270. Esoteric Lessons for the First Class III: Sixth Recapitulation
17 Sep 1924, Dornach Translated by Frank Thomas Smith Rudolf Steiner |
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The escalation is: [The following words are underlined:] Experience Sense Consider Shape Beat Force The three lines must be strengthened by concentrating on these figures. |
The guardian of the Threshold admonishes us: [The third verse is written on the blackboard and “limbs” is underlined.] The limbs' force, You can think it And thinking becomes The will's goal-oriented human striving. |
The escalation is: [Now the following three words are underlined:] weave live strive. The other escalation is: wisdom glow virtue. |
270. Esoteric Lessons for the First Class III: Sixth Recapitulation
17 Sep 1924, Dornach Translated by Frank Thomas Smith Rudolf Steiner |
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My dear sisters and brothers, Once again, I must say that the introduction about the character and the responsibilities connected with the School cannot be repeated for the new arrivals each time. Therefore, I must request that those of you who were already here and have the mantras inform the new members concerning the contents of the introduction. Today we will once again begin with the words which contain the fundamental exhortation to the human being, which resound to him from all the kingdoms of nature and from all the spiritual hierarchies, if he has the necessary sensibility, to seek his own being, and also exhort him to recognize, through his own being, the world in its true spiritual nature. They resound from all that interweaves and lives in the earthly depths, in water and air, in warmth and light, from what lives in the mountains and springs, in rocks, in the plants and animals, in the physical human form, in human souls, in human spirits, what lives in the residents of the stars, in the spiritual hierarchies—it resounds thus: O man, know thyself! My dear sisters and brothers, the description of the spiritual path which leads from the sunny, light-filled world in which we live on earth appears on the other side of the yawning abyss of being at first as a gloomy, night-cloaked darkness. The path which leads us to where we become aware that, when we seek our own being in all that lives in the depths, flows in the air, all that creeps and flies, in all that our senses perceive in the majestic glow of the stars, in the powerful depths of universal space, in the immeasurably distant flow of time, that all that does not contain our being, the true source of our humanity, that it becomes gloomy when we look here for our humanity. The description has led us thus far to show that we must find the way past the Guardian of the Threshold, who has told us so much about the meaning of the spiritual world, over to what is still night-cloaked, black gloom, so that it can become bright there, and in this brightness the light arises to illumine before the eyes of our soul our own being, and therewith the being and essence and interweaving of the world. It must be clear to us that in the moment—and we have come so far in the description—when we have crossed over the abyss of being, past the Guardian of the Threshold, in that moment an important change takes place in the human being, that is, in ourselves. Let us look, my dear sisters and brothers, at our human existence as it is between birth and death on earth: we grasp the world thinking, we grasp the world feeling, we act in the world by willing. But thinking, feeling and willing are interwoven in our human earthly existence. If we want to carry out something in the near future, we consider it first, so what we carry out is already present as a seed in our thoughts. We see it flowing out in impulses of will. We feel that it is worthy. We feel love flowing to this or that being. Because we feel it, we form a thought about it. Or we go beyond that and carry out a deed of love towards the being, we let ourselves grow wings of love, and are urged forward to willing. But all that—thinking, feeling, willing—is closely related to our humanity as it unfolds between birth and death in the physical world. We are at one in thinking, feeling and willing. And the truth is that we are only really awake in our thoughts. They are bright and clear, although the Guardian of the Threshold had revealed them to be illusory. They are bright and clear, we are awake in them. Our feeling is darker and less clear. We are closer to existence in feeling, but the content of what we feel is like a dream, so that we can only speak of dream-feeling, even when awake. The will, however, as it emerges from our being, remains at first completely unclear to our normal consciousness. We have the thought that we want this or that; the thought appears, grasps the organism; the organism acts, carries out the thought; we see what we have carried out, again with thought. But the will itself rests in deep sleep, as do the things in our soul rest between falling asleep and awakening. But the initiate sees the thoughts in their living state, which they were in before the human being had descended from the supersensible world to the sensory one. He sees radiant being in the thoughts. But this radiant being he sees is not the illusion of thoughts as in ordinary thinking. We stand beside the Guardian of the Threshold. The abyss of being is there; before us—beyond the abyss, beyond the threshold—is the black, night-cloaked gloom; but from out of the darkness gleaming, living shapes are moving. We say to ourselves—because we sense that the kind of thoughts we had as physical persons have abandoned us—we say to ourselves: There is our flowing, living thinking. It doesn't belong to us now, it belongs to the world. Light on light, thought extracts itself from the black gloom. We know that thought, all our thinking, is there as the first brightness within the black gloom that we are approaching. And then we see something further down. We have the feeling—and the Guardian of the Threshold points to it with an admonishing gesture—we see how the darkness below is becoming fire-like. Fire, dark fire yes, but fire that we can sensepsychically, spreads out below us. What we recognize as our willing comes towards us over the abyss of being. The initiate gradually learns the following: What happens when thinking merges with willing? The thought—of what is wanted—is grasped; then this thought merges with corporeality as beneficent fire. What brings the will to existence is warmth, which is fire when our own will meets us from out of the darkness. And between this warmth, from which our willing streams toward us across the abyss of being (for our human will is a mere reflection of our cosmic will)—between this warm, dark out-streaming from below, which has at most a whiff of bluish-violet, and the bright lights of thoughts above, between both there is an interweaving, flowing warmth rising, light descending. Light-enveloped warmth rising, warmth-enveloped light streaming down: that is our feeling. It is a powerful picture which the Guardian of the Threshold draws. And now we know that when we cross over from the sensory world, from the world of physical reality in which we are between birth and death, into the world of the spirit, then we will be—in thinking, feeling and willing—no longer the unity that we are here; there we are Three. In the universe, we are Three: our thinking merges with light across the threshold; our will becomes fire; our feeling becomes light-enveloped fire. We must have the courage to expand and intensify the Self, the I, so that it holds the Three together when we cross over. We can do this once we are permeated with what could otherwise be a banality: that our head is the source of all our senses and thinking: All our senses and thoughts are distributed over the whole body, but what is especially expressed in our head is that in its roundness, with an opening below, it imitates the shape of the universe. If we can say to ourselves in all seriousness and inner ardency: my head is inwardly and outwardly an imitation of the world's shape, we feel then, in that we want to view the head from within, how this perspective expands to include the universe, which is only concentrated in our head for our earthly vision. We should then intensely feel how our heart, the physical expression of our soul, does not only beat because of what is in our body, because of what is enclosed within the skin; we breathe in the air, which is the impetus of the heartbeat, we breathe it out again. The world in all its grandeur and majesty participates in our heartbeat. What is sensed in our heart is not merely what is within us: it is the universal pulse-beat. If we consider how our limbs work through willing, it gives us the strength to not only will what is within us. Consider for a moment how the forces of heredity are in us when we are born, how the forces of karma, which we have acquired through many, many earth-lives, live in our willing. Let us think of all that, and feel: when we will, world-force lives in our limbs, not merely human force. Just think, my dear sisters and brothers, while still here at the Guardian of the Threshold's side he points over to the brightly lit, universally living and acting thoughts; to what wells up as warmth, light-bringing, light-filled; to what spiritually wafts over us from below like warm wind—the universe's fire, which is the ur-force of the will.
So we hear, resounding, what the Guardian of the Threshold has to say to us in this situation: Behold the Three (thinking, feeling, willing; man is split in three) Behold the Three, Experience the head's cosmic form The Guardian makes this sign: [It is drawn on the blackboard.] so that we stop and feel the head's cosmic form in this closed, upward pointing triangle. Let us concentrate on this. Feel the heart's cosmic beat The Guardian makes this sign: [It is drawn on the blackboard.] for us to feel in this sign the wave-like pulse of the universe, which crosses in the heart. Consider the cosmic force of the limbs. The Guardian of the Threshold makes the other sign: [It is drawn on the blackboard:]
We should concentrate on this line in order to sense the mantric force of this line and of the whole verse. Then the Guardian of the Threshold strengthens it again: They are the Three, This is the verse by which the Guardian announces how we are to prepare—through forceful courage, through ardent striving for knowledge—to sense the wings which carry us over from the One to the Three. In the physical world, we are the One. In the spiritual world, we are the Three, which we experience in imaginative pictures. [Written on the blackboard] The Guardian reminds us: See the Three, [Alongside the first sign on the blackboard is written:] Experience the head's cosmic shape [Alongside the second sign is written:] Sense the heart's cosmic beat [Alongside the third sign is written:] Consider the limbs' cosmic force The escalation is: [The following words are underlined:] Experience The three lines must be strengthened by concentrating on these figures. [Written:] They are the Three, My dear friends, when we are standing here in earthly existence—and we are still doing so, we are just preparing to cross to the spiritual world—we ascribe to our head our spirit, in that it contains thoughts. At first, though, this spirit is only apparent. The thoughts are the appearance of the spirit. We ascribe the thoughts to our head, that is, we ascribe the spirit to our head, because the spirit lives in the form of thoughts during earthly existence. But we can do something else, recalling the Guardian of the Threshold's admonition. In this situation, as we are preparing to cross over the abyss of being, we must endeavor to concentrate on the force we normally use when we move a limb, when we walk or stand, when our will pervades us. We must endeavor to concentrate to the extent that we will each thought, as though it were being pushed out. We must sense the thought being pushed out as when we stretch out an arm: thus, reality passes through the will into the thoughts. Then the things perceived by our senses, whereas they came to us previously as the appearance of color or tone, now stream toward us from the multifaceted sensory appearance as cosmic will. My dear sisters and brothers: Learn to extend your thoughts out to the world as you learn to stretch out your hands through willing. Just as the objects of the world respond when you extend your will to them, offering resistance, so do the spirits offer resistance when you extend your thoughts to them, in that the will permeates them. If we do this, we are interweaving reality in wisdom. The Guardian of the Threshold's admonishes us once again. The Guardian's last admonition: The head's spirit, (otherwise we only think it, now we will it; and when we do so, willing becomes something different) And willing (the willing of thoughts) provides you with The next thing the Guardian of the Threshold points to is the heart, in which the rhythm of our humanity is concentrated. We cannot bring anything except feeling into the heart, that is, feeling here in the sensory world between birth and death. But we must also bring the feelings to the heart when we are in the spiritual world. If we could feel the heart as if the world were feeling our heart, because we are, after all, in the world, then our feeling would be different. Just as willing becomes “the senses' multi-forming heaven-weave”, so feeling becomes something which must be conceived of in a way that we can say—Look: thinking, the spirit's head, becomes the will; feeling remains feeling, but rays out to thinking on one side and willing on the other. It is both at the same time. Therefore, at this point we must get used to concentrating on a line in which we interweave what rays upward and downward. This line must read as follows: “And feeling becomes your will's thinking, your thinking's will, the awakening seed of cosmic life.” Then you live in the glow. This is not a dying away glow, it is the world's revelation in beauty, which can also be called “glow” in the sense of “gloria”. The glow here means gloria. Thus, the Guardian's second admonition is: The heart's soul, [This second verse is written on the blackboard and “heart's” and “feeling” are underlined:] The heart's soul, You must, my dear sisters and brothers, by practicing this, try to think that—the will's thinking, the thinking's will—flow together in one, because it is so in the world. The third thing to which the Guardian of the Threshold points is the force of our limbs. The Guardian of the Threshold demands that that our spirit wills our limbs, that we do not feel that what we do is the result of exerting our own force, but that we observe it as if we stepped out of our bodies and were standing beside ourselves. Then the will's thinking becomes the thinking which we unfold here: the will's goal-oriented human striving. And now we recognize the virtue of human diligence, what human will can accomplish in the world's evolution. The guardian of the Threshold admonishes us: [The third verse is written on the blackboard and “limbs” is underlined.] The limbs' force, The escalation is: [Now the following three words are underlined:] weave The other escalation is: wisdom Now I will read the lines as the appear to us at first when the Guardian speaks them to us: The head's spirit, That is the Guardian of the Threshold's last admonition. That is the decisive point which is indicated by the words which are spoken here as the words Michael himself speaks, because this Esoteric School has been founded and is sustained by Michael and his force. Now we have come to the important point in our instruction where, if we have conscientiously practiced all that we have learned, it gives us wings to fly over the yawning, deep abyss of being. Everything which has been said in this Michael School shall again be accompanied by the sign and seals of Michael; for all has been given in such a way that while it resounds through the space of this School, Michael is present, which may be confirmed by his sign: and which may be confirmed by his seal, which he has impressed on the threefold Rosicrucian verse: Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus the seal makes us feel the first line in this gesture: [The lower seal is drawn on the blackboard.] the second line in this gesture: [the middle seal gesture is drawn on the blackboard] the