards something strange and mysterious when someone says something like that. Perhaps it will seem strange to some that I am saying this here, but it is so.

“The year 1901 saw me through Paul de Lagarde's ‘German Writings’. He seemed to me – Wagner was estranged from me then through Nietzsche – as the second decisive German of the last decades, to which it might also agree that his entire nation had gone its way without him.”

If you are prepared to take on board an independent characteristic of the poet, then you will be able to draw a lot from such beautiful, seemingly unassuming words.

I would like to suggest this in order to be able to say that in Christian Morgenstern's poetry, something can be felt that I think leads to regions that a human soul can only enter in two ways: either as a creator, or at the side of the soul of a creator. Otherwise, these regions of human feeling and experience, which can be found where poems like “The Star” or many wonderfully beautiful landscape pictures in Christian Morgenstern's work were created, are closed to one. Otherwise, the path to this region is closed.

And the second word that I would like to express, where we get a deeper impression of life, is the word that truly reveals to us what each person is as an individual. There is something in the world for each of us that stands before us as a poet-individual, which is a sanctuary that no other person but only he himself can enter. For the gods have created for each such soul a lonely, isolated place in the vast universe, from which the others are excluded if the person in question does not approach them in such a way that he leads them to his sanctuary, if he does not take them by the hand spiritually and lead them there. That one can feel something of creation, of the inner soul creation that the poet wants to bring into the world, that is what I would like to have expressed to you with these words.

It is not for me to speak about the poems themselves, some of which date from earlier times and some of which were created in recent times, because there is a feeling that tells us: when it comes to poems, in some respects it is not permitted to approach them with words, but only with those depths of the soul, where words no longer speak. These are such depths of the soul. That is something of what I would like to see felt.

And since I am speaking to you personally in these minutes, please allow me to make this comment as well. I have often had the feeling that within our movement there are those who, for one reason or another, have the impulse to please someone. It will always give me personal pleasure when many souls, who have delved into our movement through what our movement can achieve in this area, are able to turn to the right, true, beautiful reception of Morgenstern's poetry. And if I am to speak of a joy that one or the other of you personally wants to give me, then he can actually give it to me best by finding himself ready to penetrate with understanding into something of the kind that we would now like to give you some good samples of. These are the things that allow one to feel personally connected to our movement, and to step out of character for a moment, so to speak, and speak intimately and personally of one's joy, including the fact that among the greatest of these joys is that we have poets like Christian Morgenstern among us, in our midst. The best I can give you is not an introduction to someone who can speak for himself. But what I would like is for joy, much joy, to flow from my soul into yours, my dear friends, so that many of you will feel with me what I myself feel so gladly and will always feel. May our dear friend Christian Morgenstern bestow upon us many, many of the poetic creations that accumulate in his soul. We wish with all our hearts that we may experience much of what he still has to give us, and that we may always find the mood to receive much of it.

With that, I wanted to greet you with a few words about what is to be given to you in the recitation.

The recitation by Marie Steiner followed. The order is not known.

Today, as one year ends its cycle and a new one begins, before I move on to my lecture, we want to reflect on something that, when I follow the feelings of my own heart, I can say is suitable for putting us in the right, loving festive mood.

During the last lecture cycle in Stuttgart, we were able to introduce a number of our friends to the poetry of Christian Morgenstern, who is with us today, to our great satisfaction. And today, Miss von Sivers will present some of the new poems by our esteemed friend, some of the poems that have not yet been printed, but whose publication we are looking forward to with deep satisfaction in the near future.

If I may first express in a few words what I myself feel about these poems, I would like to say to you that the fact that we are able to get to know Christian Morgenstern's poems as those of one of our dear members is one of the very special joys and satisfactions that I find in the field of our work for a spiritual worldview of the present day. I would like to say that one of the highest proofs of the inner core of truth and the truth value of what we seek with our soul is that we see, springing from the spiritual soil we are trying to enter, the poems of Christian Morgenstern, which are of such depth of heart and height of mind.

I have sometimes heard it said by this person or that, and also by some close friends, that life in the kind of ideas through which we seek access to the spiritual worlds can have a cooling and paralyzing effect on the development of poetic power and poetic imagination. And sometimes I could detect something like fear in those who do not want their poetic power to be damaged by a connection with the spiritual life that we seek with our souls. That the most beautiful, most delicate, noblest, truest poetry can be of the same mind and the same driving force as what we seek ourselves, is evidenced by the poetry of Christian Morgenstern. However, for poetry, true poetry, genuine artistic spirit to prevail in the spheres of intellectual life that we are trying to penetrate, it is necessary that the warmth of the heart, which is imbued with the intimacy of the intellectual life, as it could pulsate through our time, rises to that creative imagination that wants to be illuminated by the power of the intellectual life. And this is, in my feeling, in my feeling, the case with the poetry of Christian Morgenstern. Especially when I let such poetry, as you will hear it later, take effect on my soul, then I cannot help but put into words what I experience through it, which I would like to express in anthroposophical form.

When I let such a poem work on my soul in peace, I have something else in addition to this poem, something that every true, real art has as well. I would like to say the word: these poems have an aura! They are imbued with a spirit that permeates and interweaves with them, that radiates from them, that gives them their innermost power, and that can radiate from them into our own soul. And allowing me to express my own spiritual situation in relation to these poems, I would like to say: We often hear the saying, which is certainly true: If you want to understand the poet, you must go to the poet's country! Today, in relation to the poems of our friend, I would like to turn this saying around in a certain way: If you want to understand a country properly, you must have an ear for its poets! For no other country do I find this more necessary than for the spiritual country. When poets speak in the spiritual country, let us listen to them. Only when we allow not only the more or less scientific content of the spiritual country to penetrate our hearts, but when we understand the poet in the spiritual country, only then have we prepared our soul for the spiritual country. This is the mood in which I would like your souls to receive these poems, just as the mood in which I was privileged to receive Christian Morgenstern's poems was something blissful for me in the face of the inner strength of the soul that leads to the spiritual realms.

And in this context, I would like to express two hopes today: the first is that many of you may be inspired to get to know the true poetic soul in his various works, of which we will hear a few samples afterwards. It will always be a satisfying realization for me to know that many of our friends are drawn to Christian Morgenstern's poetry.

The other wish is that our friend may continue to be as creatively active as he was in the poems we are expecting to see published, and from which we will now hear a few samples, for our profound satisfaction and artistic uplift.

This was followed by Marie Steiner's recitation. The order is not known.

Recitation by Marie Steiner from “Poems” by Friedrich Lienhard

WHERE FROM?

I don't know and can't find words,
Where my home is.
They stand tall and shine like candles
The birches down into May.
But I see out, as if lost,
Far away, somewhere else I am at home,
Far!...

That homesickness that I cannot explain,
Those whispering questions in the firs
of a strange forest:

Was I in ancient times
A knight on the rough sea?
Do I hear the great surf
Rushing in sorrowfully and heavily?
Did I fall in battle
For a granite possession?
Was my heroic galley
Smashed by wild lightning?

Perhaps years ago I was
A fresh and vigorous lad;
A brooklet murmuring ran
Through a mill-bottom.
I have sat by it
In many a youthful carol,
While another, laughing, lay
In a different arm.
I know not and find no words
Where my home is.

People hurt me,
I ask the wind: why?
Wherever I listen, wherever I look,
Their behavior remains strange and silent to me.
Their city is full of unmelodiousness!
They never see the realms of the universe,
Do not see that they are trapped –
I wish I were a child again!

I would speak so sweetly,
So strangely, as I am moved!
Break the abundance of images
That hang luminously on my trees!
With “you”, with “brother” and “sister”
Wandering through a kind world,
Loving, saying love
To anyone I like.
Light as a ghost, only bound in God, free!

I don't know and can't find words
Where my home is...

MORNING WIND

You lovely morning bells, when stalk strikes against stalk!
When the ringing meadow moves to the swinging bells!
I listen to all the grasses, to all the bells
Come, wild morning wind, come in, come in, come in!

It is a delicate plucking, just a stirring of strings:
after all, the winds are little fingers that tremble as they glide over them!
Then a stronger whistling comes from the overblown meadow:
the dew shaken by the wind springs and sings in drops!

And what the delicate harp swings,
The wind song, the sound of the blades of grass,
And what sings in strong tones
On the whole noisy meadow slope:

I pick until I have shreds and scraps
to please myself and amuse you, sounds caught in fiddle and song!

So I know many melodies in all the meadows:
We wait for the morning wind and become a chime!

SUMMER FOREST

How shyly the summer wind walks in the fir forest!
It calls by as if from a distant child,
Who is standing in the forest, searching;
But only the mosquitoes hum in the summer breeze
... and their song blows away...
Dear forest!...

Of seven dwarfs, of Snow White dreams
Der Wandter, who in the sun-dazzled flicker
At his fir many hours lingers:
A Hans in Luck, who all the gold's glimmer
In a source threw, which foams in the valley...
Dear forest, oh dear forest!

Red Riding Hood wanders gracefully through the greenery,
the weight of the basket sways on the arm of the little one;
she reaches into the flowers that bloom along the path;
She has to marvel at every umbel, every strange ear
and chat as she makes her way...
Dear forest... oh, dear forest!...

WALDGRUSS

Waldhornschall
Hör' ich dahinten im Wasgenwalde!
O sieh, der Fingerhut
Leuchtet von sonniger Halde!
Eidechsen huschen übern Stein,
The thyme-scented rain smells lush,
Bumblebees hang on hot clover -

Oh forest, my forest,
I ache for your delights!

WANDERING SOUL

I have always been nurtured by the forest
As a hawk or a stream or an elf of the night;
As ivy, I clung to the ruins,
I stirred as a mist in the ground.
And when the forest wind's tinkling sound
Came through the colored clearing's radiance:
It was I who rang together all the slopes and heights
For a Sunday dance.
And when a beetle with a greenish glow
Flew over the late stick figure:
It was me, I burned a little light for the night, the damp one,
A little light in the grass and dew.

So I was enchanted and have been alive for a long time!
Now I sing it all in human sound...

SUNDAY AFTERNOON

In the village on Sunday afternoons
The songs and humming of one's own heart beat.

In the village on Sunday afternoons
The fields and hedgerows bloom in delicate tones.

Even to the neighbor in the shade there
God's word speaks from the silent Bible.

And the old man, who surveys his land,
Hears melodiously growing clover and cabbage.

For on all the melodies of growth
The echo of holy bells trembles...

FAITH

Like a flower on a mild night,
Fed by the moon, watered by dew,
I grow up from your soil
To that which has sunk me here.

Thy storms are past, thy rain is gone,
Thy vernal air doth woo, thy moonlit night doth dew
Do with me as thou wilt:
Thou art my gardener, I thy herb!

THE CREATING LIGHT

1.

You unfathomable radiance!
You unfathomable sea!
Oh spring, cast waves of bliss
Over the wanderer!

The light of the east and the steaming
The hawthorn in the dewy hedge,
The breaking and the roaring of the brooks
How do I sing such a sparkling day?

Listen, in the heavens hang
Enough singing larks!
I will make you drink,
O spring day, little by little.

2.

All the round pink blossoms
That burst from peach trees;
All the invisible larks
That sing on white clouds;

All the flowers that light like little flames
on the meadow ignite;
Those children who at the edge of the forest
laugh on Sunday mornings

Oh, and the beating of the heart:
Everything stretches upwards towards the day!
Everything that has breath becomes a poem:
A hymn of praise to the creative light!

3.

Have you also experienced it?
Often trembles from blossoms and herbs
A homesick, sweet saying,
As if it were a ghostly sound.

And sometimes, after thunderstorms,
There stands, in the evening glow, On the crystal clouds, An unknown land.

And if your hill is high enough, The wind's whispering train Bears a ghostly, delicate singing, As if the late red were sounding.

Do you know the sound so homesick and soft?
It is a greeting from the realm of the soul!
From there God has sent us,
That we may reveal words of light to the dark edge of the earth!

Have you also experienced it?

In the future, when an overview of the development of spiritual life is made, Friedrich Lienhard will always be counted among those poets who know how to bring into the world of outer, physical reality the sounds of spiritual life, the sounds of yet another world.