third verse in this gesture: [the upper seal gesture is drawn on the blackboard] As we know, this first gesture means [beside the lower gesture is written:] I revere the Father We feel this as we say “Ex deo nascimur” and confirm it by the gesture, which is Michael's seal. The second gesture means [beside the second gesture is written:] I love the Son We feel this while saying “In Christo morimur”, thus expressing the feeling through what lies in the Michael-Seal. The third gesture means: I unite with the spirit It accompanies, in feeling, “Per spiritum sanctum reviviscimus”. It is the gesture which is Michael's seal upon the third part of the Rosicrucian verse. Thus, Michael's Sign and Seal accompany the path onward, which will be followed in this School for spiritual development: [the Michael-Sign is made] [The following three lines are spoken, accompanied by the three seal-gestures: Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. Then the moment comes when the Guardian of the Threshold's decisive words resound as though coming from Michael, as though from the cosmic distances. After the Guardian has said how we are to prepare ourselves—and we feel this preparation to be necessary—then his words resound as though coming from Michael, as though coming from the cosmic distances: Come in. We must create the feeling that we are not speaking ourselves, but that as we are speaking it becomes objective, that we hear it, as if it is coming from the other side: [Across the mantra “See the three” on the blackboard, the following is written in red chalk:] Come in. In the following lessons, what resounds on the other side of the threshold will be described. But now let us again consider—for all real development always leads back to the starting point—how from all the beings of the world the challenge speaks to us about what we have learned from the Guardian's mouth: O man, know thyself! Once more—confirming all, confirming Michael's presence—the sign and seal of Michael: [the Michael-sign is made] [The following is spoken together with the seal-gestures:] Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. The mantric verses given here in order to practice contain the force necessary to experience what is described here. Only the members of this Class may possess them, no one else. If someone who belongs to the School cannot attend a lesson during which he would have received the corresponding verse, he may receive it from another member who was present. But for each time this happens permission must be received either from Dr. Wegman or myself. However, the one who is to receive the verse may not request permission, but only the one who is to give it. Once permission has been granted to give someone the verses, it continues to hold good for that particular person. For every other person, permission must be obtained from Dr. Wegman or myself. It would be useless for the one who wants to receive the verses to request permission; only the one who is to give them should ask. So, if one wants to have the verses, he must go to someone who has them legitimately. The latter should then ask for each individual to whom he wishes to give them. If someone makes notes of something else, other than the verses, he is only authorized to keep them for one week; after that they must be burned. We must really observe the occult rules. An occult rule is contained in all I have said and insist upon. This is not an arbitrary administrative measure, but because if esoteric things fall into the wrong hands, then, my dear sisters and brothers, the mantras lose their force. It is simply based on an occult law. * At twelve o'clock tomorrow is the Speech Formation course; at 10.45 the Theology course; at five o'clock the Pastoral Medicine course and at eight o'clock the lecture for members. |
270. Esoteric Lessons for the First Class III: Seventh Recapitulation
20 Sep 1924, Dornach Translated by Frank Thomas Smith Rudolf Steiner |
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And since the seventies of the nineteenth century we are again under the sign of Michael's reign. It is in its beginnings. But Michael's impulses must flow into all legitimate esoteric activities in a conscious manner - what can be clear to you, my sisters and brothers, through the general lectures for members. |
Therefore, everything communicated here is not to be understood as my words, insofar as they are the content of the lessons, but rather as what Michael communicates in an esoteric manner to those who feel they belong with him in this age. |
[In the first part “thinking” and “sensory light”, and in the second part “feeling's” are underlined. How in sleep's dim-like dawning Life streams in from cosmic distance; (There it was “Willing arises from the body's depths;”, here “Life streams in from cosmic distance;”) [In the third line of the first part “Willing” is underlined, and in the second part “Life”.] |
270. Esoteric Lessons for the First Class III: Seventh Recapitulation
20 Sep 1924, Dornach Translated by Frank Thomas Smith Rudolf Steiner |
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My dear sisters and brothers, Since the Christmas Conference an esoteric breath flows through the whole Anthroposophical Society. And those members of the Anthroposophical Society who have taken part in the general members' lectures will have noted how this esoteric breath flows through all the work within the anthroposophical movement now, and should do so in the future. This was a necessity which, above all, flows from the spiritual world, from where the revelations come which should live in the anthroposophical movement. Therefore, the necessity arose to create a certain nucleus for anthroposophical esoteric life, to create real esoteric life, and therewith the necessity arose to build a bridge to the spiritual world itself. In a certain sense the spiritual world had to manifest the will for the creation of such a School. For an esoteric school cannot be created by human arbitrariness, nor from that human arbitrariness called “human ideals”; rather must this esoteric school be the body for something which flows out of spiritual life, so that everything that occurs in such a school presents the outer expression of an activity which in reality occurs in the spiritual world itself. Therefore, this esoteric school could not have been created without first asking the will of Michael, which since the last third of the nineteenth century has been guiding human affairs - something which I have often mentioned here in members' lectures. In the course of time this will of Michael again and again cyclically intervenes in human affairs from the spiritual world. And when we look back in the evolution of time, we find that this same Michael-Will - which we can also call the Michael Reign - was active in the spiritual affairs of humanity, in the great questions of civilization before the Mystery of Golgotha, in the time of Alexander in Greece through the Chthonian and Celestial mysteries, and which was to spread to Asia and Africa. Where the Michael-Will reigns, there is always cosmopolitanism. What differentiates people on earth is overcome during the Michael age. The most important influence, related to Aristotle and to Alexander, which was under the impulse of Michael, was followed by that of Oriphiel, and after Oriphiel came the Anael impulse, the Zachariel impulse, then the Raphael impulse, then the Samael impulse, then the Gabriel impulse, which extended into the 19th century. And since the seventies of the nineteenth century we are again under the sign of Michael's reign. It is in its beginnings. But Michael's impulses must flow into all legitimate esoteric activities in a conscious manner - what can be clear to you, my sisters and brothers, through the general lectures for members. And everything connected with the Christmas Conference leads to what is constituted as the basis of the anthroposophical movement's formation of this Esoteric School inspired and guided by Michael. It therefore rightfully exists in our times as a spiritual institution. All those who want to be rightful members of this School must accept this in their lives with the deepest sincerity. They must feel that they don't merely belong to an earthly community, but to a supersensible community, whose guide and leader is Michael himself. Therefore, everything communicated here is not to be understood as my words, insofar as they are the content of the lessons, but rather as what Michael communicates in an esoteric manner to those who feel they belong with him in this age. Therefore, what these lessons contain will be Michael's message for our age. And it is because of this that the anthroposophical movement will receive its true spiritual strength. For this it is necessary that what membership in this School means be taken with the utmost earnestness. It is really necessary, my dear sisters and brothers, truly and deeply necessary, that it be indicated in the utmost earnest manner the sacred earnestness with which the School must be taken. And here within the School it must be repeatedly said: in anthroposophical circles there is much too little earnestness for what really flows through the anthroposophical movement, and at least the esoteric members of the Esoteric School must be in the forefront of what humanity can gradually develop as the necessary earnestness. Therefore, it is necessary that the leadership of the School retain for itself the right to allow only those to enter as rightful, worthy members of the School who, in every aspect of their lives, want to be worthy representatives of anthroposophy; and the decision about whether this is the case or not must lie with the School's leadership. Do not consider this, my sisters and brothers, as a limitation of freedom. The School's leadership must also have its freedom and be able to recognize who belongs to the School and who does not, just as each one is free to decide whether to belong to the School or not. So, a free, ideal-spiritual contract, so to speak, between each member of the School and the leadership must be agreed upon. In no other way could esoteric development be called healthy, especially not one which is worthy of the fact that this Esoteric School exists under the direct force of the Michael impulse itself. Conscientious care of the mantric verses so that they do not fall into unauthorized hands is the first requisite; but also, to really be a worthy representative of the anthroposophical cause. I only need to mention a few things to show how little the anthroposophical movement is still grasped with complete earnestness. It has happened that members of the School have reserved their seats by placing on them the blue membership certificates, which gives them the right to participate in the School. [1] It has happened in the Anthroposophical Society that whole piles of the News Sheets, only intended for members, have been found on the trolley cars that run from Dornach to Basel. And I could add many other examples to this list. And amazing things happen as a result of this lack of earnestness. Even with things that in everyday life are taken seriously, at the moment when those within the anthroposophical movement are expected to do so, they do not take them seriously. These are things which must be considered in connection with the firm structure that this School must have. Therefore, these things must be said, because if they are not observed, one cannot worthily receive what is given here in the School as revelations from the spiritual world. At the end of each lesson, your attention is expressly drawn to the fact that the being of Michael is present while the revelations from the spiritual world are given, and are confirmed by Michael's sign and seal. All these things must live in the members' hearts. And worthiness, profound worthiness must reign in all that is bound even in thought to the School. For only in this way what today is to be carried through the world as an esoteric stream can live. And that includes the duties incumbent on each individual. The mantric verses written here on the blackboard can only be possessed, in the strictest sense of the word, by those who have the right to be present. And if a member of the School is unable to attend a lesson during which mantric verses are given, another member, who has the verses, may give them to him; but it must be for each individual case, that is, for each person to whom the verses are to be given, that permission must be requested, either from Dr. Wegman or from me. Once permission is granted in respect to a person, it remains valid. But permission must again be requested for each other individual. This is not an administrative rule, it is an occult rule that must be strictly adhered to. For every act of the School must be connected to the School's leadership: and that begins with having to request permission from the School's leadership for acts having to do with the School. Not the one who is to receive the mantras may ask, but only the one who is to give them, using the modality that I have just described. If someone takes notes on what is said here, except for the mantras, he is obliged to keep them for only one week, and then to burn them. All these things are not arbitrary rules, but they relate to the occult fact that esoteric matters are only effective if they are embraced by the School members' attitude. The mantras lose their effectiveness if they fall into the wrong hands. And it is a rule so firmly inscribed in the cosmic order, that the following once happened and a whole group of mantras, which had been in effect within the anthroposophical movement, have been rendered ineffective. I was able to give mantric verses to a number of people; I also gave them to a certain person, who had a friend. The friend was somewhat clairvoyant. And it happened that while the two friends were sleeping in the same room, the clairvoyant friend, when the other one merely repeated the mantra in thought, surreptitiously copied it and then did mischief with it by giving it to others as coming from himself. It was necessary to look into the matter, which revealed why the mantra became ineffective for all those who possessed it. Therefore, my dear sisters and brothers, you must not take these things lightly, for esoteric rules are strict; and when someone has made such an error, he should not excuse himself by claiming that he was unable to avoid it. Of course, if someone runs through a mantra in his mind, and someone else copies it clairvoyantly, he certainly can do nothing about it. Nevertheless, the rules are applied with an iron necessity. [2] I mention this so that you can see how little arbitrariness is involved, and how these things are being read from the spiritual world and that the practices of the spiritual world apply. Nothing is arbitrary in what occurs in a rightly existing esoteric school. And the earnestness from this esoteric school should stream out to the whole anthroposophical movement. For only then will this School be what it should be for the anthroposophical movement. But when something is done which only springs from personal motives and then it is pretended that it is because of devotion to the anthroposophical movement- well, I don't mean to say that it should not happen, because obviously, people today must be personal - but then it is also necessary that truth lives in what is personal, that for instance if someone comes here to Dornach for personal pleasure he should admit it and not pretend otherwise. There's nothing wrong with coming to Dornach for personal pleasure, in fact it is good. But one should admit it and not sidestep it by declaring pure dedication to spiritual life. I mention this; I could just as well mention another example, which is more real, for it is really the case that when most of our friends come to Dornach, a will to sacrifice is involved, and that only in the least of cases is untruthfulness involved. But I've chosen this example because it is the least applicable and thus the least harmful. If I had mentioned other examples, what I would like to have as a calm prevailing mood in the hearts and souls of all who are sitting here now could not exist in the necessary degree. After that introduction, I would like to start with the verse that is the beginning and end of Michael's proclamation to all unbiased human beings, and which contains what all entities in the world are saying, if one listens to them with the soul. For