Friedrich Lienhard is a poet of whom we must say, especially in our present time, when so much that is untrue, inauthentic, and fantastic is mixed in art and poetry, that he is genuine and true as an artist, as a poet, and as a human being to the very bottom of his soul. And when all the tendencies that, in the second half of the 19th and the beginning of the 20th century, one might say tended towards all possible “isms” as a kind of accompaniment to materialistic tendencies in the artistic and aesthetic fields, have disappeared, only then will it be felt that the spiritual life in poets like Friedrich Lienhard shows the ideal goals in the world. One will feel that his poetry does not see art in the fact that one will see in it external images that have been viewed with the senses and simply placed in some poetic guise or other or expressed in some artistically formed words or forms, but that one will see the artistic, the poetic in it, that the invisible, mysterious world that physical world is truly enchanted everywhere, that this invisible, mysterious world, which man weaves out of the interaction of all world harmonies for the human gaze, and which is like a breath cast over the sensual reality, may be evoked from its enchantment, and that one may try to penetrate the message of poetic creation and poetry.

Thus, Friedrich Lienhard faces the world, humanity, and the entire universe not only as an artist, not only as a poet, but, more than that, as a seeker, as someone who interwoven with the riddles of human existence, of world existence, and who is able to tune his poetic power by feeling these riddles of the world, these riddles of humanity.

When we listen to the older of his poems, we feel how this human mind lives with all that lives and moves in nature itself, how the joys, the elemental joys of this human heart are released from the processes of nature, as if the spirits of nature itself in this human heart, and we hear the strange weaving of the elemental beings of nature in Friedrich Lienhard's poetic work, and that, in turn, is what in his poetry goes beyond the often dull and narrow of his contemporaneity, and out of which he had to grow.

On the other hand, the intimate, sincere, deep feeling for nature and the interweaving with all the intricacies of human life and what is produced in the individual human mind, on the one hand, longing, joyful elation, and on the other, brings pain and deep suffering, all this is caused by Friedrich Lienhard's poems, so that we cannot understand them if we grasp them individually as human beings, but grasp them as developing out of a people and a spirit of our newer development.

It is very peculiar when you have an ability to really feel your way into Friedrich Lienhard's poetry, especially at the point where the poem begins to take on its deeper traits and characteristics, but where people's souls often do not want to go. If you have the ability to empathize with and follow such things, you will find that the unique nature of Friedrich Lienhard's work truly poetically lives and weaves its own language, removed from the world, which demands its own answer, I would say, in the great existence of the world, which satisfies it in order to allow the living weaving and essence of all nature to live on in its own. Then we find, as in swinging waves, how with wings of being and of higher life, what creates and works in nature lives on, and makes us feel how elemental spirits of magic obtain being through what Friedrich Lienhard says, through what lives in the universe and wants to enter into poetic creation because it cannot fully live in creating nature. Thus we see how in Lienhard's language there is something like a higher natural tone, and how the weaving of alliteration lives quite naturally into Friedrich Lienhard's linguistic work. If we try to listen and fathom that which can truly show us how the heart finds expression in the tones of the words, we will see how nature still weaves into the shining light, into the air that produces sound, how forces and beings turn to the existence of nature that cannot be seen except by the artist's eye, cannot be felt except by the artist's heart and mind. Souls like Friedrich Lienhard's often appear to us as if the divine All-Mother of existence had saved up what was left of her surplus of creative power and what she could not use up to create the natural kingdoms, in order to express in a very special way in individual human individuals what she cannot say herself from within her own creatures.

And then we feel very deeply what Goethe wanted to say when he spoke of human creativity as a nature above nature, as a nature in which spiritual devotion and spiritual elevation are summarized in that which is otherwise spread out in the wide realms of natural existence.

Friedrich Lienhard became a seeker in this sense, carried by the mysterious forces that create and invigorate him, and so he surrendered to those moods of nature in which what what works and what is in nature, in order to feel what plays from human heart to human heart and what leads to the great universe and to what the poet is called to depict in a picture.

Thus we see how Friedrich Lienhard, as a seeker, is always growing and developing, how he is not like someone who simply presents himself to the world to say what is currently moving his heart, his individual human soul, but how grown with human becoming and weaving, which does not merely want to live as a single egoity, but wants to be like an exponent, like an effect of what lives in the vastness of the human soul, in the soul of a people, in the soul of an age.

After Friedrich Lienhard had reached a certain level of maturity, he immersed himself in what the more recent spiritual development has brought in so many different ways, and expressed in his own way how he began to study Goethe, Schiller, Herder, Jean Paul, Novalis in order to understand the other newer spiritual greats more closely, to understand them more deeply, to live with them more intimately. He described the paths he had taken in his very remarkable hermit journal, which nevertheless, as a hermit journal, was able to speak to the outside world about his “paths to Weimar”.

He had wandered the paths to Weimar, those paths to Weimar that are the present paths of humanity's newer nature wanderings, the paths of humanity today that can be found in our state of development, those paths on which Goethe sought the connection with the worlds of heaven and of the soul, those paths that Herder fathomed in order to find how human becoming is connected with cosmic evolution and with historical evolution. Those paths to Weimar through which humanity can sympathize with those from whom joy has receded, those paths to Weimar of which Goethe speaks, that they expand into a cosmic, into a world-feeling, those paths through which the human soul in all its intimacy can feel so connected with the nature of the universe, where the soul is able to feel with joy, feel with suffering, feel with the divine on the other side, that human nature is able to feel the divine in the harmonies of heaven, that it is able to bring a weeping eye on the one hand, a cheerful eye on the other. It was along these paths that Friedrich Lienhard sought to follow in Noyalis' footsteps. He wanted to find a way into the supersensible worlds with a groping human sense, the way that one must go if one still wants to find the human souls that have left their earthly bodies. It was along these paths that Friedrich Lienhard followed Goethe, who had preceded him, in loyal allegiance, on which the human soul is healed of all spiritual egoism, of all spiritual individualism, because it can allow itself to be absorbed by humanity's striving toward the All, those paths on which it is healed of egoism, of obstinacy. And so he found the way, alongside those who have striven for the healing and maturing of humanity, to empathize with Goethe, Schiller, to empathize with Novalis and the others.

That is what Friedrich Lienhard strove for on his journeys to Weimar, and then he added what he had found in the way of intellectual and spiritual development and feeling, and he brought into his art what he himself had striven for as the highest. Thus Friedrich Lienhard did not develop in isolation but in relationship to others, and now we have the great joy, at the time when Friedrich Lienhard's rich striving culminates in his fifty-first year, to see in our midst someone who strives for the spiritual heights of humanity, and we can have a great joy that he is in our midst, a joy that can be great because we not only want to develop a selfish spiritual life for each individual soul, but because, if we want to develop a healthy spiritual life, we have to draw threads to all that lives and strives in the world in a spiritual way.

Friedrich Lienhard has found a way to walk with the elemental spirits that rush through the leaves with the wind, that trickle with the water, that flicker in the light. He has found a way to walk with these elemental spirits of nature so that his words become boats that carry these elemental magical spirits human activity and human creativity – Friedrich Lienhard also found the way to build even larger boats that are able to take on and guide the other spirits, through which those who have gone to Weimar have sought the way from the individual soul to the collective soul of humanity.

Just as Friedrich Lienhard wandered on these two paths, he now also wanders the long spiritual path that we ourselves seek with our weak powers. With strong longings, he tried to penetrate not only the individual soul of this strange, hermit-like, spiritually gifted pastor from Alsace with his novel 'Oberlin', but with this novel he also tried to penetrate the entire cultural-historical fabric of time, within which Oberlin, the seer, the lonely seer from Alsace, stands.

Thus Friedrich Lienhard also came to be a poet like those who, like Hamerling and other similar poets, try to depict the secrets of humanity itself from the historical life and development of humanity, to find the riddles of life. It is highly appealing to see how the human life and essence of the entire age grows out of the portrayal in Friedrich Lienhard's beautiful novel Oberlin. In his later historical works, Friedrich Lienhard tried to go further, depicting how man today combines spirit and nature, how he can try to travel the pilgrimage of life with his soul. Friedrich Lienhard has truly grown into the spirit-filled work and activity, and how close he is to our striving will be shown to you in the recitation of the poems, which, I would say, are truly the substance of our soul and which we will hear.

In poems such as “Christ on Tabor” or “Temple of Fulfilment”, Friedrich Lienhard has found the most intimate connection with the spiritual feeling that we are seeking. When one can see that more and more the time is approaching in which a spiritual creator will show whether he is grasped by the spiritual calls that will sound in the future by the fact that he shows himself to be equal to a real real respect for the world's only, humanity's only form of Christ, if one may say this, then one may also say: Friedrich Lienhard has found his way to such forms of his poetry, thinking and creating that can stand understandingly in relation to humanity's only, the world's only form of Christ Jesus. Thus he belongs not only to the present, but, as one of the beginnings, to the future that we long for, that man must long for, who understands his time in the present.

In the poem “Temple of Fulfilment”, which we will hear later, Friedrich Lienhard shows us how what is in the symbol before him is also in our mind's eye in the symbol, in that symbol that is to express to us how the hearts, minds and spirits of humanity can grow into that future which must overcome materialism for the reason that Ahriman must be bound again for the salvation of the world, for the salvation of the world. We want to remember this above all at the time when our dear friend Friedrich Lienhard turns fifty, that he has known how to connect those who can follow the calls for the future of humanity, who have recognized, as one must recognize, that everything must be abandoned from the structure of human development and that only that which strives for the fruits of the spirit, the spiritual seeds that are sown today for the future, can remain.

So let us be among those for whom the fiftieth birthday of Friedrich Lienhard is a beautiful celebration, a celebration that they want to celebrate lovingly in their hearts, in their minds, a celebration at which we want to indulge in the thought that Friedrich Lienhard not only belongs to us for our joy, but belongs to those who want to work on the great 'building of the temple of spiritual human development'. We want to strengthen and invigorate our love for our friend, we want to strengthen and invigorate our understanding of his very unique way of thinking and being. Many of you, my dear friends, know him; he has been here and in other places among us. You know him, the remarkable man who walks among other people as if his eyes were looking into a world from which a piece of what the eyes usually look at with interest and attention disappears, as if he does not see many things, but instead sees other things that those around him do not see. And so, I would say, he seems pure in his outward walk like a dreamer of a world that others around him only become aware of when they sense it in his soul, in his mind, when they stand opposite his pensive head. He appears as a personality who feels much that others cannot feel, who is unworldly in many respects because he seeks kinship with a world that can only be known by becoming estranged from much of what is so familiar to many other people.

Indeed, when one feels, I would say discreetly, the peculiar characteristic of this personality, then the most intimate love for his whole being mixes with the veneration of his beautiful, his highness-filled work, and then we also learn to relate to him in the right way. Today, as we look forward to the fiftieth year of his life, we want to harbor and cultivate these thoughts within us, so that they can become beautiful wishes, strong wishes that Friedrich Lienhard may be granted to create much, much more in the rising, further epoch of life, in the higher, mature epoch from the deep source of his spirit-filled, nature-loving, humanity-loving, humanity-friendly creativity and work. And let us say it with the deepest satisfaction, a word in reference to him fills us with joy, fills us with satisfaction, but also fills us with a certain trust in our own cause, a word spoken in reference to him: Let us rejoice, for he is ours!

Recitation by Marie Steiner from “Lichtland” by Friedrich Lienhard

TEMPLE OF FULFILLMENT

The blue dome arches up to the red wall;
And in the blue are stars wrought in gold.
Twelve masters stand in the round columned hall
And turn their gaze of power from afar
thirteenth, who stands before the altar gray
In the silver robe of the leader
And collects twelve-fold strength in prayer.

So the sun runs through the signs of the zodiac
And receives twelve special powers,
Then sends them out into the world;
So power exchanges with power at all ends
Of the cosmos and the small human life;
And no least one shines and works in vain
The sun's goal can be reached by every star.

Everyone for everyone - and everyone for everyone!
This wonderful hall is rhythmic:
Because each of these gently curved arches
Is drawn over every master's head,
The marble remains beneath it;
The room is filled with a fine, breathing wave
Of clarified soul forces, strong and delicate.

Whoever enters this solar temple
Is marked by the double seven
of the symbolic columns that surround the hall
with symmetry all around;
Like a dove, he senses above him the white dome window's round shape floating:
And the holy ray falls on the altar.

Only what is sensed may be formed here,
fulfillment dwells in this building's curve;
the yearning for the distance calms down in peace,
and the earthly wound heals.
Escaped from base, nocturnal forces,
the consecrated one sees the place as destined
for his heavenly recovery.

And he beholds the archetypal form of all things,
The world's confused play becomes harmony;
The blood of the cross presents itself as roses,
On which the crystal-clear light from above
Falls as a sound, the sound of the melody of the spheres,
Which fills this high space with beauty
And every hard edge softly envelops...

You have been drawn to this temple for a long time,
You long to look inside and pray.
But you still turn to the rose beds
Along the yew wall of the outer world
And are not freed from what sounds outside
And that temple's existence booms –
When you have matured, you will enter it.

CHRIST ON TABOR

Beyond the tribulation,
Sparkling with the power of grace,
You stand, solar figure,
And the transitory suffering there is transformed
Into a golden light.

So you are beyond

And yet attainable:
Because we,
As often as we rise from the waters of affliction
As you would rise—
Surrounded by the sun, we stand with you,
Clad in gold, transformed into light.

Behold, you once stood like this,
When you walked in the garments of the earth,
Casting forth the radiance of future glory,
Great upon Tabor.
In dialogue with you were
The exalted masters of primeval times:
Elijah and Moses.
But beneath you, in shadow and darkness, The sparkling God-man!
Stepped out of the covers and stood,
Stood like a pillar of sacrificial flame
Tall on the nocturnal Tabor!

Then those approached, sparkling like you,
The great ones of the past,
Stepped out of the veiling light clouds,
took shape and stood in splendor
on the summit of Tabor.
And they exchanged radiant speech with you,
greeted you from the blessed ones,
filled the rapt disciples with flaming power
and withdrew again
into the mysterious moonlit night.

But you, Master, and your disciples
Silent, radiant; knowing smiles
On faces glowing in the light,
You walked back down to the dark people.

Today, we will include a presentation of German poetry in the circle of reflections that we are now cultivating during this time. The first part of this presentation will be dedicated to the poet in whose presence we have the great and intimate satisfaction of seeing him in our midst today: our dear Professor Friedrich Lienhard. And it is in keeping with a deep feeling for the unique life's work of our esteemed friend that I want to express, albeit late, following the feelings that have been expressed to Friedrich Lienhard by the broadest circles of the German people on the occasion of his birthday a few weeks ago. It certainly corresponds to our deepest feelings when I express to him today the complete merging of all our warmth with the festive joys that have surrounded him, which have shown him how much that which he has been able to give to his people from the depths of his gifted nature resonates in the hearts of many.

Certainly, my dear friends, there was a wider circle that is more important for historical development today than our narrower circle, which in a festive mood has approached Friedrich Lienhard in the last few weeks. But with all our hearts we join with our feelings, with our sentiments, with what Friedrich Lienhard was fully entitled to hear in these weeks: the deepest agreement of her innermost feelings with his feelings. Many have spoken to him about it. The highest recognition that science can give to human intellectual endeavor has been bestowed upon Friedrich Lienhard by his, I would say, mother university. This is a source of great joy to us and, I am sure, to all those who are able to feel the deep debt of gratitude that exists towards human intellectual achievement. All those who heard about how Lienhard's mother university awarded the honorary doctorate, the recognition of science for human intellectual achievements, were overcome with the deepest satisfaction and joy. And in the deepest sense, we empathized with everything that has happened around him in the past few days, empathized because what is so infinitely sacred to us, what we cling to with all our love and striving, also seems to permeate his work.

It can be said that more recent human culture has produced much that is significant in the way of poetic art. In many places, what present culture can give to people flourishes in poetic achievements. The future will decide, and the heart of the present can already sense how it will decide, which of these blossoms are so closely linked to the temporality of contemporary culture that they will also fade when that culture, with its sole affiliation to the present, sinks into the past. And what is culture of our time has been brought up from the depths of the human being, that it blossoms, grows and greens towards that which is eternal, which will remain of our culture of the times, as something that carries the seeds of the future and will be a support for the ongoing spiritual culture of humanity. We want to be connected to the eternal in the present, to everything that reaches into the future, with all our hearts. And we hear this in the words of Friedrich Lienhard. When we connect with the wonderful natural moods that sound so uplifting, so enchanting, so delightful, so graceful in Friedrich Lienhard's poetry, then we feel how, behind his work, in his work, the spirits of nature themselves surge and weave. We feel drawn through the word, through the thought, through the feelings, to the creative nature, with which we also want to connect in knowledge through spiritual science. And we feel that these poems arise from what seizes man from the eternal, that they express this eternal in the temporal for the upliftment, the joy, the elevation of the human heart and soul. This makes us intimate with all of Lienhard's poetry. It makes us read and listen to it; it makes us, I would say, live and weave ourselves into it from the very first line, feel connected to its life element, to its creativity, and at the same time feel how the soul's life force, the spirit's air of life, overflows in us when we are allowed to let the impressions of his poetry take effect on us. Then again, when he conjures up the figures of ancient times out of the mysterious fog of existence, in lively activity and lively effectiveness, then we feel that yearning of humanity come to life, which expresses itself in the fact that the human human soul must look beyond everything that takes place historically on the outside, before the eyes and ears and the other senses of humanity, and plays itself up into the mythical, which, as an eternal element, encompasses the historical-temporal. And in this truly mythical element, in this element that connects human hearts with the eternal, we feel the figures that Friedrich Lienhard conjures out of the darkness and yet so full of light of prehistoric times.

On the one hand, Lienhard's poetry elevates us from the sensual to the spiritual and creative side of nature, from the present to the past. On the other hand, in his creations, we feel how they carry us into that which can take hold of us from everyday life in a deepening way can take hold of us in a deepening way, enabling us to live in the here and now as a spiritual and living being, how these poems connect us with everything humanly close and humanly lofty, how they develop heart and mind for everything that lives and moves in the world with man. Immersing ourselves in his poetry, we are able to live through its magic with so much that conquers and elevates human hearts in nature and spirit. And so, living with his poetry, we experience the most intimate happiness, the happiness that is the guide to man's true home.

So I ask you, my dear Professor Lienhard, to accept this greeting, which comes from the faithful search for understanding of the impression of your life's work, your life's work that has incorporated so much meaningful and eternal from the development of humanity and entitles us to greet you for all that we now hopefully expect from you in this incarnation. Please accept these words as a promise that we would like to extend to you, not out of passing feelings, but out of a deeper understanding of your life's work to date. Take them as an expression of our desire for all that we may hope for to come from you. Please accept my words as a prelude to every greeting that we wish to extend to you on your future journey through life. May what we strive for be bound to what you strive for. This bond will be sacred to us and we will always view it in such a way that we feel happy and satisfied to see the poet Friedrich Lienhard in our midst. Every moment that we spend in your company will be a moment of heartfelt joy and satisfaction for us.

I wanted to express this to you as a greeting before we now open our hearts to your work again for a short time.

Recitation by Marie Steiner from 'Poems' by Friedrich Lienhard: Faith; Morning Wind; Forest Greeting; The Creating Light (see page 216 for texts),

Lonely Rock

A rock beckons me in the golden air,
High and alone.
Around its summit is the scent of the heath
And evening glow.
A faithful little bee rings out in the herb
Flower bells, pure and calm.
Whoever looks out from there over the land
The world is his!

ELFENTANZ

Raschelgewänder und seidene Schuh',
Krone, Korallen und Bänder dazu
Rundaradei!
Rauschen und schleifen wir, singen dabei,
Rauschen und singen wir,
we swing our rustling skirts
around the ash tree, around into May,
Rundaradei, eia, rundaradei!

Do you want to catch us?
You have to dance with us!
Do you have feet as silky as ours?
Are you as flexible,
Are you as cuddly,
Are you as fast and as swinging as we are?

The leaves on the bush,
They turn in the breeze
The grass-green skirts and flicker in the process!
And if from the blue
The nights a thaw came,
So dances and sparkles in the morning of May!

Drink the light and dance yourself lively!
Drink the light and then up the hill!
A pearl from the early grass splashes down on you, Imagine an elf leaping at you! Finches, oh, see how they fly, Little clouds, oh, see how they glide, Everywhere, everywhere, faces of the sun, You alone in the midst of it all, a darkened man!

Do you want to grab us?
You have to drag along with us!
Do you also have little feet as silky as ours?
Are you as flexible,
Are you as cuddly,
Are you as fast and as nimble as we are?

He stumbles and lurches,
The clogs of the shaggy bear!

Nimble, buzz around him,
Flirting, confusing him!
Whirlwind, caressing wind, teasing wind: there!
Tousle him fine,
Pluck him fine,
Pluck and pluck and pluck him fine!
Hey, and so we float airily and free!
Down there, you catch me now, catch me, catch me,
Tear the train behind me, kiss my cheek, after all,
Catch me – catch me – catch me –
Gone!

SUMMER NIGHT

Strange night! In the reed and moor,
How the dry reed rustles and slurps!
It embraces as if it were alive,
And sighs as it releases them again.

How sweet the rustling sounds!
I have always loved the night wind:
It breathes voices and souls into the reeds, the birches, the moonlight
It breathes voices and souls into them.

Many ghosts are dancing, the world is loud,
The smallest herb stirs and giggles.
From the old knight's tower,
An owl laughs into the enchanted night...

EVENING RED

I long for a homeland that has no earthly boundaries,
I long for an eternal heavenly city out of human need.
The evening glow shines brightly and clearly, the spring rustles gently in the Wasgenwald
How soon my day on earth will pass, and all my daily work!

Oh, come, thou universal night, which knows no earthly measure,
From whose depths star upon star burns upon our tiny star!
I am not tired of the day's work, and yet I am tired of the day
I long for your vastness, you unlimited heavenly city!

AUTUMN ON ODILIENBERG

1. Autumn bells

Through red forest and bell singing,
Through an autumn day's sparkling dew
I seek on anxious heights
The stronghold of a holy woman,
Seeking sunshine above the clouds!
Oh misty walk,
Oh rugged slope,
I will a proud life long
be a pilgrim!

2. The blue flower

The earth smiles as a garden land
On the pilgrim who found the blue flower.

A lily blooms from the deep forest blue:
The bright monastery of a holy woman.

And though I search always, always, always,
You, silent mountain, are the blue flower.

3. Autumn Walk

How beautiful you are! You're a web of golden hair,
I walk transfigured through a fairy-tale grove.
All my soul soars up to God,
A smoke that lost itself in the blue of the heights.

Am I the one who walks dreaming in the falling leaves,

As this earth is full of colors,

Odilienberg is as beautiful as heaven!
In nothing but light, valley and hill dissolve,
And bliss was mine, which was so full of sorrow
Thank you for everything, you blessed year!

SUNDAY MORNING ON THE ODILIENBERG

What laughter and radiance today in the forest and shimmering meadow?
Odilia walks over the mountain and blesses the sunny valleys.

The early bells awaken far and near from weekdays and worries
There is a wondrous radiance on this Sunday morning!

From Otrott and from Heiligenstein, from Klingental and further:
A holy Jacob's ladder rises from the sound of the bells!

And all the saints who have ever lived in the land of the Alisassen
They gather in the “Heidenstadt”, in invisible lanes!

And all the Celts and warriors who long ago converted to the Lord
They crowd like a forest of flowers around the one who is highly revered.

Oh sea of spirits, oh sea of sounds, oh radiance in forest and meadow
Odilia walks over the mountain and blesses the sunny district!

ST. ODILIA

Patron Saint of Alsace

Her heart was a sun,
her eyes were dead and gray!
And from the clear forehead
of the beautiful woman
flowed the golden hair
in a rich flood —
Oh Holy Woman of Odilia,
make me pious and good!

In a mountain spring
she washed her white hands
and her blind eyes
Then she saw her Alsace
in pure May blossom
standing before her eyes
Oh holy woman of Odilia,
teach me to see!

In the monastery the bells are ringing,
The world is drowning in the fog
But see, the stars are shining brightly
From the summer night sky,
But see, Strasbourg is shining brightly
Over to our heights
Oh Holy Lady of Odilia,
Alsace is beautiful!

We will then connect with what we hear from Friedrich Lienhard's poetry, some of a poet who, like Friedrich Lienhard, shows us that the most Germanic nature finds its way out of its self-conception to the eternal of an ideal world view, who also shows us how the whole intimate empathy with the vibrations of the German being broadens the view to universality, to an all-worldly view, how the German view does not narrow, how it leads out to the great wide plan, where all that is human comes into its own and nothing human is misunderstood.