from all that lives in the mineral, vegetable and animal kingdoms, what sparkles down from the stars, what acts into our souls from the domains of the hierarchies, from all that crawls under and on the earth as worm-life, from what speaks in rocks and springs and fields and thunder and clouds and lightning; all these spoke to unbiased human beings in the past, speak at the present and will speak in the future: O man, know thyself! The previous lesson ended, my dear sisters and brothers, with the Guardian of the Threshold giving the last admonitions before one passes over the yawning abyss of being; the Guardian of the Threshold spoke the weighty, moving words: Come in, Our souls and hearts have been exposed to the important, weighty, meaningful words spoken by the Guardian of the Threshold on behalf of Michael. And everything he said was to prepare us for the attitude we must have when we come over after the gate has been opened - over the yawning abyss of being, where one does not come walking with earthly feet, where one flies with the spiritual wings that grow when the soul is imbued with a spiritual attitude, with spiritual love, with spiritual feeling. And now, now, my dear sisters and brothers, will be described what the human being experiences when he stands on the other side of the yawning abyss of being. The Guardian of the Threshold indicates to him: turn around and look back! Until now you have been looking at what appeared to you as black, night-cloaked gloom, about which you had to say that it will become inner light and will illumine your own Self. With the last admonitions—the Guardian of the Threshold says—I let it become lighter, at first most gently. You feel now the first light around you. But turn around, look back! And now, when he who has crossed over the yawning abyss of being and turns around and looks back, he sees himself as an earthly human being, what he is during his physical incarnation, over there in the part of his being that he has left behind and which now lies in the earthly sphere. He observes his own human self there. He has embodied himself in spiritual being with his spirit-soul. The earthly environment is over there now. He stands there in the region, in which we first were with all our humanity, where we saw what crawls beneath and flies above, where we saw the sparkling stars, the warmth-giving sun, where we saw what lives in the wind and weather, and where, knowing that despite all its majesty, how the sun blazes and illumines, despite all the beauty and greatness accessible to the senses, we said to ourselves: our own humanity is not here; we must seek it on the other side of the yawning abyss of being, in what seems at first, to the senses, to be black, night-cloaked gloom. The Guardian of the Threshold has shown, by the three beasts, what we actually are. Now will be described how in the gloom that is beginning to be light, we should begin to look back on what we as humans are in the sensory world, together with what was our only world in sensory earthly existence. And now the Guardian of the Threshold points directly back there to the earthly man, which we ourselves also are during earthly existence, and to which we must continually return, into which we must always penetrate when we leave the spiritual world and return to our earthly duty. For we may not become dreamers and go into raptures, we must return completely to earth life. Therefore the Guardian of the Threshold directs us to look at the person who stands over there, who we ourselves are, in a way that at first draws our attention to what this person is. [An outline of a human being is drawn on the blackboard.] He knows that he perceives the outer world through the senses, which are mostly situated in the head, and that he perceives his thinking through the impulse of the head. But the Guardian of the Threshold now says: Look into this head. It is like looking into a dark cell, for you do not see the creative light within it. The truth is that what you had as thinking over there in the sensory world is mere seeming, mere images, not much more than mirror-images. The Guardian of the Threshold admonishes us to be very aware of this, but also to be aware that what is only appearance in earthly thinking is the corpse - as we have heard in previous lessons - of a living thinking in which we were immersed in the soul-spiritual world before we descended to this earthly life. There thinking lived! Now thinking rests as dead thinking, as seeming thinking in the coffin of our bodies. And all the thinking we use in the sensory world is dead thinking. It was alive before we descended. And what has this thinking accomplished? It has created everything that is within the head, within this dark cell - as it appears to the senses - that is light-creating essence. The brain, which rests within as thinking's support, has been created by living thinking. [The interior of the head, yellow, is drawn on the blackboard.] It is living thinking that creates the support for our earthly semblance of thinking. Observe the brain's convolutions, observe what you carry within the dark cell that enables you to think, my sisters and brothers, observe the semblance of thinking in the dark cell, then you will find in what is felt above as thinking [drawing: red arrows] from out of which streams the force of will into thinking, so that each thought is streamed through with will. How the will streams into thinking can be sensed. And now we look back from the other side of the threshold at how that other person, who we ourselves are, has waves of will streaming out of his body into the head, which create the will, and finally, when we follow them back to the turning points of time which lead to our previous incarnations, how they create the waves of thought from worlds past into our present incarnation and form our heads, all of which makes the semblance of thinking in this incarnation possible. Therefore, we must be strong, the Guardian of the Threshold tells us, and imagine dead thinking being cast out into the cosmic nothingness, for it is only seeming. And the willing that then arises we should consider as what comes over from previous incarnations and interweaves and works, making us thinkers. Within [drawing: yellow] are the creating cosmic thoughts. These creating cosmic thoughts enable us to have human thoughts. Therefore, the first words the Guardian of the Threshold speaks after he has let us cross the threshold, and after he has announced that the gate has opened, that we can become true human beings, the first words he speaks are: See behind thinking's sensory light, The first words we hear on the other side, as we look back at the figure, which we ourselves are: [The first mantra is written on the blackboard, together with a heading. Blackboard writing is always in italics.] The Guardian is heard in the brightening darkness: I See behind thinking's sensory light, And then the Guardian of the Threshold adds - and one must strain to hear him: Now imagine that you are observing that figure on the other side who you yourself are; you turn around again and look into the darkness and try with all your inner imaginative force of remembrance - as one does when retaining a physical after-image in the eye. Try with all your strength to draw before you something like a gray outline of what you saw over there, but avoid drawing anything except the outline of the figure. [It is drawn.] Then, if one succeeds in seeing this gray outline of a figure, behind it appears an image of the moon [a sickle moon, yellow, is drawn], the gray figure before it. If one is able to keep inner calm, one sees the moon in the distance. The gray figure outline is also there, but it is active in us. And if we practice this over and over, we feel we have arrived at the spiritual figure of the head that we had over there, not the physical human figure, but at the spiritual figure of the head that we had over there, if we can feel what karma brings to us from previous earthly incarnations. [yellow arrow at the right of the sickle moon.] Therefore, you should meditate on this picture that I have drawn here, the sickle moon with this arrow; let the mantra unfold, with this picture as the marker for the gradual familiarization with what forcefully comes over from previous earthly existences. And secondly, the Guardian of the Threshold points with a stronger gesture to what feeling is to the person over there, who we ourselves are, and he admonishes that we are to see this feeling as a dim dream. In fact, we see feeling - which makes the person over there more real than thinking, for thinking is illusion, whereas feeling is half reality - we see the person's feeling enfold in numerous dream-pictures during the day. We learn by observing it that feeling, for the spirit and in the spirit, is dreaming. But what kind of dreaming is feeling? In this feeling, not only the individual dreams, but within it the whole surrounding world dreams. Our thinking is our own. That's why it's illusion. The world lives in our feeling. The world's existence is within it. Now we must achieve, to the extent possible, tranquility of heart, the Guardian warns, so that we can extinguish what lives and interweaves as feeling in the dream-pictures, just as dreams are extinguished in deep sleep. Then we can reach the truth of feeling, and we can see human feeling interwoven with the cosmic life that is present in spirit in all our surroundings. And then the real spiritual human being appears to us, who in his body lives at first in his half-existence. The human being appears to us from out of sleeping feeling. We feel ourselves to be on the other side of the threshold, on the other side of the yawning abyss of being, for feeling has fallen asleep and the cosmic creative powers, which live in feeling, have appeared around us. See in feeling's weaving in the soul, [This second part is written on the blackboard.] II See in (Before it was “behind”, here it is “in”; all the words in a mantric verse are important.) feeling's weaving in the soul, (Before it was “thinking”, here “feeling”; there “sensory light”, here “weaving in the soul”; “weaving” is much more real than merely semblance of light.) [In the first part “thinking” and “sensory light”, and in the second part “feeling's” are underlined. How in sleep's dim-like dawning (There it was “Willing arises from the body's depths;”, here “Life streams in from cosmic distance;”) [In the third line of the first part “Willing” is underlined, and in the second part “Life”.] Let in sleep through tranquil heart It is enhanced: Here [in the first part] it involved letting flow through the soul's force; here [in the second part] one must waft away human feeling. [the word “waft” is underlined.] And cosmic life spiritualizes —here [in the first part] it was the willing that is still in the human being; here it is cosmic As the human being's power. —the enhancement relative to cosmic thought's creation.— [In the first part “cosmic thought's creation” and in the second part “human being's power” are underlined.] The Guardian of the Threshold indicates to us that we should look back once again at the gray figure that stands over there, which we are ourselves in earthly life, but this time after having turned away, in our minds we turn it around in a circle. We will find, when we rotate the figure, that the sun appears behind it and rotates with it. [It is drawn - left, red]. And we will realize that at the moment we are brought into physical existence from the spiritual world, our etheric body has been compressed from the cosmic ether. Therefore, just as the first verse belongs to this [the drawing of the gray figure and the first verse are numbered “I”], this second verse belongs to this. [The drawing of the red rotating form and the second verse are numbered “II”.] Then the Guardian of the Threshold refers us to our will, which is active in our limbs. And he strongly draws our attention to the fact that whatever relates to the will is in a sleeping state, even when we are awake. He explains how as the thought works downward - I explained it last time, so may say it now -, how as the thought carries warmth downward into our limbs' movement so that it becomes will: this becomes clear in spiritual cognition and spiritual seeing. Normal consciousness hides this when we are sleeping, as it hides life in general during sleep. Now we should observe the will in the limbs as though sunken in deep sleep. The will is asleep. The limbs are asleep. We should see this as a firm mental image. Then, when it is firm, we realize how thinking, the source of willing in earthly man, sinks down into the limbs. Then it becomes light in him. The will becomes bright. It wakes up. When we first see it in its sleeping state, we find that it wakes up when thinking sinks downward and light from below streams upward, which is the force of gravity. Feel the force of gravity in your legs and arms when you let them relax: that is what streams upward, and which meets with the downward streaming thinking. We observe human will transformed into its reality and thinking appearing as what ignites the will in man in an enchanting, magical way. That is the truly magical effect of thinking on the will. It is magic. Now we become aware of it. The Guardian of the Threshold says: See above the bodily effects of will, [This third verse, with underlining, is written on the blackboard.] III See above the bodily effects of will, How into sleeping fields of activity Thinking sinks down from head forces; Let through the soul's vision of light human will transform itself; And thinking, it appears As the magical essence of will.Now we imagine that the Guardian of the Threshold again points to the person over there, who we are ourselves, telling us to look and retain the picture, but not to turn around, but to let this picture sink below the surface of the earth beneath where the figure is standing. We look over there. There stands the one who we ourselves are. We make the picture and develop the strong force to look below, as though a lake were there and we were looking at this image as now being within the earth, but not as a mirror-image, but as an upright figure. [Draws.] We imagine this picture: the earth [A white arc is drawn.] belonging to the third verse [This drawing and the third verse are given the number III.] We imagine: how the earth's gravitational forces rise, how the gravitational forces illuminate the limbs, feet and arms [white arrows]. In later observation, we acquire an idea of how gods and humans cooperate between death and a new birth to arrange karma. That is what the Guardian of the Threshold admonishes us about when he speaks to us for the first time after we have crossed over the yawning abyss of being. See behind thinking's sensory light, The circle always closes. We are looking again at the starting point, listening to all the beings and all the processes of the world: O man, know thyself! By this affirmation, Michael is present in this, his rightfully existing School. His presence is confirmed by his sign, which should loom over everything given in this School: It is confirmed by his seal, that he has impressed on the esoteric striving of the Rosicrucian School, and which lives on symbolically in the threefold verse: Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus And as Michael impresses his seal, the first sentence is spoken with this gesture: [draws: Image 1, the lower seal gesture, yellow] The second sentence with this gesture: [draws: Image 1, the middle seal gesture, yellow] The third sentence with this gesture: [draws: Image 1, the upper seal gesture] The first gesture means:[3]
I esteem the Father It lives mutely as we say: “Ex deo nascimur”. [lower seal gesture] The second gesture means: I love the Son It lives mutely as we say: “In Christo morimur”. [middle seal gesture] The third gesture means: I unite with the Spirit It lives mutely in the Sign, which is Michael's Seal, as we speak: “Per spiritum sanctum reviviscimus”. [upper seal gesture] Thus, today's Michael affirmation is confirmed by means of his Sign and Seals: [Michael's Sign] [spoken with the seal gestures:] Ex deo nascimur In Christo morimur Per spiritum sanctum reviviscimus. Translator's notes:
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Esoteric Lessons for the First Class III: Introduction
Translated by Frank Thomas Smith Frank Thomas Smith |
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If the texts are available in German, why should they not be available in other languages, especially English, in order to be studied by members and non-members of the G.A.S and the Free School who do not understand German? Practically everything Rudolf Steiner wrote and said has been published in German. |
Esoteric Lessons for the First Class III: Introduction
Translated by Frank Thomas Smith Frank Thomas Smith |
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I have received many comments about the publication here of Rudolf Steiner's First Class Lessons. Most of these comments have been positive, expressing the writers' thanks for finally being able to have access to the Lessons. But there have also been messages expressing surprise, even shock at seeing them online and available to everyone who may be interested. So I decided that it's time to write an “apologia” (not an apology). Those who object to the publication do so on both legal and moral grounds—I assume. I'll start with the legal aspect, because it's the easiest. All of Rudolf Steiner's literary work has been in the public domain since the year 2000. Previously it was the property of his literary estate, in the legal person of the “Nachlassvereinigung” in Dornach, and before that to Marie Steiner; never to the General Anthroposophical Society. Being in the public domain means that the original German works may now be published by anyone and read by everyone. A translation is a different matter. Its copyright may belong to the translator or to the publisher. There already is an English translation issued by the Anthroposophical Society of Great Britain and, I believe, copyrighted by that body. There may be other translations of which I am not aware. The translations published in SouthernCrossReview.org are new and are mine. So I could claim copyright if I wanted to. But my point is that I have the right to publish my own translations of texts which are in the public domain in their original language—without needing permission from anyone, least of all the General Anthroposophical Society. Now for the moral issue. Those who object to the publication in English and free availability to everyone of these texts are probably thinking about Rudolf Steiner's admonitions that the texts, and especially the mantras, are available exclusively to members of the First Class of the Free School for Spiritual Science. In respect to the mantras, he said that if they got into the wrong hands their esoterically positive effect on those for whom they were intended would vanish. In other words they would no longer be effective, no longer be alive. It is an occult rule. However, Rudolf Steiner died in 1925. The esoteric school since then has consisted of continuous readings of the transcripts of the unfinished First Class by so-called officially appointed “readers”. The second and third classes were of course never even begun. To believe that the Esoteric School still exists is an illusion. The texts in German are available to the public since they have been in the public domain. If we take what Steiner said seriously, the esoteric effect of the mantras no longer exists. Now the student must create his own effect with the help of the mantras. If the texts are available in German, why should they not be available in other languages, especially English, in order to be studied by members and non-members of the G.A.S and the Free School who do not understand German? Practically everything Rudolf Steiner wrote and said has been published in German. Keeping certain works, such as the First Class Lessons, secret for some and not for others, no longer corresponds to the times. The time for secrets in esoteric life is over. The publication of the First Class texts in English, and their availability to non-German speaking interested individuals and groups is a reflection of that reality. Frank Thomas Smith |
271. The Nature and Origin of the Arts
28 Oct 1909, Berlin Translated by Harry Collison Rudolf Steiner |
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“I have a name rightly applied over yonder among those only on the physical plane who bring men intelligence from the spiritual world. They understand how to apply only my name correctly, for I am called intuition, and I come hither from a wide-flung realm. |
She comforted and tended her, and the other woman gradually grew warm under the influence of what the soul of her companion had brought back as the result of her night's experiences. |
She hears the voice of the poet who has apprehended the majesty of the experience that can come into the human soul out of the imaginative world. She understands now that she must act as the savior of what upon earth is half frozen knowledge; she understands that she must warm it and permeate it with her own nature, especially with her art nature, and that she must recount the memories of her dreams during the night to this half frozen knowledge. |
271. The Nature and Origin of the Arts
28 Oct 1909, Berlin Translated by Harry Collison Rudolf Steiner |
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Let us imagine a great snow-clad plain spread out before us and upon it here and there rivers and lakes hard frozen. The neighboring sea is mostly frozen over close to shore; further out huge floes are drifting; occasional stunted trees and bushes lift heads heavy with snow and icicles. It is evening. The sun has already set, leaving behind the golden splendor of its afterglow. Before our eyes are two female figures and out of the afterglow is born—we might say is sent forth—a messenger from the higher worlds, who stands before the women and listens with close attention to what they are telling of their inmost feelings and experiences. One of the two standing there hugs her arms tightly to her body, cowers together, and exclaims: “I am freezing cold.” The eyes of the other woman wander over the snow-clad plain, out to the frozen waters and over the trees thick with hanging icicles, and from her lips burst forth the words “how glorious this whole landscape is.” She is utterly heedless of her own feelings, utterly oblivious to her physical suffering from the cold. We feel warmth streaming into her heart, for she has no attention to spare for her physical bodily discomfort, being inwardly overwhelmed by the wonderful beauty of this chill and frozen scene. Then the sun sinks further and further, the color fades out of the afterglow and the two friends fall into a deep slumber. One of them, the one who had been so acutely conscious of the cold in her bodily self, sinks into a sleep which might easily become fatal; the other sinks into a sleep in which we can recognize the influence of the emotion expressed in the words “How glorious,” which continues to warm her limbs and keep them full of life throughout her slumber. And she hears the youth who, born out of the glory of the afterglow, says to her these words, “Thou art Art”; and then she falls asleep. With her she took into her slumbers all the results of the impressions made upon her by the landscape which has been described; and a sort of dream mingled with her sleep. And yet it was not a dream, but in a certain way a reality, although of a unique kind akin to dreaming in its form. It was the manifestation of a reality which this woman's soul had barely been able to conceive before. For the experience that befell her was not a dream; it merely resembled one. That which she experienced may be described as “astral imagination.” And if we are to describe her visions we cannot do it otherwise than by setting forth in words the picture by means of which “imaginative” perception speaks. For the soul of this woman became aware at that moment what the event signalized. By the words of the youth, “Thou art Art,” can be described intimately only by clothing the experiences of the imaginative perceptions in words. Accordingly let us thus clothe the impressions received by the soul of that woman through the channel of this imaginative percept. The Dance When her inner senses awoke and she began to take note of her surroundings, she became aware of a remarkable figure—very different in appearance from that which purely physical experience would lead one to anticipate in a spiritual figure, for it was poor in those characteristics which recall the world of the physical senses. The only manner in which it called to mind the world of the physical senses was by its outline, which resembled three interlacing circles. The circles stood one upon another, much as if one were horizontal, another vertical, the third running from right to left; and the currents which flowed through these circles and made their presence known were not reminiscent of any impression received by the physical senses; rather did they recall something purely psychic, something which can only be compared with the impressions and feelings of the soul. But a something streamed out from this figure which can best be described by saying that it was like a deep and repressed inner sorrow concerning some event. When the soul of the woman observed this she made up her mind to enquire “What is the cause of thy sorrow?” and this is the answer which came to her from that figure belonging to the spirit world: “Indeed, I have a real reason for manifesting this emotion, for I belong to a high spiritual race. I appear to thee now just as a human soul would appear, but thou must soar far into the realms of the hierarchies to discover the place whence I come. My sorrow is that mankind on the other side of my life, in the physical world where at present we are not dwelling, has robbed me of the last of my off-spring. I have descended to this level from the higher hierarchies, but men have torn the last of my descendants from me, taken him to live among them and chained him to a rock-like structure, after making him as little as possible. Thereupon, this woman's soul felt drawn upon to ask, “Who exactly art thou? At this moment I can only describe things with the words which I remember as the result of life on the physical plane. How canst thou make me comprehend thy nature and the nature of thy offspring whom mankind has enchained?” And the Spirit answered: “Over yonder in the physical world men describe me as one of the senses—as quite a minor sense—which they call equilibrium, which has become quite little, and is composed of three incomplete circles attached to one another in the ear. This is my last tiny offspring. They have torn him from me into the other world, and taken away that which belonged to him here, namely, the power to move freely in any direction. Similarly they have broken each of the circles, and attached him firmly on each side to a base. In this realm—as thou seest me now—I am not attached: I show perfect circles which ever way you look at me; I am complete in every direction. Now for the first time thou seest my real form.” Thereupon the woman's soul felt compelled to ask, “In what way can I help thee?” The figure from the spirit world replied, “Thou canst only help me by uniting thy soul with mine, and bringing into me over here all that men learn during physical life yonder through the sense of equilibrium. Thou wilt then grow to be a part of me; thou wilt become as great as I am myself; in this way thou wilt liberate thy sense of equilibrium and raise thyself—a spiritually free being—above thy attachment to the earth!” And the soul of the woman did so. She became one with that figure of the spirit world. And in becoming one with it she became aware that she must carry out some purpose. So she put one foot in front of the other, changing repose into movement, and changing movement into dance, completed it as a form. “Now thou hast transformed me!” cried the figure from the spirit world. Now I have become that which I can only become through thy agency if thou continuest to behave as thou hast just been behaving. Now I have become a part of thee, and become so in a manner that men can have only guessed at my real being. Now I have become the art of dance. Because thou hast will to remain a soul and hast not united thyself with physical matter, thou hast been enabled to set me free. And at the same time thou hast, by thine ordered steps, led me up to the spiritual hierarchies to which I belong, to the Spirits of Motion; and thou hast led me to the Spirits of Form by grouping thy steps into a rhythmic pattern. Thou hast brought me myself to Spirits of Form. But at present thou mayest go no further; for wert thou to advance but one step beyond what thou hast already done for me all that thou hast done would become useless. For it is the Spirits of Form who are charged with the bringing about of everything in the earth's evolution. Wert thou to intrude upon the mission of the Spirits of Form thou wouldst destroy everything thou hast accomplished; for thou couldst not help falling into the reign spoken of as the “Furnace of desire” by those who on earth describe the appearance of the spiritual worlds. Thy spiritual dance would be transformed into one arising out of mad passion. So long as men act on their very slightest knowledge of me as exhibited in their dances of today. But by doing only what thou hast just done and by grouping them into form thou makest in thy steps a copy of those mighty measures performed by planets and suns in the sky in order first to create the physical world of the senses!” The Stage The soul of the woman continued to live on in this condition of consciousness. And another spirit figure approached her—also very different in appearance from that which men, with their physical sense-perception, usually conceive when they think of a spirit form. The figure which confronted her was so to speak, bounded by a horizontal plane and consisted of only two dimensions, but it presented one unique characteristic. Although it was bounded by a horizontal plane, the soul of the woman, being in the condition of imaginative perception, could behold both sides of it at once, and this figure showed two totally different aspects—one on one side and one on the other. Again the soul of the woman put a question to the figure, “Who art thou?” And this figure replied, “My home is in the higher regions. I have come down to the region known to you as the region of the spirit, and which here is called the Region of the Archangels. I have descended to this level and was obliged to do so in order to come into touch with the physical realm of earth. But mankind tore the last of my offspring from me and took him away; and over yonder they have imprisoned him in their own physical form, where they call him one of their senses and describe him as the sense of individual movement—as that living part of themselves by which they move their limbs and other portions of their body. And the soul of the woman asked, “What can I do for thee?” Thereupon also this figure said, “Make thine own being one with mine, so that thine own being becomes a part of mine!” The soul of the woman did so. And she became one with this spirit figure and slipped entirely into it. Once more did this woman's soul expand, waxing great and beautiful. And the spirit figure said to her, Behold, by doing this thou has won the ability to endow the souls of men upon the physical plane with a special faculty which is exercised by a part of that nature which the youthful messenger assigned to thee; for by doing this thou hast become what is known as the “Art of pantomime, the art of expression by mimicry.” And since the soul of this woman still kept a memory of her earthly form, for she had been asleep but a little while, she could pour into that form everything now contained in the figure before her. And she became the archetype of the art of acting. “But thou must only go a certain distance,” said the figure from the spirit world. “Thou mayest only pour into the form just what thou expressest by movement. As soon as thou pourest in thine own desires, thou wilt distort the form into a grimace, and the destiny of thine art will be cut short. That is what mankind has been doing over there. They have been putting their desires and passions into their mimic pantomime in order to express themselves; But thou must let only selflessness come to expression; thus thou becomest merged with the archetype of the art of acting.” Sculpture The soul of the woman continued to live on in this state of consciousness, and another spirit figure drew near which veritably made itself manifest only on one plane, moving only along a