Wilhelm Jordan is the other poet, of whom we want to hear the piece of his Nibelung poem, especially where he wants to introduce a mood of the human heart, where the heart opens out of the temporal in order to listen for counsel for the temporal out of the eternal. How the German hero seeks counsel not only in the external world, but also from spiritual beings who speak through nature and through the soul's outer being. How the German hero opens his heart to this counsel in order to repel the threat that comes from the Huns in the east and threatens the burgeoning of German culture. This scene, which is so poignantly connected with the innermost German feeling, but with the feeling of world culture, is then inserted into our present performance.

From “The Nibelungs” by Wilhelm Jordan. The Saga of Sigfrid, 18th Song.

Just then spoke to the servants
Of the sanctuary in the grove at Holmgart,
Now already infirm and very old, the seeress Oda:

“I thought to rest from the runic office, The little time that my pilgrimage On earth still lasts; but highly significant Is this message from the reeve of Berne; The noble Ditrich, who has long since been in charge of Ditmar, Tired of age, of the power. His bravest man and armorer, Hildebrant, the son of Herbrant,he sent, together with Siegfried's steward,to the mighty mother of men and his most valiant man and armorer,
Hildebranten, the son of Herbrant,
Sandt' he, together with Sigfrid's carer,
to the mighty mother of men and gods,
to give account, to seek advice
and guiding light from the fall of the lots...

But small is the measure of human wisdom;
So let us now pray for revelation
From the omniscient spirit of the mighty goddess,
Who bears all happenings in her womb,
And sees the shadow cast of what is still uncreated.
Omnipotent mother of men and gods,
Once more in this hour,
Strengthen the mouth of the weary. For the last time,
Before I die, I will ascend
The golden throne on the hollow step
And, with incense clouds swirling around my forehead,
From the disappointing breath from the eternal depths,
boldly gaze into the future. —
So now speak, messenger, Ditrich of the Berners:
What does he ask of the goddess of the Goth leaders ?“

Then the offspring of Heribrant spoke:

”What will help us to salvation
from the Hunnic hordes?
What is the goal of the future for a German?"

Once the question had been asked, she climbed the ladder
weakly and with difficulty. With a golden knife
she cut the rice, came down slowly,
carved the smooth bark with runes,
divided the stick into small pieces,
And turned away, she drew them
On the white carpet... Then she tied on the cloth,
Woven from unbidden, black kid
Wool, bent down, selected,
Reaching blindly, went into the grotto
And bade the princes and witnesses follow her.

Then she mounted the chair. She lined up the rods
On the holy table made of the wood of a fir tree,
Which the storm blast had once split to the root,
And then read the motto according to their position.

Then she sat lost in deep thought,
While the steam in dense clouds
Enveloped her head, to which a hundred winters
Had bleached the hair to a blinding snow.

Now at last she beckons. The incense evaporates,
eyes roll in holy ecstasy
and sparkle with fire, but only into the distance
do they gaze, enraptured, perceiving the future.
And so the divinely gifted began:

"In a surging confusion, shadows of princes and peoples and future strugglesappear to me. But in the space of the searching soul,thousands of yearsdeceptivelymove together in view.

Oh, Ditrich, consider
The envy in the neighborhood!
Otherwise a relative
Will throw you from the throne,
And you seek security
And help to return home
In bitter banishment
With the dreaded enemy.

What threatening urge
From east and west!
There Hun hordes,
Here Merowig's might.
Thus languishes the question
Of rights and realms;
Obey the hero,
That aids to salvation.

Here, the ruling
domestic sovereign
binds the envious neighbors
to a glorious empire;
There lie the corpses,
There rise the cities,
The Lechfeld illuminates
the sun of victory.

Be strong in the West,
Conquer in the East,
And take in the North
The march to the sea,
Only do not seek the concubine
In the south of the mountains,
For spirits and bodies
You poison with your kiss.

Oh King, do you fail to recognize
The meaningful legend
Of the future's salvation
Through domestic discipline?
The fruit tree of the frosty land
Becomes sick and crippled,
Because, to ennoble it,
The palm branch does not fit.

Woe! scarlet red foam
The rivers of blood,
The staggering crowd
Is discouraged and swears.
Then the red beard rages
Hidden in the mountains,
Until the raven pair, waking up,
Calls him to Valhalla.

Then the proud ones pray
And bow their foreheads
Like penitents to the dust
Before the rising star.
What crowns in the manger
The infant victor?
Three kings come
And call him Lord.

Oh, Master of mercy,
The furious, wild
And heartless Hilde
Banishes thy commandment;
Their sword shelters the weak, —
Not again awake —
To the rage of revenge
The envy and the need.

Gone, forgotten
Are gods and heroes,
Inaudible fade away
Their praise and their song.
The fearless fathers
Admired wisdom
Is cunningly slandered
And shamelessly reviled.

Incomprehensible feud
Empties the land,
Sending children and old men
To fight for a grave.
The bearer of the crown,
Struck by the crook,
There he bends barefoot
To the prayer of repentance.

But the magician trembles;
You, little rod, destroy for him
The bulwark of his castles;
His letter is burnt.

Dawn is announced
By the candles of the children's tree:
The time of estrangement
Will soon be over.

Another age of disaster,
Full of doubt and discord?
Brothers are consumed
With an excessive lust for murder.
Like greedy vultures
The Franks estrange
The best of the castles
On the rushing Rhine.

But the flames do not burn for long
The shining embers;
We overthrow the proud
From the defiant throne,
And it repents in exile
On a lonely island
The despot despairing
The disruption of the realm.

Therefore, though the earth
Has more warriors than herbs
To fight the world war,
Be fearless, my people.
Full of proud thoughts
The German endures
The storms with strong patience.

The day of recovery will come,
We will find the leader,
Who remembers our fathers
My people will win.
They will fight the battles,
They will adorn themselves with wreaths
And forge the crown
Of the united power.

The seeress spoke it; then she sank down
And gasped for breath, gasping and groaning,
With a broken look, her head on her chest.
Now she raises her head again as if listening,
With flaming eyes and flying hair.

“O Sigfrid,” she cries, “look at the sun!
It fades, it blackens: the wavering lights,
That shimmer through the shadows of the trees, they form
Not discs as usual, no, sharp sickles.
The toads lament, the owl hoots, So that midday becomes night; the murderous marten Stalks and catches the sleepy birds. As much as you thirst, you dare not drink: For behind you... Help! - wait, Hela! Oh woe - stricken - the world goes to ruin
Dreadful scream - terrible night.

Speech failed her. She leaped up,
As, with an arrow through the heart, the stag leaps up in the air
Plunged to the ground and was dead.

When, deeply moved by the words of the seer
And shaken, stunned by the horrors of death,
Odas' remains surrounded the others,
Then disappeared unnoticed from the threshold of the grotto
And won the expanse of Sibich, the Welsche.

When one hears a Madonna or a goddess speaking from the stage today, one can hardly believe one's ears. Not the slightest attempt is made to free language from the triviality of everyday life; nor is there the slightest attempt to use language to soar to a higher sphere. Every path to the spirit is barred to the stage of today; nowhere does access open to these strange, closed worlds; not even the most modest. One does not even strive to let something of the background from which unearthly figures emerge show through in the language. Real spirituality is a lost concept. A washerwoman at her trough could speak just as these Madonnas do, who are placed on pedestals in many miracle plays – devoid of all divine-spiritual content. Language is so uncultivated, so rough and prosaic, that it hurts, it offends. This is not meant to be disparaging in any way about the way the washerwoman speaks; it is justified in her case. Her difficult profession makes it necessary for her voice to become rough and hard, and her struggle with the material world must make her coarse if she does not have a counterweight in anthroposophy or religion. But the Madonna in the heavenly realms does not need to pursue such a hard physical occupation there. She should still have some atmosphere about her when she stands on the stage pedestal; some radiance, some transparency, some spirituality should resonate in her voice. The speakers should know how to make a voice sound detached and floating from afar. The figure that is presented to us is a symbol of something that reaches up to heaven and brings us its gifts from there, radiating light and spherical tones into us.

And then - the heavenly hosts! Have you ever heard them speak on stage or behind the scenes? Goethe's archangel, for example, and “the Lord”?.. Any couch potato could speak like that and any business traveler. Dry, sober, business-like, very matter-of-fact... But spiritual backgrounds, spheres of spheres, aeon steps... they are missing. “The sun sounds in the brotherly spheres of the ancient way of singing...” there is not much left of that.

But that is what must be sought, striven for, conquered today. Step by step one must feel, hear and sense one's way to it - constantly struggling and never being satisfied - until one breaks through intellectualistic boundaries, clears obstacles of matter out of the way, overcomes narrowness and finds oneself outside, liberated and redeemed. Those who are happy “to find earthworms” do not go beyond themselves, do not discover that they are also an “air man” who dominates the physical man and can use him without being chained to him. He does not find the healing power of the word, the momentum, the luminosity that allows him to grasp the core of his being and carry him over to where he came from. On the wings of the word, he can again seek out the paths that he senses when he places himself back in the word's original powers. I, living breath, center of divinity... that is where the word can lead him back.

And let us look around us in the realms of denser spirituality, which poetry wants to open up to us, in the world of the elements, for example. What keys are given to us today through art, this child of the gods, to open up those realms to us? None at all. Reason and temperament should suffice for everything. One blunders along without having an inkling of the wise mastery of the means of art through the knowledge of our human organization, of the laws that are revelations of divine-creative artistic power, of which man and the earth are the representatives for us. Should we not at last seek to trace the paths the gods have used to create works of art in their own image, and then breathe life into them? Let us enter these paths with our groping consciousness, softly at first and reverently, and let us begin to trace the living breath that gives us the reason for our existence, here as there. When we penetrate into the word - into its essence, we enter these paths. Could there be a more glorious task?

But one must begin with spelling, with the basic elements: the sounds. Not with the pressing forces of our one-sided personality. I saw Shakespeare's “Tempest” on a large stage in Germany. There was no sense of the spirituality of the elements. There was a lot of noise, temper and shouting. The Caliban scenes were extended and exaggerated in a realistic way, far beyond the limits that Shakespeare assigned to them. And Ariel? There was no airiness or lightness of being. A heavy, strong, robust voice, a stocky figure, lots of jumping and shouting. The heaviness of the squat little body was not alleviated by those jumps; the shaggy, disheveled head was the opposite of radiant. Ariel! Is there not a lightness in this word, a radiance, a flying, ringing, floating, airy bliss? Soon after, I saw the same actress as Salome in Hebbel's “Herod and Mariamne.” Then I realized that she had talent because her physique supported her in this role. The dark, heavy voice, the hard, lurking look, the stocky figure, heavily inclined towards the earth – she became the most interesting figure in Hebbel's colorfully heavy play, this ominous Salome-Herodias, while Mariamne was too consciously cool, powerfully intelligent and feminist. Maccabees? Oh no, she is very northern German in character.

When will the actors find the way out of their one-sided minds to the sources that open up the epochs, the races, the elements and the spiritual world to them? They will wither away if they do not find these ways. Nerves driven to the extreme snap, consumption is not interesting for long and in any case not productive; when it becomes fashionable and a mannerism, it is repulsive. There are already more and more voices saying that theater will have to abdicate before film.

I once saw a performance of Iphigenia. It was an event for me; it had something fateful about it, because it could not go on like this; this had been taken to the extreme and had to break. It had to break where the driving forces behind these excesses are and the counterforces are called upon. I do not want to talk so much about Iphigenia herself; she was just terribly boring and banal and expressed the blasé and dull emptiness of the hollowed-out salon lady, who has nothing else to do but walk up and down in her park and be bothered by the one boring suitor. I do not want to dwell on the boxer figure of this admirer either, although with his drooping, naked, muscular arms and his bare bull's neck, he wanted to say, as it were: “Now take my measurements, you won't find a more capable guy...” I also don't remember that anything else would have been said from his words, in any case nothing royal. But Orestes! This Orestes!

It was clear that only one thought had inspired him: to be different from all Orestes that had existed before – and to excel in the trivial. Because – isn't it true that when you're a tramp, you just happen to have copper-red skin, a wild, unkempt shock of hair that's an indefinable color of dust, and a hoarse and flat and tinny voice... Orest is also possessed, and you construct from the intellect what it's like to be possessed: the thoughts are tearing - aren't they - the nerves are aching, you are nervous, you don't want to be touched; everything is disgusting... Such a sophisticated realistic mental image is as true from the inside out as a billiard ball would be if it spoke; from the outside, it looks like a neglected tramp, the kind you might meet on some country road in Russia... But wait, such a thought could have an inspiring effect: Tauris Krim - Russia - obsessed tramps... that provides analogies. Today, one hardly takes a much broader view. In contrast, Tantalus, the Greek hero... that is outdated, has been done too often. And iambic pentameter, the metrical measure... the noble cadence of language... long outdated.