line. The soul of the woman observed that this spirit figure also, moving on one plane was sorrowing, and when she enquired ““What can I do for thee?” the figure replied, “My home is in higher regions, in loftier spheres. But I have descended through the realms of the hierarchies to the one known to thee through the care of occult science as the Region of the Spirits of Personality, of which men possess only a copy,” For this figure too had to confess that on coming into touch with humanity it had lost the last of its offspring. And the figure continued, “Men call the last of my offspring their vitality, their sense of being alive, as long as they are on earth, meaning that which makes them aware of their own personalities; that which permeates them in the form of a momentary mood or pleasure, and that which lends energy and persistence to their individual forms. But they have fettered this sense in themselves.” “What can I do for thee?” asked the soul of the woman. Once more the figure demanded, “Thou must make thyself a part of mine own being. Thou must abandon all human feeling of selfhood and dissolve thyself in my form—thou must merge thyself in me and become one with me!” And the soul of the woman did so. And she became aware that although the figure had an extension on only one plane, she herself was filled with power radiating in every direction, and that she was now completely occupying the body that she wore on Earth, the body she remembered and which appeared to her here the more radiant and beautiful in consequence. Then the spirit figure said, “By this act of thine thou hast attained to something which endows thee with another individual talent in the great domain after which thou hast been named. At this moment thou hast become that which mankind over yonder possesses, though only as a possibility; thou hast become one with the archetype of the Art of Sculpture” The soul of the woman became merged with the archetype of sculpture, and could now itself pour out a talent into the souls of men by reason of that which it had taken up into itself. By the aid of that Spirit of Personality she was able to pour this into the souls of men; she could do this in the form of talent. And by doing so she endowed mankind upon the earth with plastic fancy, with the ability to create in plastic outline. “But thou must not go a step further than thou hast gone! Thou must abide entirely within the limits of thy form. For that which is in thee may only be taken up as far as the Spirits of Form and the regions where they dwell. For if thou goest beyond, thou wilt function as the realm which arouses human passions; if thou dost not stay within the limits of noble form nothing good can possibly be wrought within thy sphere. But if thou abidest within the noble confines of thy form, thou canst pour into that form that which can only be realized in the distant future. And then, although humanity is far from having attained the bodies by means of which they can enact with purity of life that which to-day is given over to quite other forces within them, Thou wilt be allowed to show them what humanity will at some time experience in a purified state, upon the future planet of Venus, when their bodies will have become quite different from what they are now. Thou canst contrast them with the human forms of to-day, and show how pure and chaste the human form of the future is to be.” And out of the sea of changing figures in the imaginative perception there arose something resembling the archetype of the Venus of Milo. “Thou mayst go only a certain length in the moulding of form. The instant thou passest the boundaries of form even a little, as soon as thou destroyest the powerful personality whose office it is to hold the human form together, thou standest at the boundary of that which can be beautiful and a work of art.” And once more a form arose from the tossing waves of the changing sea of astral imaginative world. And it's aspect disclosed that its content had brought the human figure to the edge of the boundary where the form would break the coherence of the personality, where the personality would be lost is a step or two further were taken. And the form of the Laokoon arose out of the picture in the astral world. Architecture And the soul of the woman continued to enjoy new experiences in the world of imagination. A figure now drew near concerning which she knew, “This being is not to be found yonder on the physical plane; the physical plane contains nothing capable of manifesting it; I am becoming aware of it for the first time. There are so many things upon the physical plane which distantly recall this figure—but nothing so complete in outline as that which I see here.” It was a strangely austere figure which, in response to an inquiry of the woman's soul, announced that its home was in wide-flung regions, not merely in lofty ones, but that at present it was obliged to function in the realm of the hierarchies known as the Spirits of Form. “Mankind over yonder.” Said this figure to the soul of the woman, “has never been able to give an exact representation of me, or bring anything into being which exactly corresponds to me. For my form, as it appears here, does not exist on the physical plane. Therefore they had to break me into pieces, and only through my having been shattered by them I am able to lend thee certain faculties, if thou accomplishest that which thou canst accomplish by joining thyself to me and becoming one with me. By this means thou canst place a creative picture-making faculty in the souls of men. But because this faculty is torn to bits in the world of men the whole of it can only appear as scattered fragments which come up individually here and there. No part of me can be termed a human sense, and therefore mankind has been unable to bind me. They have only been able to tear me to pieces. From me too have they taken my last offspring; but they have torn him into pieces.” Once again—not shrinking for the moment from the sacrifice of being torn to pieces—did the soul of this woman unite herself with this spirit being. Thereupon the spirit being said to her, “Now thou hast once more become, through this act of thine, another individual faculty of that which thou hast been called as a whole; thou hast become the archetype of architecture, and of the art of building. Thou canst bestow upon mankind the archetype of architectural fancy, by pouring into their souls that which thou hast just attained. But thou wilt be only able to bestow upon them an architectural fancy showing them single ideas if thou wilt follow up these ideas by which they will be able to build structures having the effect of something spreading downwards from the spiritual world, such as the Pyramids represent.” “Thou wilt endow men with the ability to make what can only be a copy of what I am, by leading them to devote the science of building to the erection of a spiritual temple and not to the construction of something to be used for earthly purpose, and causing them to impress this character on its very exterior.” And now there appeared—as the pyramid had formerly arisen from the tossing astral sea—the Greek Temple. And another figure arose out of this tossing astral sea—a figure that did not strive downwards from above, seeking to broaden out below, but one that strove upwards, becoming younger the higher it ascended; a third figure into which architectural fancy had to be born:—the Gothic Cathedral. Painting And the soul of this woman continued to live on within the world of the imagination, and another figure came up to her, even stranger and still more remarkable than the preceding. Something streamed out of it which felt like the warmth of love, and something again that produced quite a chilling effect “Who art thou” said the soul of the woman. “I have a name rightly applied over yonder among those only on the physical plane who bring men intelligence from the spiritual world. They understand how to apply only my name correctly, for I am called intuition, and I come hither from a wide-flung realm. And inasmuch as I have taken my way from a wide-flung realm to come down into the world I may say that I have come from the realm of Seraphim!” This figure of intuition was of the nature of the Seraphim. And once more the soul of the woman said, “What dost thou desire me to do?” “Thou must unite thyself with me! Thou must dare to unite thyself with me! Then wilt thou be able to kindle in the souls of mankind on earth a faculty which again is a part of their inventive activity, and whereby thou wilt become an individual faculty in that whole which the youth earlier described thee as being” The soul of the woman resolutely undertook this deed, and by so doing she became something which was in actual fact very different and very remote from a human bodily figure, something which could have been appreciated only by one who has looked deep into the soul of man himself. For that into which the soul of the woman had been transformed could only be compared with something purely astral, something etheric within it. “Because thou didst this,” said the seraphic spirit figure named Intuition, “thou art now capable of endowing men with the faculty which consist of representing ideas in color, and thus hast become the archetype of the art of painting. Thou wilt therefore be able to kindle faculty in men; to bestow it upon one of their senses, the eye, which contains a property that in its thought-activity is not affected by the individual human ego—namely comprehensive outlook upon the outer world—now that thou thyself possessest the painter's gift for visualizing ideas in color. And through this sense men will be able to see, shining through the surface of things which appear lifeless and soulless to ordinary vision, their soul being. Men will be able through this faculty of yours, to animate with soul all the qualities of color and of form. Which they ordinarily discern upon the surface of things. Moreover, they will so make use of their art that soul shall speak through form, and that color shall not convey merely an external sense-impression, but that the color which they spread with magical skill upon their canvas shall relate something about the inner nature of color, just as everything having its origin in me passes outwards from the inmost recesses. Thou wilt be able to give men a faculty by means of which they can, by their own soul-light, carry even into lifeless nature, otherwise regarded as a mere soulless mass of forms and colors, the quality known as soul-motion. And thou wilt be able to give them the means of transforming that motion into repose, and so fixing the changeable aspects of the outer physical world. The fleeting momentary tints down which the glory of the rising sun noiselessly speeds—the colors to be found in lifeless nature—these thou wilt teach them to preserve!” And a picture rose out of the surging sea of imaginative world, a picture representing a landscape. And another picture rose up representing something else which the spirit figure explained by the following comment: “That which occurs in the experience of human life, whether the time be long or short, whether it takes place in a minute or an hour or in centuries, and which is concentrated into one short moment, that experience thou wilt teach men to record through this faculty which thou art bestowing upon them. Even when the past and the future cross each other with a mighty sweep, even when the two movements of the past and future collide, wilt thou instruct men how to record the instant of the collision as a point of undisturbed rest lying between them.” And out of the tossing world of imagination rose Leonardo da Vinci's picture The Last Supper. “But thou wilt have difficulties as well. And thy greatest difficulties will occur when thou allowest men to exercise this faculty of thine upon objects already possessed of movement and soul, objects into which they have already sent movement and soul from the physical plane. There it will be the boundary where the copy of the original archetype which thou art, can still be called “Art.” “Yet danger is close at hand. And out of the tossing sea of the imaginative world rose the Portrait. Music And the soul of the woman continued to live on in the imaginative world. Another figure approached her—a strange figure once again, and one resembling nothing to be found in the physical world—also one that maybe termed a “heavenly figure” and not to be compared with anything upon the physical plane. The soul of the woman asked, “Who art thou?” and the figure replied, I have on earth a name that is rightly employed by those only who bring messages to men from the spirit world; these people call me Inspiration. I come hither from a wide-flung realm, but my immediate abode is in the region known—where the spiritual world is spoken of among men—as the region of the Cherubim.” The figure from the realm of the Cherubim freed itself from the embrace of the imaginative world. Again to a question asked by the soul of the woman, “What can I do for thee? What am I to do?” it answered, “Thou must transform thyself into myself. Thou must become one with me!” Despite the danger attendant on such an action, the soul of the woman dissolved itself into the being of this Cherubim. And when she did this, she became still more unlike all physical forms which are to be found upon earth. While one could say of the former figure, “There is at least something having analogy with it to be found on earth,” one could only describe this figure by saying that it possessed a being utterly foreign to everything earthly and incapable of being compared with anything on earth. The very soul of the woman became quite unlike all earthly things; her appearance became such that one could see that she had herself passed over into a spirit realm, and belonged, with her whole being, to the spirit realm, which is not found in the world of the senses. “Because thou hast done this, thou canst implant a faculty in the souls of men. And when this faculty is absorbed into the souls of men on earth, it will live in those souls in the form of musical fancy. Men will have nothing they can take from outside, so far has thy faculty estranged them from the earth—they will have nothing external upon which to record the impression received by the soul itself beneath thy inspiring influence. They must fan those impressions into flame in a new manner by means of a sense with which they are familiar in quite a different connection. They will have to give a new form to the sense of tone; they will have to find the musical tone in their own souls, as if they were creating from heavenly heights! And when men create in this fashion, something will flow out of their own individual souls which will be like a human reflection of all that can only grow and blossom imperfectly in external nature. From the human soul will flow reflected forth the murmuring of the brook, the power of the wind, the roll of the thunder. It will not be a copy of these things, but something that will step forth as self-evidently a sister of all these beauties of nature which flow, as it were, out of unknown spirit depths. This is what will surge forth from out of the souls of men. They will be enabled to create something that will enrich the earth, which is new to the earth, that would not have come into existence without this faculty of thine—something that is like a seed for the future of the earth. And thou wilt confer on them the ability to express certain living emotions in their souls which never could be uttered if mankind were confined to their present endowments of thought and conception. All the feelings which cause human language to shrivel up, or which would freeze to death if they were dependent upon verbal conception would be sheer poison, will attain through thee the possibility of breathing out the innermost being of the soul over the circumference of the earth, upon the wings of song and ballad, and the imprinting upon that circumference something that would otherwise not be there. All complicated and profound emotions, all emotions existing like a mighty world itself within the human soul—emotions which could otherwise never come to external expression in such shape and which could only be experienced by exploring, by means of the human soul, universal history and cosmic space and all other realms shut out from external experience (for all the opposing currents flowing through centuries and