We were told how Maximilian Harden's journalistic cartographies had begun with the editor of the Monday edition of the “Berliner Tageblatt” having a number of young people as his employees, to whom he said: “You do nothing all week but sit in the coffee houses and read all the newspapers you can get hold of, and then you have to write me an article for Monday that is different from anything you have read on the same subject.” — It is said that this best describes Maximilian Harden.

If something similar was the driving motive for that Orest actor, then one would have an explanation for his bizarre and inartistic idea, otherwise not. Although his novelty consisted only in taking to the extreme what had already been achieved in naturalistic intellectualism and in applying a realistically nervous obsession with reduction to a pinnacle of German intellectual achievement. The noblest, most flawless, most perfect creation of German literary art: Goethe's “Iphigenia” in its Roman version, this work was trampled, quite ruthlessly and brutally; and anyone who felt sympathy for such a thing felt trampled along with it. One emerged from such a performance laden with responsibility; for here it was a matter of saving the highest spiritual values.

Around this time, our destiny shaper left us, and he also showed art the new paths to healing. He spanned the shimmering arc over the abyss of modern spiritlessness to the beyond; he built and formed and ignited and sprayed, leaving his work to us in a thousand and one precious stones. In full awareness of our responsibility, we now gather together these gems of his spiritual heritage.

They will continue to bless and ennoble people for thousands of years, and today they will serve us like the magic key that opens closed doors, revives the dead, heals the sick, atones for evil - if we are of good will. All these scattered gems can become a magic key – even if they are still as fragmented as they appear to our eyes in these highly inadequate transcripts of three magnificent lectures. For seven years they have been there, unexcavated for a larger public, because the shortcomings of the transcript were too obvious. And yet there is still so much of the richness left that a rebirth of the theater is possible on this soil.

Every spoken word must be taken in its full value and in its context, and a basis for understanding must be created through the will to gain an overall knowledge of the human and divine world. Rudolf Steiner calls the guidelines he has given us here. He has opened up worlds for us with them.

These lectures can be signposts to those subtler areas of art to which access has been lost today, buried by materialism. The intimacies of the soul life, secrets of the human organization in their connections with the secrets of the cosmos, form the basis for these reflections, which seek to be nothing more than starting points for further penetration through constant work and inner experience. They are only outlined here because of the limited space available; but they are intended to inspire and awaken and can call forth the artist's powers to independent life. They were given as part of a whole complex of lectures that had one goal: to lead out of the destructive forces of our time into new light and to recovery! This was Rudolf Steiner's deed, and even if hostile forces might think that with the paralysis of his public activity, with the burning of the Goetheanum, with his physical death, the work of his life has been stopped or even destroyed, they are mistaken, because the future-saving seeds are there and are working everywhere, even if the outer form breaks.

Preparing and building this future required tireless work, the strength of a superhuman and the sealing through sacrifice. In the midst of a restless working life, one of the highlights of Rudolf Steiner's work was the opening of the Goetheanum as a School of Spiritual Science. It was a time of upheaval and social turmoil, of economic collapse. Even though the artistic works were not all completed, the building could be handed over to its purpose, the work to its goals. For three years, the building served this work: the renewal of humanity in the spirit. Then it burnt down on New Year's Eve. The dignity of the celebration was given to the act of destruction; the greatness of the annual cycle to the historical event. Thus the building was sealed into the cosmos and the course of time when it was snatched from earthly activity.

These lectures form part of the university courses, which could not be absent from the opening ceremony, because they were more than an integral part. For Steiner, the word was the basis of all that is happening. The word was the starting point and center and goal of all becoming and all unsealing. But Rudolf Steiner did not use big words only veiled in mystery; he led to them through recognition and through grasping. What he opened up became perception, became conscious comprehension and action. One was allowed to climb the first rungs of the ladder under his guidance. Then he handed us over to freedom. His word in us was to become daring and deed.

Art was never absent from the events that originated with Rudolf Steiner. We were to approach it with insight, to bring it to fruition with reverence, and to remember its origin. It was an essential component of cosmic worship; it originated in the threefold logos; at the altars of truth, beauty and strength, it served and sacrificed. It has preserved its divine connection for the longest time, through the rationalist ages. In the age of triviality, its divine childhood sank into the physical; the victory of mechanics tore it away from its spiritual sources and chained it to the machine.

It must be redeemed again. The aim of the House of Language – as Rudolf Steiner called the Goetheanum – was to lead art, science and religion out of the separation into which they had fallen and back to their original unity. In the spiritual deepening and mutual fertilization of art, science and religion, Rudolf Steiner saw a remedy that could effectively intervene in the social life of humanity, so that barbarism could be avoided and, instead of the already scientifically proven twilight of European culture arising out of need, misery and error, a new dawn could arise.

The deeply moving words in which he expresses this aspiration clearly show the important role he ascribes to spiritualized art in the reconstruction of higher human culture, and should therefore appear in this book together with the lectures on the arts of oratory.

The house that served these purposes, offering a warm welcome to every guest in free openness, no longer stands. In its place rises a castle-like building made of the austere material of our time, concrete. His creator, who has since passed away, breathed life into it; this ennobles it and gives it its significance. The mystery plays, Rudolf Steiner's dramatic creations, are to be performed there. These place the human being back into his spiritual-cosmic context, make him a citizen of the world, and explain his present personality from his previous earthly lives. Through these dramas, humanity will be able to learn to recognize itself, to experience itself and to renew itself. There, above all, eurythmy is to be cultivated, that art which Rudolf Steiner placed as a new art in the series of the older arts that preceded it, the outer visible moving form of language, which imperatively and compellingly demands the renewal of the art of language, of the artistically spoken word. Rudolf Steiner called for an orchestral interaction between the spoken word and the eurythmic gesture, and this had to be achieved in practice. When what we were doing met his requirements, he gave us an understanding of what we were doing, shone a light into the secrets of the art of speech and poetry, and thus released us from the unbearable.

We are under no illusion that the world will yet show much understanding for this endeavor. We would even understand if some honest seekers were to throw this book aside in the first instance, in desperation and despair. A transformation of consciousness is necessary to tread this path, and one has indeed wanted to keep art away from the penetration of consciousness. Only a consciousness that sees, hears and wills leads us today to true artistic experience and snatches poetic language from the abstract intellectualization and mechanization to which it has already fallen.

If we have become accustomed to accepting what is offered in this direction from the stage, we have no idea what can be suffered when the noblest works of poetry are presented to us in such a mutilated, mistreated, and desecrated state, as happens all too often today.

It is as if the gods were turning away in anger from what we have done with their gifts. They have given us everything, withholding nothing; works have been created of incredible height and purity and formal perfection; the German language has become a tool of the subtlest power and suppleness, to grasp the vastness and depth of being and to unlock the inner being... It is still versatile and pliable and capable of growing beyond itself, thus carrying humanity forward... But those who lead it to this destiny, purposefully and unwaveringly, will be stoned.

Those who trivialize and sensationalize it, on the other hand, are considered masters.

The possibilities of the German language in the contouring and transcendence of its conceptual formulations are matched in another way by the plasticity and permeability of its phonetic elements. It is not musical in the usual sense, not on the surface – you you have to have an inner ear for it – but it has so many shades, lights, veils, brightenings and flashes that with its help you can repeatedly push through the boundaries of meaning: from the other side, from over there, it sounds through its umlauts, its diphthongs, whispers in the consonant connections, sounds in the flowing swings of its sentence structure. One has no inkling of the artistic experience that language can be until one has learned to listen from within, until the spiritual and intellectual resonance has been transformed into the formation of the 'sound, into the flight of movement.

Today's world is a realization of the intellectual; it does not go beyond the mechanical-mathematical; it does not find the way into the imaginative, into the formation of legends. One no longer manages to form images because one has become an intellectual abstraction. It is much easier to think cleverly than to create picturesquely, because the intellectual emanates from the personal, and artistic creation requires much more selflessness. It submerges into the object instead of imagining it, letting itself be carried away by it instead of holding on to it. We lose our real connection with the world, we deprive people of the immortal by living in intellectualism. Pictorial design not only works on the intellectual, but on the whole person; it goes into much deeper layers of the soul life than conceptual thinking. By trying to speak in pictures, what is atomized by studying the subject matter is synthesized again. It is moved up into the sphere of the imagination, where it is vividly dissolved and musically inspired. In this way it approaches what is eternal in the soul, what stands behind the intellectual. Through speech inspired by the imagination, we lead people to the substantial content of the word, to the supersensible, to the creative word that streams out of the supersensible. Immortal soul life is awakened when we speak from the image, from the artistic; immortal soul life is conquered when we work from the intellectual.

It is not a matter of
observing the temporary,
but the eternal that
lives in man must be observed more and more.

—Marie Steiner

Preliminary Remarks:

The “seminar” — the term was coined by Dr. Steiner — came about because she was unable to come up to the daily lessons in the hall of the Rudolf Steiner-Halde for some time due to a broken arm, and therefore convened a group of about twelve to fourteen personalities — some of them members of her Dornach acting group, but some of them also those who were already active in the field of language in various cities - to work with them through the text examples for the book “Rudolf Steiner: The Art of Recitation and Declamation,” which she was just publishing at the time, with a view to teaching them later. This course, so lively and sparkling, also had a very intimate, personal character due to the limited number of participants. We were all beginners, only a short time, about a year and a half, their students.

The following notes were intended for colleagues and friends who were unable to attend the sessions, in order to give them at least a small impression of this work. These notes are all about corrections to what we have attempted, which were given to us in the moment of activity – pointing the way forward.

—Gertrud Redlich

Some notes on the LANGUAGE EXERCISES with a view to later teaching:

Articulation exercises

The breath stream should only be mentioned in a later lesson. Try to speak at the front of the lips, to articulate well, so that you bring the language forward. The two main mistakes that occur are palatal and head sounds.

That he lied to you and must not praise it
Don't take nuns in never-ending mills.

Take the I out with the consonants. N and M guide the I sound out well. Feel the directions. Envelop the I with N and M. These consonants resonate and take the I with them.

Learn to listen!

Redlich ratsam
Rüstet rühmlich
Riesig rächend
Ruhig rollend
Reuige Rosse

only articulate. First, pay attention to the consonants so that they lead out the vowels. Then you can tell the students to live more in the vowel, to feel it, to experience the sounds, to be in the sounds.

Knead air dough

Ostentatiously extols
Baths brünstig
Rumblingly cute
Bieder tinkering
Powder patzend
Bergig brüstend

Breathing exercises

Fulfillment comes
Through hope
Through yearning
Through wanting
Wanting blows
In the weaving
It blows in the quivering
It weaves quivering
It weaves bindingly
In the finding
It winds finding
announcing

This exercise can be very helpful for those who are short of breath; it must sound full. The breathing technique is the opposite of that of a singer, who directs their breath. Here you have to learn to exhaust it all at once. This is how you achieve fullness and roundness.

Breathing exercises teach us to speak musically. You have to be objective when doing the exercises, not bring in anything balladic, pathetic or lyrical, but speak soberly and prosaically but phonetically. Do not take pitches that have an emotional effect. Pictorial imagery is not absolutely necessary here.

In the immeasurable vastness,
In the endless times,
In the depths of the human soul,
In the revelation of the world:
Search for the great riddle's solution.

Use the first four lines, especially N, well. Experience the horizontal in “in the times”, the vertical in “in the depths”, a large wave downwards, a large O in “world revelation”.

The message in the last line is figurative.

The flowing of the breath must take you along, shading “Human Soul Depths” a little deeper, tone and breath down. The language needs urgency, one Flin involving the other, a loving laying into the vowels.

You need strong breathing for this exercise, you learn to speak with the inhalation and shape it. “Search” to shed some light. Challenge, seriously! First lines – Flinausgehen in den Kosmos.

Fluency exercises

Lalle Lieder lieblich
Lipplicher Laffe
Lappiger lumpiger
Laichiger Lurch

Experience the waves that the L makes, this is how it brings out the sound. Develop joy in things. The exercise is effervescent and, in affect, says something pictorial – affective-humorous.

You have to learn the fluency exercises by purring them, they are meant to make the speech tools pliable.

Speak on the lips, start at the front, purr lightly!

The articulation exercises are intended to make you aware of the speech tools. The voice should be based solely on the sound.

Whistle cleverly
Horses priestly
Plows nurturing
Peaching peaches

Whistling cleverly from bowls
Slipping priestly horses
Bouncing nursing plows
Peaching peaches knotting

Whistling cleverly out of bowls
Hatching horse-drawn horses
Hopping over plows
Tying up peaches

Heretics now tell tales pitifully
Ultimately slightly skeptical

Heretics now snitch pitifully
Ultimately suddenly slightly skeptical

Also on the lips and slightly.

Sling snake quickly
Wound away finds

Winding snake snake
Quickly snake snake away

Very light, at the front.

Contrary to force, though
Two-purpose zwickers too little
Twenty dwarves
The sinewy crabs
safely seeking feasting
That smacking Schmachter
snugly quickly
purring flicks

To a Russian-speaking participant: Roll the R less. The German must be able to adjust the R according to the neighboring consonants. Bring it forward!

Only never regret
Greedily grinning
Knots snapping
Pledges knotting

You should use these exercises to feel in which region you are speaking.

Once again, breathing exercises :

It is very important that one also creates good consonant connections in which the sound (vowel) can live. One gradually learns to feel one's breathing without being held back by the imagination. To do this, it is good to practice some words in reverse:

wollen - nellow, eva - ave, etc.

In “Fulfillment,” learn to let go of the breath, to let yourself fall with the breath into the words.

We must gradually achieve penetration of consciousness.

Breathing exercises serve to make us aware of the breathing current.

Articulation exercises to make us aware of the speech tools.

The “immeasurables” also involve directing the breath. The words are steered like boats over the waves, gradually swelling to the fourth line.

When you tell your students about breathing, you may say that you are not committed to any particular method. You learn to practice your breathing with the sounds themselves; your breathing is directed by itself when the sounds are spoken well.

You learn to hold your breath with the five vowels in a sustained stream of breath: A-E-I-O-U.

Send upwards
longing desire
Send forwards
thoughtful striving
Send backwards
conscientious reflection.

Learn to swim with your breath and listen to the sounds. You should start modulating as soon as you send. Feel what consonant connections do to each vowel, for example: n-d in send.

Take three pitches!

Do not hold the things on a string, feel the sounds and resonate with them. The stream of movement must take you with it. There is an essence in these things.

This essence must take you with it, not we must hold it close to our hearts.

Weigh your volition clearly,
direct your feeling aright,
make your thinking rigid:
rigid thinking upholds,
right feeling maintains,
clear volition follows
the deed.

When speaking the last line, lead away from the musical and into movement.

Set your feeling aright: soul-line.

Steal your thinking: rigidly, rhythmically! The sounds themselves set the voice; one has only to yield to them. The voice sets itself according to the sounds. What precedes and follows always colors the things.

One should gradually develop a sense for the difference between artistic lines and intellectual and emotional speech. One must learn to go through to the end with the ego and not always stop intellectually.

When portraying voices from the beyond, for example angels or Madonnas and so on, one would have to learn to stop before it all comes into the imagination. Sentimentality stops right away and is self-indulgent, and therefore not spiritually true. Movement makes it true.

Clear volition follows: look artistically, not want yourself!

You find yourself:
Searching in world distances,
Striving for world heights,
Fighting in world depths.

First line from the conscious will. The breathing person continues through all incarnations, he is more spiritual than the feeling person.

The base nose ate flour
Lawn mass scratched bare

The A long and strong into it. The exercise is actually intended to counter nasal speech, but it can also be used as an A exercise.

Storm-word rumbles around gate and tower
Newt-worm drills through gate and tower
Stupidly, worm-newt rages through gate and tower

This precedes the exercise. It is also very suitable for speaking in the breathing stream. Nuance! The first line is not dramatic, but very dark in the speech stream, like the wind that bypasses. Newt-worm drills: not mentally, not dramatically. Loud. Movement – breath.

Rages foolishly: very dark, dull and bumpy.

At the O, the hard palate must make a bulge.

These three lines are all tuned to U, only differing in movement; the U must be superimposed on the O.

There must always be an increase at the end (newt-worm, worm-newt).

An egg is whitish, whitish is an egg
Lead is new in the litter, new in the litter is lead
The maiden is bluish, bluish is maidenly.

is good practice for squeezed lute. Simple and concrete and out.

Hot, radiant, spiky
strands support tight
nets, useful as
strict paws, strict
folded

a strong articulation exercise! Good for sagging soft palate. The alternation of plosives with L and R sprinkled in between tightens the soft palate. The vowels go into the consonants and are defeated by them.

For pointed and sharp voices:

Walle Welle willig
Leise lispeln lumpige Lurche lustig

Gently flow with L, feel the wave motion, L and W bring out.

Is a stumbling star
Master of mystical stages
Always stand firm on the road
Of earnest endeavor
Standing still and stern
Before the steps of constant endeavor
In a constant mood.

Bring the sound forward, without any inner compassion. Go into the consonant connections and bend them nicely. The exercise is good for those who stutter.

White brightness shines into the black darkness
The black darkness seizes the feeling soul
The feeling soul longs for the white brightness
The white brightness is the willing soul drive
The willing soul drive finds the white brightness
In the white brightness, the longing soul weaves

to learn nuance! You have to keep returning to the repetitive rhythm, letting the breath flow like a wind and using the imagination for nuances; also learning to take breaks every now and then. Movement, movement – don't get stuck in the singing!

How do you explain the hexameter to your students? It is the primal meter. The human organism itself solves the riddle that is given in the meter. You can trace the meter back to the human organism, breath and pulse. There are four pulses in one breath.

Practice the first lines of Goethe's “Achilleis”.

The mighty blaze flared up once more
, reaching for the sky, and the walls of Iios appeared
red through the dark night; the towering forest
's immense structure, collapsing, aroused
mighty glow at last. Then Hector's bones descended, and the ashes of the noblest Trojan lay on the ground.

There are two breaths and two times four pulses (three dactyls and one caesura) in each hexameter. Example: “Sing, O Muse, of the wrath...”

The relation of the pulse to the breath is the basis for the influence of higher beings through blood and breathing.

We will now try to understand the DIFFERENCES BETWEEN RECITATION AND DECLAMATION by practicing the two “Iphigenias”.

From “Iphigenia”
(Weimar version):

Come out, you shadows, ever-moving treetops of the sacred grove, as if into the sanctuary of the goddess I serve, I step with ever-new awe, and my soul does not get accustomed to being here!

(Roman version):

Come out, you shadows, ever-moving treetops
Of the old, sacred, densely leafy grove,
As in the goddess's silent sanctuary,
I still enter with a shuddering feeling,
As if I were entering it for the first time,
And my spirit does not get used to it here.

The “Roman Iphigenia” lives in the symmetry of the metric; in the “German Iphigenia,” I have to vault, point, and intensify from the inner, tonal will element, which vaults and points at the end of the sentence (clamare). Here it is an approach to the oppressive.

Try to understand and develop artistic lines. The content of the two Iphigenias is the same, the artistic line is different.

In the German: high and low tones, strong life in the exhalation, expelling the breath. In the Roman, a musical conducting and use of inhalation. It must not come to the performance, the image is intercepted on the way to the performance, one breathes in the air that flows in by itself.

In order for it to become declamation, the will must be held back and not allowed to flow into the outside world. In order for it to become recitation, the imagination must be held back, remaining in musical enjoyment.

Inhalation is used to speak to everything spiritual, for example, Rudolf Steiner's weekly sayings.

The benefit lies in the musical practice, not in the enjoyment of one's own personality. In this way everything becomes more real, nobler and truer. We gradually learn to illuminate all regions with our consciousness. In the flowing breath, the sculpture dissolves musically.

Two poems are practised, one recited, the other declaimed.

Goethe: “Charon” - recitative (text see p. 31)
“Olympos” - declamatory (text see p. 30)

Before that, some language exercises: Hitzige strahlige / Walle, Welle / Ist strauchelnder / Weiße Helligkeit (for texts, see pp. 169-70).

“Olympos” is shaped entirely from the folk-like, the epic, which pushes everything out of the will, bloodily, toweringly increasing. Pauses! Magnificent images that are thrown down, rough, angular, hard like jagged mountains. Will and contempt. The bird of prey must be characterized, it eats the carcass soundlessly, only in the breath. Start at the soft palate and arch, making the hard palate flatter.

“Charon” is recitative-like, metrical. This is where antiquity comes in, with composed, digested images; the other poem lives in the midst of modern events.

In “Charon” it is more the rhythmic, the musical, the mood and the painting, not high and low tones, but not always the same tempo, otherwise you get no nuances. Not soulful, defensive movements in metrical uniformity and dark shading.

“Heidenröslein” (Goethe); “Erlkönigs Tochter” (Herder) (see pages 28/29 for texts).

“Heidenröslein”: shape the words in the air, but don't stick to the words. It's movement and image. See the image clearly. The little dialog is somewhat dramatic; this is where the declamatory element of will comes in. It's like a folk song, especially in the refrain.

“Erlkönigs Tochter”: it is epic with a strong dramatic impact. One must carve out the dramatic element and the mood. The treatment is recitative-like with a strong dramatic impact. It becomes dramatic when some character takes on a life of its own. But if you let yourself be carried away by your personal temperament, you have lost your style. Don't lose the rhythm that ennobles the whole. Rhythm contains the most diverse movements. The drama seduces, it is tempting to remain stylistically correct. A mysterious mood of fairy tales and legends prevails throughout the poem, so you have to let the vowels slip into the consonants. The poem contains many possibilities for differentiation. Configure it so that you drop the insignificant and change the tempo. Take breaks to create atmosphere. These people – mother, bride – have intuitions that you can shape in the pauses.

A reciter must be proficient in all subjects and must be able to differentiate. Do not work the vowels so strongly; then they are more transparent. Let them slip into the consonants. The mother's pain is to be shaped out of the region of the will, detached from the personal. This is a matter of breathing and technique. Learn to live in the sounds, not so connected with the content. It is a ghostly event, and this gives the color. You have to make it interesting, uncovering backgrounds. Make the diphthongs transparent for the mother, then the spiritual can shine through and the whole thing becomes nobler.

When the vowels are pierced, the spiritual always enters.

LANGUAGE

As the greatest miracle that the mind accomplished,
I praise language, which, otherwise lost
In deepest solitude, was born of itself,
Because it alone made the others possible.

Yes, when I consider its reason and purpose,
Then only language has conjured up the heavy curse
To which, chosen to be a dull individual,
He would have succumbed before he even woke.

For if the unsearchable One and All,

Friedrich Hebbel

With this sonnet we must be calm, not conceptual, but flexible and musically plastic. Speak with inhalation, then there is abundance, and make small pauses. Artistically shape the pauses at the right place, do not inhale unmotivated.

A mood of being saturated with enthusiasm through experience and volition. The poem is very strict; the down inflections indicate maturity. Flebbel is superb.

One must always have the poet's basic mood in the poems.

TO THE AERials

All-eternal and infinite ether!
Through the narrowest, as through the widest, it flows!
Excluded from no ring of existence!
Still wafted by every breath of life!

The only representative of the unexplored!
Its first and most worthy offspring!
The only one in deepest tranquility enveloped!
Opposite you, I too become a supplicant!

My roaming eye, that would embrace you so gladly,
Closes in awe before you, ere it fails,
For the gaze comprehends nothing but its own limitations.

So also my spirit before God, for it recognized
That it, embraced, never expands so much
to entwine itself around the All-embracing One again.

Friedrich Hebbel

One must feel the waves of the ether. A sonnet does not tolerate declamation.

From Rudolf Steiner's “Mysteries Dramas” (“The Portal of Initiation”, seventh scene):

PHILIA:
I will fulfill myself
With the clearest light
From the world's widths,
I will breathe in myself
Invigorating sound
From the ether's depths,
So that you, beloved sister,
Can succeed in your work.

ASTRID:
I will interweave
Radiant light
With dimming darkness,
I will condense
The sound of life.
It shall resound glisteningly,
It shall resound glitteringly,
So that you, beloved sister,
can direct the soul's rays.

LUNA:
I will warm soul substance
And will harden life ether.
They shall condense,
They shall feel each other,
And being within themselves,
Shall sustain each other,
So that you, beloved sister, Can give the searching human soul Certainty of knowledge.