millennia would have to flow into the picture in order to show what mankind has learned at one time and another)—all this can be compressed by men, through thy faculty and poured into a form which they have made their own—the musical symphony.” And the soul of the woman understood how one brings down what we call inspiration from the spirit heights of the world, and how this should be expressed by the normal human soul; she understood that this can only be expressed by musical sound. The soul of the woman now knew that if the occult investigator desires to describe the world of inspiration, and if this world is to be reproduced upon the physical plane by physical means so as to be more than a mere copy—if it is to be presented directly to human beings, this can only be accomplished through a musical work of art. And the soul of the woman understood how a musical composition could express such a stupendous event as Ouranos kindling his own emotion in the fire of Gaia's love, or how it could portray what happened when Kronos desired to illuminate his inner spirit nature with the light of Zeus! Such were the deep experiences attained by the soul of that woman through contact from the Cherubim. Poetry And the soul of the woman continued to live on into that which is called the imaginative world. And another figure approached her: once again very different from anything to be found upon earth. To the question of the woman's soul, “Who art thou?” this spirit figure replied, “My name is only used correctly by those in the physical world who declare spiritual events to men. For I am Imagination! My home is in a distant country, but from that far country I have betaken myself to that region of the hierarchies known as the region of the Spirits of Will.” “What can I to do for thee?” the soul of the woman once more enquired. This figure also demanded that the soul of the woman should unite its own being with this figure from the Spirits of Will. And once more the soul of the woman became very unlike the ordinary soul figure; she was transformed entirely into a figure of soul. “By doing this thou hast obtained the ability to breathe into the souls of men that faculty which men on earth know as poetic or lyric fancy. Thou hast become the archetype of poetic fancy. And through thee, men will be able to express in speech something they could never express if they were to cleave to the outer world with a desire to reproduce only what is found in the physical world. Thou wilt endow men with the ability to express through thy fancy all that comes into touch with their own will, and which could not be expressed in any other form or stream out of the human soul through earthly means. Thou wilt enable men to express this. On the wings of thy rhythm and thy meter and all the gifts thou wilt be able to offer to men, they will express things for which speech would otherwise be far too coarse an instrument. Thou wilt enable them to express that which otherwise could not be expressed at all.” And in the vision of Poetry there appeared the events of the centuries in the history of nations, and its inspiring effect upon entire races. “Moreover, thou wilt be able to compass something that could never be represented by any outward physical event. Thy messengers will be the skalds and the poets of all the ages. They will put into their epics the compact history of human epochs, and thou wilt be able to lend a magic life upon the stage to the forms assumed by the will when heated passions are arrayed against one another. Thou wilt now show, how men, fighting upon solid earth, would vie in vain, how the shock of conflicting passions brings death to one side and victory to the other. Thou wilt give men the possibility of dramatic art!” And the soul of the woman became aware at this moment of an inner experience such had only to be described by the use of our earthly expression “an awakening.” How did she come to awake? She woke up by becoming aware of what we may call reflected images of things not to be found upon the earth itself. She herself had become of one nature with imagination. That which lives on our earth as poetry is a reflection of imagination. The soul of the woman beheld the reflection of imagination in the art of poetry. And through beholding this she awoke. She had to forsake the dreamlike spiritual world, it is true, by reason of her awakening; yet she had come at any rate to a region that resembles—though it be but a lifeless reflection thereof—the spirit life of spiritual imagination. This is how she came to wake. And when she awoke she observed that the night had passed. Once more the snow-clad landscape lay stretching around her; the drifting icebergs were floating off the shore and the icicles hanging on the trees. But as she awoke she noticed the other woman lying by her side, nearly rigid with the cold she had endured without being inwardly warmed by the impression “Oh! How glorious!” which her companion had received from this snowy scene. The soul of the woman who had encountered all these experiences during the night now became aware that the other woman, who had nearly frozen to death from inability to receive impressions in the spirit world, was Human Knowledge! And she took charge of her in order to be able to bestow upon her some of her own warmth. She comforted and tended her, and the other woman gradually grew warm under the influence of what the soul of her companion had brought back as the result of her night's experiences. In the east the dawn heralding the sun's approach begins to spread over the landscape, and its glow grows rosier and rosier. And now that she is awake the soul of the woman who had met with these experiences during the night can behold and hear the things that human creatures all the world over speak about when they have had a dim inner intimation of realities that can be experienced in the world of the imagination. She hears amid the chorus of human voices the utterances sung by the noblest among them, representing their conjectures about matters upon which they are in no wise informed by imagination, but which they let pour out of the innermost depths of their soul as a beacon for mankind. She hears the voice of the poet who has apprehended the majesty of the experience that can come into the human soul out of the imaginative world. She understands now that she must act as the savior of what upon earth is half frozen knowledge; she understands that she must warm it and permeate it with her own nature, especially with her art nature, and that she must recount the memories of her dreams during the night to this half frozen knowledge. And she observes how that which was half congealed can thaw into life again with the speed of the wind, so soon as knowledge accepts in the form of perception that which is brought to it in the form of revelation. Once again she gazes into the dawn which becomes a symbol to her of the state out of which she has awakened, and a symbol also of her own imaginings. And she understands the lines of the poet who has sung so wisely as the outcome of his premonitions. That which her new spiritual powers sang to her now comes ringing from the whole wide earth:— Only through the dawn of Beauty |
271. The Sensible-Supersensible in its Realisation Through the Arts
15 Feb 1918, Munich Translated by Violet E. Watkin Rudolf Steiner |
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The endeavour has been made plastically to awaken this gesture which in the ordinary human being is kept under—not the gesture made by the soul but the one that is killed before it leaves the soul, the one held under by the life of the soul—and then to bring it to rest again. |
This something, a potentiality in every man but obviously held under by the higher life, is the asymmetry existing in us all—no-one's right and left sides being formed alike. |
It is clear, however, that this is the way to understand how in one particular sphere the colour, the sketch, can be so used in creative art that in its application is everything of which I said it is held under the spell of nature, and from this spell we free the super-physical, which is hidden in the physical and deadened by a higher life. |
271. The Sensible-Supersensible in its Realisation Through the Arts
15 Feb 1918, Munich Translated by Violet E. Watkin Rudolf Steiner |
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It was certainly out of a profound understanding of the world in general but above all out of a deep feeling for art, that Goethe coined the words: “The man to whom nature begins to reveal her open secret feels an irresistible longing for her worthiest exponent—art.” Without sacrificing any of the spirit in Goethe's words we may perhaps complete what he said by adding: “The man to whom art begins to reveal her secret feels an almost invincible antipathy towards her least worthy exponent, the science of aesthetics.” That science is not what I wish to dwell upon today. It seems to me not only true to the spirit of Goethe's words but wholly in sympathy with it if we speak of art and the experiences we can have, and may frequently have had, in connection with art, in the way we like to relate those we had, or still have, with a trusty friend. When human evolution is in question we speak of “original sin”. Today I don't want to enlarge upon whether the shadow-side of man's life—important as that side is—can be exhausted if we speak of original sin in the singular. But it seems to me that in connection with a perceptive feeling for art and the creations of art it is necessary to speak of two original sins. Certainly one of these is the copying, the reproduction of the physical, that is, of what belongs purely to the world of the senses. The other seems to me to be the wish to express, represent or reveal, through art, the super-physical,. But it becomes very difficult to approach art either perceptively or creatively if both physical and super-physical are rejected. Yet the following seems to me to be in keeping with a sound human feeling: Anyone wishing in art for the physical alone can hardly get beyond a refined form of illustration, imitation which may indeed be raised to the level of art but can never become true art. And it can well be said that it reflects a life of soul run wild when anyone is willing to be satisfied by the merely illustrative element, of copying the physical or what is given in any other way by the sense world alone. It is due, however, to a kind of possession—possession by one's own understanding and reason—when there is a desire for the embodiment of an idea, for the artistic embodiment of what is purely spiritual. Interpreting a world-conception poetically, or through pictorial art, is not compatible with cultured taste; rather does it correspond to a state of barbarism in man's life of feeling Art itself, however, is deeply rooted in life; were this not sort through the whole way in which it arises it would have no justification for existence. For in face of a purely realistic world-conception art must exhibit all manner of unreality and into it must play many of the illusions of life. It is precisely because art is obliged to introduce into life what for a certain understanding is unreal, that, in some way or other, its roots must go deep down into life. Now it may be said that from a certain boundary of perceptive feeling—from a lower boundary up to one that is higher, which in many people has to be first developed—artistic feeling in life makes its appearance everywhere. Even if not in the form of art itself this feeling arises when, in the ordinary physical existence met with in the world of the senses, what is super-physical and occult somehow makes its presence known. It arises within the super-physical, the result of pure thought, what is feelingly perceived and experienced in spirit—not by means of empty symbols or lifeless allegories but as if it would itself take on life in a physical form—lights up in a form that is perceptible to the senses. That what is ordinarily physical in everyday life has within it the super- physical, as if conjured there by magic—this is perceived by everyone who confines his mood of soul within the two boundaries mentioned. We can certainly say this: If I am invited by anyone into a room with red walls, I take something for granted about the red walls which has to do with artistic perception. When I am taken into a red room and am face to face with the man who invited me there, I shall have the quite natural feeling that he is about to tell me all kinds of interesting things. If he does not do so I shall feel that my being invited into the red room had something insincere about it and I shall go away dissatisfied. If anyone receives me in a blue room and by his chattering stops me from getting a word in edgeways, the whole situation will make me uncomfortable and I shall complain that in the very colour of his room the man has been lying to me. One is constantly coming across such things in life. On meeting a woman in a red dress we shall feel that she rings untrue if she seems shy; and a woman with curly hair will appear genuine only if rather pert and if she is not pert we shall feel disappointed. It goes without saying that things need not be like that in in life; it is right that life should lead us away from such illusions. But there is a certain limited sphere in our mood of soul in which our feelings tend in this direction. Naturally, too, these things are not to be taken as universal laws; they may be differently perceived by many people. The fact remains, however, that everyone in life, when confronting the external things of the sense-world, has a feeling that they contain, enchanted within them, what is spiritual—a spiritual situation, a spiritual attitude, a spiritual mood. It may really appear as if what is seen here to be a demand of our soul, and which so often in our existence affords us bitter disappointment, must call for a special sphere of life to be created for the satisfaction of these particular needs. This special sphere seems to me that of art. Art fashions out of the rest of life precisely what satisfies the tendency lying within the limits of perception mentioned above. Now it may be that we can fully realise what is experienced in art only by investigating more deeply the processes taking place in the soul, either in artistic creation or in the enjoyment of art. For we need only to have lived a little with art, we need only have made some attempt to get on intimate term with it, to find that the soul-processes in the artist and the lover of art we are about to describe are in a certain sense inverted yet in reality the same. What I am wanting to describe is experienced in advance by the artist; he experiences to begin with a certain process of the soul which then resolves itself into another process; whereas the man who just enjoys works of art experiences first the second process I refer to, and only afterwards the one from which the artist makes his start. Now it seems to me that the difficulty in approaching art psychologically lies in people not going deeply enough into the human soul to grasp what actually evokes the need for art. Perhaps ours is the first age fitted for giving clearer expression to this artistic need. For whatever we may think about a great many of the trends in the art of recent times, whatever we may think about impressionism, expressionism, and so on—the discussion of which often springs from a source that has nothing to do with art—whatever we may think about all this, one thing cannot be denied. We cannot deny that since these trends have prevailed, artistic perceptions, artistic life, out of certain regions of the soul far down in the subconscious and formerly not drawn from thence, have now been brought more to the surface of consciousness. Today there is of necessity more interest in the artistic and art-appreciating processes of man's soul—promoted by all the talk about things such as impressionism and expressionism—than was the case earlier, when the artistic concepts of the scholar were very far from what was actually living in art. In recent times, where the study of art is concerned, concepts, conceptions, have arisen which in a certain respect—at least in comparison with former days—come very near the creations of present-day art. The life of the soul is really infinitely more profound than is generally supposed. Few people have any idea that, subconsciously and unconsciously, the human being