PHILIA:
I will beseech the spirits of the world, That the light of their being Enchant the soul's sense,And the sound of their words Make the spirit's ear glad; So that the one to be awakened May rise On paths of the soul To the heights of heaven.

ASTRID:
I will direct the currents of love,
Warming the world,
To the heart
Of the initiate;
So that he can bring
Heaven's kindness
To earthly activity,
And a spirit of devotion
To the children of men.

LUNA:
I will beg of elemental forces
Courage and strength,
And place them in the seeker's heart;
In the depths of his heart;
So that trust
In one's own self
Can accompany him through life.
He shall feel safe
In himself then.
He shall pluck from moments
the ripe fruits
and draw seeds from them
for eternities.

Regarding this scene with the soul forces:

Here we have completely musically resolved plastic. The words must resound out in the cosmos. One must catch the inhalation, otherwise the otherworldly will not come out. Without this breathing treatment, one cannot resolve musically. With full breath, with too much breath, one cannot do spiritually resolved. It depends on the dosage, one must divide the doses. One should also glide over the auxiliary verbs. Nuances of major!

Luna – Prime Minister, Maria – Supreme Queen.

Truth is always connected with being there with the I the whole time and always going along with things. Truth is always simple. This is achieved by tapering the sounds, not thickening them.

The first thing in artistic speech formation is: learn to yawn! The other: keep the style!

Two sonnets by Novalis (see texts on pages 32/33)

These two sonnets are very recitative-like and very transparent, very calm and – very difficult!

We will start by working on the form, everything else will follow later – for example, the feeling. Our task now is to work on style and form.

Novalis is absolutely a man of the I. You have to feel from the beginning that there is a lofty I behind it. The I-nature can eternally get into everything. Major! In the beginning, it is better to be somewhat forceful, vary the word gestures – and live in the imagination. Maturity, relationship to the supersensible.

Novalis must be spoken in the same way as one who stands in the concrete experience of the spiritual world. The word gestures must grab you immediately.

Consonance. Operate with what comes to your mouth anyway.

If you have to breathe in again, don't drop the word before it, but hold it up. Zändende I-moments in the entries, making the vowels transparent, always being poetic.

Novalis is the embodiment of poetry, his inner gesture is: touching the hem of divinity.

No rising and falling intonation here! With Novalis, you should do the modulation consciously, the content merges into the line.

Hymn to Nature (Goethe) (lyrics see p. 127)

The words must sound hymn-like, therefore the declamation should be free of didactics. Here, everything is surprising. Project the resonance from the hard palate. Nature always has something iron-willed about it. The speech must be consonantal, arising from the breath and sounds, not from the head and heart, in a strong, willful movement. Do not let it become a conversation. High and low tones, they are all beats of the pulse that surge into the breath.

The formation includes: embouchure, resonance line and soundboard. The soundboard is always out in the air, which is nice. Different tempi. Different ways of forming sounds: whether wavy, angular, sharp, and so on. There is more in the sounds than we know. There lie the creative powers, which then spurt out with all the diversity of nature. Our soul is not enough. Into the Gothic pointed arch with the throw. The will element must go through the limbs, you feel it in the arms and legs.

During declamation, inhalation flows up to the brain and then back to the spinal cord. There we have to stop the flow of breath with the will element, not letting it come to action. With this unexpressed will, I can operate in the breath stream. The idea must have been there before, it came with the inhalation into the brain and was dealt with there.

The stream of breathing comes back to the sphere of the will.

Model into the exhalation – but without personal dramatic feeling – into the sound, with pauses and not with strong sound. But always include the limb-man.

From “Die Nibelunge” by Wilhelm Jordan (lyrics see 5.116/17)

Movement is not rushing! Please a held step here, completely into the movement and depth. It does not need to echo; roll along epically in the flow, not always at an even tempo like a barrel organ. The listener must be introduced to the situation. The sound H chisels, works plastically. One must avoid chiseling with non-alliterating words, but one can therefore take them broadly. The song is somewhat more recitative-like with a dramatic impact, but not so strong that the epic is held up. Epic demands that one enter completely into it and completely digest the images. The conclusion is darkly musical, brazen and somewhat dying away.

St. Expeditus (Morgenstern) (lyrics see p. 33 ff.)

“Expeditus” is humorous poetry, not grotesque, and therefore without strong exaggeration. It is recitative, so not so much high and low tones! You could call it communicative conversation. You have to learn to distinguish whether the language flows more in terms of number and measure in the syllables, or with weight, heavy and light. But the images must stand out well within the flow. Please work the matter out very formally.

Goethe's youth poems should also be treated similarly, with esprit, with spirit! Emphasize something, that is, make the syllables stand out a little. The mind from the brain has a little fun with it. Humor peeks into all the pots and takes things out. Therefore, you have to penetrate into every matter. Speak very close to the teeth, as soon as it becomes satirical. A quiet legend and fairy tale mood, not too fast, not echoing and well shaded and pointed, let the vowels slip into the consonants, so that it becomes somewhat unreal and flowing. Design good pauses and stay in the poetic, not conceptual, just a little head, but with the application of all artistic means. Very graceful! Artistically surround with subordinate clauses and slide them in gracefully.

German doesn't just come naturally to the lips.

In the grotesque, you can add a bulge to the end of the sound to make it thicker; it's the exact opposite of spiritual speaking.

THE BOUQUET

Old Bohemian

A light breeze blows
from the royal forests;
There the girl runs,
There she runs to the stream,
draws the water in
bucketfuls.

Carefully, deliberately
She knows how to scoop.

On the river to the girl
A little bouquet floats,
A fragrant little bouquet
Of violets and roses.

If I, you lovely
little flower, knew who had planted you
in loose soil;
Truly! I would give him
a little golden ring.

If I, my darling
little bouquet, knew,
Who bound you with delicate
Baste;
Truly! I would give him
The needle from my hair.

If I, you lovely
little flower, knew who threw you into the cool
stream, I would truly give them my wreath from my head.

And so she pursues
The hastening little bouquet,
She hurries ahead of it,
Trying to catch it:
Then, alas! then she falls
Into the cool water.

J. W. Goethe

The poem is lyrical and has a short melodious theme. It is to be treated objectively. The girl herself is like a breeze. Rococo poems are entirely formal, whereas this Bohemian folk song can be somewhat more intimate. There are quiet echoes of melodies, but movement must dominate. Breeze-like mood. The music must not push the image and the sculpture into the background.

From “Kleine Mythen” by Albert Steflen

JUDGE AND REDEEMER

A man who had shed blood was seized by a waterfall in the night, whipped and dragged down into the abyss. Half-drowned, he snatched himself from the whirlpool. From that time forth, in all his doings and sufferings, he heard the voice of the terrible element. It dripped, trickled, splashed, poured, thundered, as if it wanted to proclaim something, but the tortured man did not know what.

After twenty-five years, the rushing became quieter.

One night he saw the murdered man by a stream, holding a reed in his hand and shouting, “I turn water into blood.

”How?” asked the murderer. ‘By the law,’ replied the murdered man. ‘Judge me,’ pleaded the murderer, ‘so that you may love me again as I love you.’

Then Christ appeared in the place of the judge.

Here we have prose: legendary, somewhat similar to a fairy tale, but the slipping in of vowels is even stronger here than in the fairy tale. There should be something like a veil over the words. One does not speak directly on the lips, but also not in the palate. It must be dream-like, objectively dream-like. In dreams, everything comes unexpectedly. Moonlight atmosphere. The inflections of each syllable downwards. It is imagination, therefore every image must appear despite the flow. Seize the words with the consonants, but dissolve the things as they come. Complete all movements. For the artistic creation, one must allow oneself to be completely gripped by the material, live through it completely and then move away from it. You should go through everything, even cry and sob if you want, but then stand aside and above it.

When you are dreaming, you do not speak from the heart, you cannot go completely into the heart, otherwise it becomes too real. You have to keep a little distance and, above all, enter the picture, completely into the picture. Learn to distinguish between strong emotion and passion.

The listener experiences more intensely when you leave the emotion to him, not overwhelm him with it. Art itself is in all areas of suggestion.

The last movement is quite simple, a light. Strict! Major! Because the judge appeared in place of the Christ.

The first of the topics chosen for this short lecture cycle is “Nature and Spirit in the Light of Spiritual Science”. Nature and Spirit! — It seems to express a contradiction, and the human soul immediately has many opposing views and opinions that have confronted each other in the world. We know, of course, that in recent centuries a kind of science has emerged that only wants to accept nature and that, from its point of view, can hardly do anything other than also consider the spirit to be nature. On the other hand, we see how defenders of the spirit and of intellectual life assert themselves in all fields, even in our time. And we need only look on one side to the extreme, where it was said in the 19th century: the brain secretes thoughts, like the liver secretes bile. That is, what we perceive as spiritual in the human being is a purely natural process, and we do not believe in another spirit. We need only place this alongside the many current efforts to establish a spiritual science, and we have extremes.

But one can also think differently about the words “nature and spirit”, namely, point to Goethe's words: “Nature is sin, spirit is devil, they harbor doubt between them, their deformed hybrid child.” And so we can point out many things that set nature and spirit in opposition to each other, and we can find many things in them that have brought disharmony into human hearts, that have caused storms of struggle and conflict in the world.

On the other hand, we are still confronted with a word from more recent times, also from Goethe, which says that the spirit could never be and be effective without matter and that matter could never be and be effective without spirit. This word can be refuted very easily. One need only point out that when I cut a piece of granite out of a rock, I then have matter without spirit! It is very easy to find refutations of profound words in the world, and it must be clearly understood, especially in a spiritual-scientific movement, that nothing is easier for the foolish in the world than to refute the words of the wise with a great semblance of right. An anthroposophical view must go deeper into these things.

What is spirit, what is nature? — There is no doubt in our ordinary perception that we encounter nature when we see plants sprouting from the earth in spring and watching them unfold. There we see the weaving and living of nature. Nor is there any doubt that we speak of nature with a certain right when the snowflakes cover the earth in winter. These are both effects of nature. But does this mean that we are fully entitled to participate in what is unfolding around us? Imagine that: Entities could think that are much smaller than we are, so small that for them our nails or our hair would be as big as for us the trees, so these entities would describe the hair of our head in the same way that we describe the plants that come out of the earth. We humans, however, do not describe the individual hairs or the head of the human being as a ground on which the individual hairs rise, because we know that we cannot find a hair as an individual being in nature; they are only possible on another being. Only someone who, due to their smallness, cannot see the hairs in their entirety could describe a hair on its own. Such an entity could perhaps very well distinguish between the different hairs. Depending on the place on the head where they grow, they could be organized into classes and orders: one class of left temporal hair, one class of right temporal hair; one class of left frontal hair, one class of right frontal hair; later, names could be given to further distinguish them. Thus, there could be a hair science for such small entities. For other beings there is, with some justification, such a science: it is botany. While in fact the earth as a whole produces individual plants just as our head produces hair, while the individual plants belong to the earth and do not exist as a special genus, in botany the plants are classified and described without taking into account that this plant world forms a unity belonging to the earth, just as our hair forms a unity with our organism. To nature or the world, it is of no consequence that man has created a botany for himself, just as a hair science would be of no consequence to a thinking little being for man.

Spiritual science, however, leads us even further. It shows us that just as little as one can think of a being like man, with hair on his head, without a soul, just as little can the earth be considered other than as a whole, which has all material, purely natural things as organs of the earth spirit or the earth soul. When we study this earth spirit or this earth soul further, it differs from the human soul at first. What is peculiar about the human soul is that it presents itself to us as a kind of unity. With the earth spirit, this is not the case at first. In the end, however, as you know, there is a directing earth spirit, but the next thing we find in the spiritual observation of the earth is a large number, an abundance of elemental beings, which form the next stage of the earth spirit as a multitude, a diversity.

We can deal with this earth spirit for the time being. Then it turns out that, for example, on the half of the earth where it is summer at a certain time, these entities of the earth spirit go through a kind of sleep, and where it is winter, they wake. For spiritual realization, in fact, to the same extent that the plants sprout out of the earth, the elemental beings and spirits begin to fall asleep. In winter, they begin to stir. Then these elemental beings and spirits form their ideas, sensations and feelings in their own way. What night is for humans is summer for the half of the earth that is currently in summer, and what day is for humans is winter for the earth. The Earth as a whole sleeps and wakes like man, but in such a way that one half is always more awake and the other more asleep, whereas man is organized in such a way that when he sleeps, he sleeps all at the same time. That is actually not correct either, but it is quite the same with man as with the Earth. When man sleeps, only his head is asleep, while the other organs are all the more alert. But man is just not equipped to perceive that. It is actually the same with the earth, although not quite. One hemisphere of the earth has more water than the other, so the earth's sleeping and waking is not unlike man's sleeping and waking.

Just as we regard human beings as animate and ensouled beings, so must we also regard the Earth. Just because we walk the Earth as such small creatures, we do not see that it has both body and soul at the same time. But that also stems from the materialistic age. Kepler, for example, who also knew how to think, still says that he regards the Earth as a great organism. He just had no occult conception of the earth, so he did not know that winter means waking and summer sleeping for the earth, and he imagined the earth to be a great whale instead of thinking of it as a souled being higher than man. He somewhat belittled the conditions, saw the He saw the earth as a whale and in the movement of the air he saw the inhaling and exhaling of the animal. This was also the view of Giordano Bruno. For him, the earth was a great, ensouled organism that breathes with the tides. Goethe was of the same opinion: “The Earth is a great, living individual that manifests its process of inhaling and exhaling in the tides, in the currents of air and in the seas.” Yes, the spirits of the older, more spiritual times still knew that one cannot look at the earth in such abstract, theoretical terms as one does today, as if one could describe a hair or a nail in itself, whereas one should know that these cannot exist without the whole organism, that they are grounded in the whole organism. The naturalistic view does not know what is important. When observing the world, it is important that one can ask oneself about everything in the world: Is it a part of a whole or is it a whole in itself? — If someone finds a human tooth, they should not look at it as an individual thing, but the tooth is only understood when it is seen as a part of the human being. It is also absurd to describe a single plant, because it is only conceivable as a part of the whole earth being. So it is only conceivable that the outer body of the earth has a soul and a spirit. And if one knows nothing of the spirit of the earth, if one does not know that this earth is the body of a spirit, as our own body is, then one regards the earth as mineralogy, geology, botany regard it. These have no consciousness of the fact that behind everything they describe is the directing earth spirit. If I cut a piece out of a rock, it is easy to say: There is no spirit in it! — There is no spirit in a piece of tooth either, but the piece of tooth is inconceivable without the whole human being and the soul-spiritual to which it belongs.

We must keep this in mind when we speak of nature and spirit. When we speak of the earth as a natural planet, without speaking of its soul and spirit, this description stems only from the fact that we disregard the spirit, we do not want to know anything about it. Where does the earth exist as a mere natural planet? Botany, geology, astronomy would say: It moves in space! —- If that were true, it would soon stop moving, then it would collapse, like the human body after death, when the spirit has left it.

This way of looking at the world has rubbed off. Even the limbs of the human being and the human being as a whole are described today as if they were only nature, that is, one looks at the corpse. For if man were as the physiologist, anatomist and so on describe him, he would have to die immediately. Physiology describes only its own fantasy, as do astronomy and geology with their description of the earth. This is a pure fantasy product. There is no such thing as the mere natural earth. The fact that the earth is as it is is based, down to the smallest piece of rock, on the earth being permeated by the spirit of the earth.

There we see what is important. When observing human beings, it is important to find the starting point from which the part can be seen as part of the whole, and not to crumble the part away from the whole. Man as such is a whole. But when it comes to the earth, the whole earth is to be regarded as a whole. If we separate nature and its effects from the earth, what then is this nature? Then it is our product of the imagination, which does not really exist, which only appears to us because we cut a part out of a whole. Therefore, it can be seen that it is not at all important that someone describes something accurately, but that he knows how a part is integrated into the whole, or rather grows out of the whole. The earth must be seen as a whole, not as a physical whole, but as a living being that belongs to its spirit.

But we could also talk about nature and spirit in another way. We only need to look at the human being itself. In the human being, something comes to us that seems to justify the concepts of “nature and spirit” as opposites. A child is born, and all the expressions of life in the child in the early days appear to be something that has emerged from the physical, from the whole of physical nature. That is why it is often said that a child still acts entirely according to its nature. Only later is the spiritual, the soul, born out of the body. In the beginning of his life, man is more nature, later he develops more of the spirit. But that, in turn, is nothing more than a careless way of looking at things. For in the early days of our life there is much spirit in us, it is just more hidden in us than later. Everything that gives our body its forms is active spirit, it is just that we do not work inwardly in spirit and illuminate it with the faculty of memory. We truly have no less spirit in us in the early years of childhood than in later years. One could even be more radical in one's speech. Someone recently asked: What does it mean when a child only lives for a few days and then dies? Occult science shows us that such a short life still has a purpose. Often, the being in the womb has been able to develop many things, but sometimes it has not been able to develop one thing, for example, healthy vision. Let us assume that someone was an excellent person in one incarnation, but had poor eyesight. Then it will happen that such a person later lives only a few days in an incarnation, just to make up for what was lacking in the previous life because of his poor eyesight. In this case, this incarnation must be counted as part of the previous one. In general, the importance of the child's ability to learn in the first few days is greatly underestimated. When the child learns to see into the light, more capacity is needed than for anything learned in the first academic semester.

One can object to such things, but just think about the content of such a thing, and you will see that it is correct. We only consider childhood in the right way when we know that the spirit is not less in the body when we build our brain, work out our physiognomy and so on, than later, when we can do something more astute. At a later age, the spirit has withdrawn itself a little more from the body and works as the more abstract spirit, but it can no longer organize the brain. This has already become fixed again. The spirit, which one so readily calls “spirit” later in life, was already present in the first part of life, but had something else to do then, was more linked to the natural processes. We just don't see that, that's why we call what happens there just nature, and what happens later consciously, just mind. Therefore, man assumes an opposition between the “natural” processes of early childhood and the spirituality of thinking, feeling and willing in later life. But the contrast is quite different.

In early childhood, there is an intimate connection between nature and spirit; they permeate each other and are still on friendly terms. Later, they separate, and the spirit and natural processes take place more separately. In return, the natural processes become more spiritless, in that the spirit has differentiated itself from them and become the special soul of which the human being is so proud. Man pays for this with his body becoming more spiritless. Man has first drawn spirit out of his body so that he can use it more separately for himself. There is something similar in the whole evolution of the earth. In very early times of the earth, spirit was intimately connected with the nature of the earth everywhere, and so there was then an intimate interaction between earth spirit and earth nature. Today, in a certain way, the nature of the earth is as separate from its spirit as the nature of the human being is from the soul. And just as it is the spirit in the human being that directs thinking, feeling and willing, so too, in the evolution of the earth, the earth spirit runs alongside the natural process as the course of history. In the Lemurian period these were still more interwoven with each other, just as the spiritual and natural processes are more closely related in the child than in later man. What is the point here? Does it matter whether we say: the spirit develops in the later age of life or the earth age? — No, it was already there, but in those days it directed its activity to that which was then separated. And that hardens, lignifies, dies.

For this reason, we must also consider the whole, which is to be considered as a whole, not in time, only according to its parts. Man as a child is not a physical whole on earth. A human being in youth, middle age, old age and so on is only a whole, and we cannot say: 'The human being undergoes a development from the natural to the spiritual', but we must say: 'In his first childhood, nature and spirit were intimately connected. Later they separate more and more. Thus, the natural becomes somewhat dead, somewhat less inwardly alive, and the spirit becomes more independent. So a differentiation has occurred in the whole human being. That is the right impression. But the spiritual does not develop out of the natural without further ado. There is differentiation. If we speak of nature without spirit, then we speak of a mere fantasy product. Under the present physical conditions of the earth, a human being could never later become a thinking, feeling and willing creature that is so proud of its spirituality if it had not first detached its spirit from its natural existence. One must learn to completely rethink about nature and spirit.

This goes even further. Let us consider the external nature of man and woman. If you look at it very superficially, you will come to the conclusion that woman is closer to nature, judges more directly from the standpoint of nature. Man has distanced himself more from nature; independent thinking, the independent spirit, lives more in him. — The materialistic age, which thinks of the spirit in materialistic terms, has taught other reasons for this difference, such as the weight of the brain. But when the brain was weighed by the man who thought up this theory, it turned out that he had a particularly small man's brain! So if we look at nature and spirit in this way, even a superficial glance shows how little this is true. Anyone who goes into the depths here will in turn come to a completely different way of looking at things. In a certain respect, however, the woman's outer being is more natural, but in turn more spiritual than the man's outer being. Womanhood on today's earth is more natural because the spiritual activity in her has not yet separated from her physicality as it has in man. Therefore, man cannot be conceived of as having a greater spirituality than woman, but in man only that which is distilled spirit, leaving matter beside it, is more prominent. On the other hand, for certain parts, the male body is more abandoned to spirit. The feminine body is more permeated by spirit, as for example is the case with the child; the masculine body is more abandoned to matter at a later age than it is in youth. But we must not speak of more naturalness or spirituality in being a man or a woman.

The approach must therefore be completely different. It is true that, in a sense, what has to do with the essence of man and woman affects us throughout our lives. It is not always pleasant to point this out. Why, for example, are there more women than men in the Anthroposophical Society? Does this not actually speak against the presence of intellect in anthroposophy? — one might ask. The answer to that question is entirely objective, but it is easy to be misunderstood when one gives it. The fact that women are more attracted to the Anthroposophical Society, that is, more readily embrace spiritual truths, is because they preserve the spirituality of the nervous system and the brain longer in later life. In the case of man, these separate from the physical earlier, so he does not have the opportunity to so easily take in what speaks to what is neither man nor woman, but what stands above: the being itself.

In an incarnation, a person is either man or woman. In the case of man, the lignified parts are more developed, and somewhat more distilled out of his overall nature is the spirit, the temporal, transient spirit. In women, nature and spirit remain more connected throughout life, which is why their nature remains more flexible. But spiritual truths speak to something in people that has nothing to do with the difference between men and women. Because the being that goes from incarnation to incarnation can alternately be man and woman, even if that is a truth that often makes men angry.

Thus, our deepest nature has nothing to do with man or woman. Just as it has nothing to do with man and woman, so the deepest nature of world phenomena and facts has nothing to do with nature and spirit, but one time it is more spiritual, the other time more natural. These are both phases of an existence, as life continues. Just as in human life, there is a daily alternation between more spiritual activity during the day and more natural activity for the physical human being at night, so in the universe there is an alternation between times when beings become more spiritualized and times when they become more “naturalized”. That is a rhythm in the universe. For example, if you look at the nature of man, when he is a man in an incarnation, when he is thus karmically condemned to distill the spirit out of the natural, then he can say to himself: 'Now I am indeed karmically destined to distill the spirit out of nature, but that must alternate rhythmically, cyclically with a woman's existence, where I am allowed to be more in the natural with my spirit, so that I may have a pendulum swing in the direction of natural existence.

This is the case with all planets, with all wholes, totalities, with all worlds. Where we find a natural, there is a spiritual belonging to it, and where we find a spirit, it tends to separate something out of itself, which is a natural. Nature and spirit are not opposites, but alternating states of the higher being that stands behind them.

Thus we must see that through our spiritual world view, many old concepts with which much mischief has been done must be corrected. When we stop describing only parts of a being that is actually a whole, we will also come to clarity about the concepts of spirit and nature and will no longer limit ourselves to one-sidedness. Then one will realize that the spirit would be very weak if nature were hostile to it, then one will realize that nature is something that the spirit occasionally releases from itself, like the snail releases its shell. But the spirit can also absorb nature again and dissolve it within itself. Then it makes it invisible, but then it has it within itself, then it has become one with it. If a complete unity of spirit and nature were to exist somewhere, it would mean that for the realm of facts, the spirit has dissolved all nature that belongs to it.

Let us assume that a person is forty years old. He has his nature and he has his soul, his spirit, of which he is so proud. If we go back to his childhood, it is more of a unity, but it appears more in its natural basis. If we go back even further, before his birth, then he is entirely spiritual, he still had all spirituality without a natural basis, without matter in him.

It is a pendulum swing in the world: the being creates its image in the natural aspect and reveals itself through it. The spirit bears nature in its bosom in order to make an image of itself with what it itself gives birth to in its bosom as nature. But the spiritual essence also has the power to absorb everything that is out there in nature into the spirit. And so the spirit can triumph over all images of itself in order to appear ever anew in new transformations and new forms. This testifies to the fact that an infinite number of formations rest in the bosom of the being, and that the meaning of the world is actually fulfilled in ever new and ever new becoming. If one can see the belonging together, the inseparability of spirit and nature, one comes to the being in the world.