has in the depths of his soul a number of experiences seldom spoken of in ordinary life We have to go deeper down into this life of the soul to discover the mood lying between those two boundaries. Our life of soul swings, as it were, between the various conditions, which all more or less represent two different types. On the one hand there is in man's soul something that seems to surge freely from its depths, something that often torments it, though quite unconsciously. It is something that, when the soul is especially susceptible to the mood mentioned, has a constant urge to discharge itself into consciousness as vision—though this should not take place in the case of a soundly-constituted human being. Our life of soul, when it has a tendency to this mood, is always striving, far more than we recognise, to transform itself in the sense of this vision. A healthy life of soul consists simply in confining the wish for visions to the striving for them, so that they may never actually arise. This striving after the vision, which in reality exists in the soul of each of us, can be satisfied if we confront the soul with an external impression, an external form—for example, a work of sculpture—containing what is striving to arise but should not succeed in doing so when the soul is sound: the morbid vision. This work of art then, this outer form of what is thus striving to arise, will confine in a beneficial way to the depths of the soul what is actually wanting to become vision. We offer the soul, as it were from outside, the content of the vision, but we offer it a real work of art only if we are able out of our legitimate striving for the vision to divine what form, what plastic impression, we have to offer the soul to compensate for its longing after the visionary. I believe that many of the modern ways of approach which meet us in what is called expressionism get near this truth, and that explanations of them show a groping after what I have just been saying. People do not go far enough, however; they do not look sufficiently deeply into the soul, nor do they come to know that irresistible desire for that is visionary which is actually In the souls of us all. This is however, only the one side, and on becoming familiar with artistic creation and the appreciation of art, we can very well see how there is a source of artistic work which reflects this need of man's soul. But there is another source of art. The source of which I have just been talking lies in a certain constitution of the human soul, in its desire to have what is visionary as a spontaneous conception. The other source lies in this—that secrets magically conjured within nature herself can be discovered only by allowing oneself, not to make scientific assumptions which are not needed, but to perceive what these deep mysteries really are in the nature that surrounds us. These deep mysteries in nature around us, when spoken of, may perhaps appear very strange to the consciousness of present-day people. Yet there is something that precisely from our time onwards will make the kind of kind of mysteries to which I refer more and more recognized by the general public. There is in nature something which is not just the growing, sprouting life that delights the healthy souls in nature, there is also what we call death, destruction, what is constantly destroying and overcoming one life by another. Whoever is able to perceive this will also find—to make this excellent example—when confronting the human figure that this figure in its outer realisation in life, is all the time being killed by a higher kind of life. It is the secret of all life that there is ceaseless extermination of lower life by one that is higher. The human form, permeated as it is by the human soul, the human life, is continuously being killed, overcome, by this human life, this human soul. This happens in such a way that the human form may be said to bear something within it which, if left to its own life, would be quite different. It cannot pursue its own life, however, because within it a higher life, a life of another kind, is always deadening it. On approaching the human form the sculptor, if only unconsciously, discovers this secret through his perception. He finds that this human form is wishing for something that does not come to expression in the human being but is killed by a higher life, the life of the soul. The sculptor conjures forth from the human form what is not existing in the actual man, something missing in the actual man hidden by nature. Goethe perceived something of this kind when he spoke of “open secrets”. We can go further and say: This secret is underlying the wide realms of nature everywhere. Strictly speaking no colour, no line, appear in nature without something lower being overcome by what is higher. The reverse can also be true; the higher can be overcome by the lower. It is always possible, however, to break the spell and to re-discover what has thus actually been overcome—and this is what constitutes artistic creation. If , on reaching what has been overcome and then freed from enchantment, we know how to experience it in the right way, it becomes artistic perception. About this same artistic perception I should like to say something more precise. A great deal in Goethe's work still has to be brought to light, and that often contains truths very important from the point of view of man. Take Goethe's theory of metamorphosis which starts out with how, for example, the petals in a plant are merely transformed leaves, and which is then extended to all forms in nature. When once what lies in this theory is brought fully to light by a more comprehensive development of natural science than was possible in Goethe's day, when through an all-embracing perception nature has been unveiled, Goethe's theory of metamorphosis will be capable of fuller life and of far wider application. I may say that the understanding of this theory of his is still very limited; it is capable of wide extension. If we keep to the human figure the following may be said by way of illustration: Whoever studies the human skeleton finds, even when studying it quite superficially, that this human skeleton consists of two definite members; this might be carried further but would lead us too far afield for today. The skeleton consists firstly of the head, which to a certain extent merely rests on the remaining skeleton, and secondly of that remaining skeleton. Anyone sensitive to the metamorphosis of form, anyone. who can see how one form passes over into another—in the sense Goethe meant when he said the green leaf passes over into the colourful petal—will be able, on extending this mode of observation, to see that the human head is a whole, the rest of the organism another whole, and that one is the metamorphosis of the other, In a mysterious way the whole of the rest of man may be said—when suitably perceived—to be capable of transformation into a human head. And the human head is something which in a rounded and more developed form contains the entire human organism,. The remarkable thing is, however, that when we are capable of perceiving this when inwardly we are able really to transform the human head into the appearance of man himself, the result in both cases is something quite different, In the one case, when the head is transformed into the whole organism, something appears which shows man as a kind of ossified being, contracted, narrowed, driven throughout. into a sclerotic condition. If we let the rest of the organism work upon us so that it becomes head, we get something in appearance very unlike an ordinary man but reminding us of one only in the forms of the head, Something appears that in its growth shows no tendency to form the bony structure of the shoulder-blades, but aims at becoming wings, at spreading indeed above the shoulders, and from the wings. developing upwards over the head to appear like a kind of hood that is trying to seize hold of the head in such a way that what in the human form constitutes the ear is spread out and joined up with the wings, In short, there appears a kind of spirit-form and this spirit-form rests enhanced within the human form. This it is which, if we develop further the perception of what Goethe foreshadowed in his theory of metamorphosis, throws light into the mysteries of human nature. From this example we can see how nature in all her various spheres has the characteristic of striving—not abstractly but visibly, concretely—to be something absolutely different from what is presented to our senses. When our perceiving is thorough, nowhere do we have the feeling that any form, anything at all in nature lacks the possibility of developing beyond what it is into something quite different. Such an example as this shows particularly well how in nature one life is constantly being overcome, and even killed, by a higher life. We do not bring to visible expression what is thus perceived as a double man, as this twofold quality in man's growth, only because something higher, something superphysical, so unites these two sides of the human being, so balances them, that we have the ordinary human form, The reason why nature—not now in an outward, spatial way but inwardly and more intensively—seems to us so magical, so mysterious, is because in each of her works she is wanting to offer us more, infinitely mores than she can, and because she puts together her several parts, all that she organises, in such a way that a higher life swallows up the life inferior to it, allowing it only partial development. Whoever directs his perception to this, will everywhere find that this open secret, this magical quality running through the whole of nature is—like the inward striving after the vision, but here working from outside—what stir a man up to take his stand somewhere beyond nature, to choose something special out of the whole, and from there to let shine forth what nature is seeking to do in one of her works—what can become a whole but has not become so in nature herself. Perhaps I may mention here that in the Anthroposophical Society's building at Dornach, near Basle, an attempt has been made to realise in plastic form all that has just been indicated. We have tried to make a sculptural group in wood to represent what may be called the typical man; but this group represents the typical man in such a way that what otherwise is only tendency, and held in check by higher life, first comes to expression in the whole form only in gesture which is then brought back into a state of rest. The endeavour has been made plastically to awaken this gesture which in the ordinary human being is kept under—not the gesture made by the soul but the one that is killed before it leaves the soul, the one held under by the life of the soul—and then to bring it to rest again. Thus it has been sought first to set the resting surface of the human organism in movement through gesture and then to return it to a state of repose. Through this one came quite naturally to see that something had to be given greater prominence. This something, a potentiality in every man but obviously held under by the higher life, is the asymmetry existing in us all—no-one's right and left sides being formed alike. But when this has been given greater prominence and what is held together in a higher life has been set free, then with a slightly humorous touch it has to be united with another, higher stage; then it is necessary for what approaches us in a natural way from outside to become reconciled. It becomes necessary to atone artistically for the offence against naturalism—for this stressing of asymmetry and for this translating into gesture of various things which have then to be brought to rest again. This inner offence had to be atoned for by our showing, on the other hand, the overcoming brought about when, through metamorphosis, the human head passes over into the sombre, constricted form which, in its turn, is overcome by the representative of man. This form is at the feet of the representative of man and thus can be felt as member, as part of him. The other form we had to create in addition expresses what feeling demands when not the head but the rest of the human form becomes powerful—as indeed it is in life though held in check by higher life—when all that generally remains in a stunted state is too prolific in its growth; what, for example, is characteristic in the shoulder-blades, what unconsciously is in a man's very formation, in him as a certain Luciferic element, an element that strives to get outside man's essential being. If all that lies in the human form, as arising from impulses and desires, takes actual shape—whereas otherwise it is overrun by a higher life, by the life of the understanding, the life of the reason, which develops and comes to realisation in the human head—then this makes it possible for us to free nature from enchantment, to capture from nature its open secret, by ourselves separating again the parts which nature killed by making them into a whole. Thus the onlooker is obliged in his heart to bring about what nature has already done before him. Nature has done all this, she has brought harmony to man in such a way that his various single members are combined in a harmonious whole. By setting free what has been enchanted into nature, we at the same time break nature up into her super-physical forces. Then there is no need to seek through dry allegory, nor in a way that is intellectual and without artistic feeling, for any idea, anything thought out, anything purely superphysical and spiritual, behind the objects of nature. One just asks nature quite simply: How would you develop in your various parts were your growth undisturbed by a higher life? We come to the rescue of something superphysical that has been held in the physical by enchantment and free it from the physical bonds that held it spellbound. We actually come to be naturalistic in a supernatural way. I believe that in all the various tendencies and endeavours of recent times, still very much in an elementary stage, which call themselves impressionism, I believe we may perceive in all these the longing of our time really to discover and give shape to secrets of this kind, to this kind of physical-superphysical. For a feeling is abroad that what is actually accomplished in art—in artistic creation and in the appreciation of art—must today be raised into fuller consciousness than has been the case in former epochs. What is accomplished, namely, that a suppressed vision is appeased or that nature is confronted by something which repeats her process—this has always been striven for. Actually these are the two sources of all art. But let us go back to the time of Raphael. In his time the striving naturally took a different form from that of our day, of, for example, Cézanne or Hodler. What in art is represented by these two streams, however, has always been aimed at, though more or less unconsciously. But in former times it would have been looked upon as very primitive had the artist himself been unaware that in his soul something approaches nature, of a spiritual though unconscious kind, which when the artist seeks it in the physical-superphysical removes the spell from what has been enchanted into nature. Thus if we stand before one of Raphael's works we always have the feeling—if we are willing to attempt the interpretation of what otherwise remains in the obscurity of the subconscious without occasion for expression—the feeling that in this work of art we come to an understanding with something, and also indirectly with Raphael himself. About all this we may have the feeling (as I said, there is no occasion to speak of it even in our own soul) that we have been together with Raphael in a former life on earth, when we learned from him many things that have entered deeply into our soul, and that this centuries-old connection with the soul of Raphael had become entirely subconscious—suddenly, however, springing into life again as we stand in front of his works. We believe we are face to face with something that took place long ago between our soul and that of Raphael. From the artist of more recent times we get no such feeling, The modern artist leads one spiritually, as it were, into his studio; what there takes place comes very near to the level of consciousness and belongs to the immediate present. Because this longing, this need of the age, prevails, the rising conception that is actually a suppressed vision, seeks in our time satisfaction through art. On the other hand there meets us, though today in a rather elementary form, a breaking- up of what is otherwise union—an imitation of nature's own process. What infinite significance everything gains that recent painters have attempted in order to study the various colours, to study the light in its variety of shades, and to discover how, ultimately, every effect of light, every shade of colour, aims at becoming more than it can be when forced into a whole where it is killed by a higher life. What have they not attempted in order that, starting from a feeing of this kind, light should be awakened to life, treated in such a way as to set free what, when the light has to serve in bringing about the ordinary processes and happenings in nature, remains enchanted within light. We are only at the very beginnings of all this. From these beginnings, which today are the expression of a legitimate longing, it will probably be possible, however, to experience that something in the realm of art becomes a secret—a secret which is then revealed. When put into words this sounds rather trite but many things that sound so hide secrets; we have to draw near these secrets, especially to perception of them. What I am meaning here answers the question: Why is it impossible to portray fire and air? It is quite clear that in reality fire cannot be painted. No one could have the true perception of the painter who would want to paint the glittering, glowing life that is only to be held fast by the light. It should never enter the head of anyone to want to paint lightning—still less to paint the air! On the other hand we have to admit that everything contained in light conceals within it what is striving to become like fire, striving to develop in such a way that it says something, gives an impression of something welling up out of the light, out of each single shade of colour—just as human speech wells up from the human organism. Every effect of light wants to tell us something, every effect of light has something to say to some other effect of light nearby. In every effect of light there is a life which is overcome, deadened, by higher conditions. If our perception takes this path we discover what the colour feels, what the colour is saying, and what is being striven for in this age of “plain air” panting. If we discover the secret of colour this perception is widened and we find that, strictly speaking, what I have just been saying is perfectly valid; but not in the same way for all colours because the colours say very different things. Whereas the bright colours, the reds and the yellows, attack us and tell us a great deal, the blue colours take the picture more into the realm of form. Through blue indeed we enter form, enter essentially into the form-creating soul. We have been on the road to such discoveries but often we have stopped short halfway. Many of Signac's pictures seem so little satisfying—though in another respect they can give much satisfaction—because blue is always treated in the same way as, let us say, yellow or red, without any recognition that a patch of blue when next to yellow expresses something quite different in value from yellow beside red. This appears rather trivial to anyone with a feeling for colour, yet in a deeper sense people are only just beginning to discover such secrets. Blue, violet, are colours which take the picture right out of the realm of the expressive into that of the inner perspective. It is quite conceivable that, solely by the use of blue in a picture by the side of the other colours, one can produce a wonderfully intensive perspective without the aid of any drawing. It is possible to go further in this direction. We come then to recognise that a design might be called the work of colour itself., When anyone succeeds in putting movement into his use of colour so that, in a mysterious way, the design follows the guidance of the colour, he will notice that this is particularly the case with blue. It is less so with yellow and red for it is not in their nature to be led in that way to inner movement, to move from one point to another. If we want to have a form inwardly in movement—in flight, for instance—a form which by reason of its inner movement at one time becomes small inwardly, at another big, a form moving in fact within itself, then without having recourse to any rational principle or any, never justifiable, intellectual aesthetics, but proceeding from a quite elementary feeling, we shall find ourselves absolutely obliged to use and bring into movement various shades of blue. We shall notice that in reality a line is able to come into being, the design able to make its appearance, definite form to arise, only when we continue what we began when setting the blue colour into movement. For every time we pass from the realm of painting, of working in colour, to that of outline of form, we carry the physical over into what is essentially superphysical. Passing from the bright colours through the blue and from there somehow inwardly into the picture, we shall have in the bright colours the transition to a physical-superphysical, which may be said to contain a slight superphysical tone: this is because colour always has something to say, because colour has soul that is always superphysical. We shall then find that the further we go into the realm of drawing the more we enter the abstract superphysical, which, however, because it makes its appearance in the physical must take to itself physical form. Today I can give you only an indication of these things. It is clear, however, that this is the way to understand how in one particular sphere the colour, the sketch, can be so used in creative art that in its application is everything of which I said it is held under the spell of nature, and from this spell we free the super-physical, which is hidden in the physical and deadened by a higher life. How, if we look at plastic art we shall find that here both for plane surfaces and lines, there are always two interpretations only one of which, however, I shall be speaking about. To begin with, right feeling will not suffer the plastic surface to remain what it is, for example in the ordinary human form; there it is killed by the human soul, by the life of the human being, thus by what is higher. When we have first drawn out, spiritually, the life of the soul in the human form, we have then to seek the life of the surface itself, the soul of the soul of the form itself. We see how this is to be found if we do not bend the surface once only but a second time as well, so that we get a double curve. We notice how in this way we can make the form speak, how, deep in our subconscious, as opposed to what I have shown to be more an analysing tendency, there is also a tendency that is synthetic. The physical nature falls into what is genuinely physical-superphysical, which is overcome only by the higher stages of life. Inside those barriers of the soul of which we have spoken, we have as instinctive urge to free nature from enchantment in this way, in order to see how the physical-superphysical lies hidden in nature in as many different forms as, shall we say, crystals in their rock bed, which because they are in that rocky bed have their surfaces worn down. But a man has within him, often very decidedly so, just when in his subconscious this cleavage, this analysing, this breaking down of nature into the physical-superphysical is very pronounced—he has within him the faculty that may be called aesthetic synthesis, a tendency to synthesize in art. The strange thing is that anyone with a capacity for rightly observing his fellow men will discover how they always use one of their senses in a very one-sided way. When with the eye we see colours, forms, effects of light, we are giving the eye a most one-sided development. In the eye there is always something resembling the sense of touch; the eye while looking is, at the same time, always feeling. In ordinary life this is suppressed. Because the eye is given this one-sided trend, however, if we are able to perceive such things, we still find the urge in us to experience what is thus suppressed, namely, what the eye develops as a sense of feeling, a sense of self, a sense of movement when we move through space and feel the motion of our limbs. What in the eye is thus suppressed of the other senses, we feel—although it remains quiescent—to be aroused by looking at the other man, What is thus aroused by what we see, what, however, is suppressed by the one-sided trend of the eye, it is this that is given form by the sculptor. The sculptor actually models forms which the eye indeed sees but sees so dimly that this dim vision remains in the subconscious. The sculptor makes use of that point where the sense of touch is just passing over into the sense of sight. Therefore he must, or will anyway try to, reduce the quiescent form, which to the one-sided eye is only an object, to reduce this form to gesture that is always inciting imitation of itself, and then to bring back this gesture, that has been thus conjured up, into a state of rest. In reality what in one direction has been aroused and in another direction brought again to rest, what when we create or enjoy artistic work is active in us as a process of the soul, is always, from one aspect, like a man's in-breathing and out-breathing in ordinary life. This process drawn up from the human soul has, at times, a grotesque effect, although on the other hand it promotes a feeling of the vastness, the endlessness, of all that has been enchanted into nature. The development of art—we see this in certain attempts made in recent decades and especially in those of today—moves altogether towards penetrating these secrets and more or, less unconsciously putting such things into form. There is no need to talk much about them; they will increasingly find expression through art. We shall perceive, for example, the following. In the case of certain artists it can indeed be said that more or less consciously or unconsciously they have perceived something of this kind—we understand the recently-deceased Gustave Klimt, for instance, particularly well if we allow such assumptions to hold good for his perceptions and his reason. Some day the following will be perceived. Let us suppose someone were to feel the desire to paint a pretty woman. There must then take shape in his soul some kind of image of her. Anyone, however, who is sensitive can perceive that, the moment he has made this fixed image of her, he has inwardly, spiritually, super-physically deprived her of life. The very moment we decide to paint a portrait of a pretty woman we have spiritually given her over to death, we have taken something away from her. Otherwise, we could look at the woman as she is in life, we would not give shape in our picture to what it is possible to present there artistically. For artistically we have first to kill the woman; then we must be able to bring to bear that light touch of humour in order inwardly to call her back to life. Now anyone with a naturalistic approach cannot do this; naturalistic art suffers from the inability to adopt this lighter touch. Naturalistic art therefore offers us a great deal that has no life, that kills all that is higher in nature; and it lacks that light touch needed for giving renewed life to what in the first place it has to kill. In the case of many charming women it appears indeed as if they had not only been secretly killed but maltreated beforehand. This deadening process always moves in one direction and is connected with the necessity for creating anew that which, on a higher level of life, overcomes in nature what is striving for existence There is always first a deadening, then through this lighter mood a giving of fresh life. This process must take place both in the soul of the creative artist and in that of the art-lover, Anyone wishing to paint some cheery young mountain-peasant has no need to make a faithful copy of what he sees; he must above all be clear that his artistic conception has killed the young peasant or anyway benumbed him and that he must awaken fresh life in this stiff image by fashioning him in a way that brings him into new connection with the rest of nature. This was attempted by Hodler and. is entirely in sympathy with what artists are longing for today, These two sources of art can be said to represent very deep needs, subconscious needs, of the human soul. The satisfying of what would become actual vision, but is not permitted to do so in a man of a sound nature, this always develops more or less into the form of art called expressionism—though the name is not of importance. What is created with the purpose of re-uniting what in some form has been broken up onto its physical-superphysical constituents, or has been deprived of its immediate physical life, will lead to impressionism. These two needs of the human soul have ever been the source of art; and by reason of man's general development in recent times, the first of these needs has taken the expressionistic path , the second the impressionistic. In all probability as we hasten towards the future this will increase very much. If our perception is extended, and not just our intellectual consciousness, the art of the future will be perceived as the intensifying particularly of these two trends. These two trends—and this must be constantly emphasized if we are to avoid certain misconceptions—do not represent anything in the least unsound. Men will fall into an unsound condition if, between those two boundaries, the healthy, primitive and natural pull towards the visionary is not satisfied through artistic expression. Or they will do so when what is always going on in the subconscious, namely, the breaking down of nature into what is physical-superphysical in her is not, through the true touch of artistic humour, constantly permeated by a higher life so that they are enabled to recreate in their artistic work what is creatively brought to expression by nature. I firmly believe that the processes of art lie in many respects extremely deep in the subconscious, yet in certain circumstances it can be important for life to have living, telling conceptions of the artistic process such as have an effect upon the soul that no weak conceptions can exercise, conceptions which flow actually into the feeling. When in accordance with feeling these two sources of art hold sway in the human soul, we shall certainly realise out of what sound perception Goethe spoke when at a certain moment of life (such things always savour of one-sidedness) he felt the pure, genuine, artistic nature of music: “Therefore music represents what is supreme in art, because it has no possibility of imitating anything in nature, being in its own element both content and form.” (As I said, this is one-sided, for every art can reach these heights; but characterizations are always one-sided.) Every art, however, in its inherent element becomes its own content and form, when it does not wrest nature's secrets from her by subtle reasoning but discovers in the way indicated today, the physical-superphysical. I believe that in the soul there often takes place a quite secret process when we become aware of the physical-superphysical in nature. It was Goethe himself who coined the expression “physical-superphysical”; and in spite of his having called the secret “open” it can be discovered only when subconscious forces of the soul are able to sink themselves deeply into nature. What is visionary comes into being in the soul because the superphysical experience is pressing to discharge itself, is surging up out of the soul. The outward experience that is spiritual experience, not through vision—which in spiritual science is purified till it becomes Imagination—but through Intuition. Through the vision we place what is within us to a certain degree outside, so that the inner becomes in us the outer. In Intuition we go outside ourselves—step out into the world. This stepping out, however, remains an unreality as long as we are unable to set free what is spell-bound in nature and is always wishing to overcome nature by a higher life. If we made our way into what belongs to nature when this is freed from enchantment, we then live in Intuitions. In so far as these Intuitions prevail in art, they are indeed connected with intimate experiences possible for the soul when, outside itself, it is united with external things. This is why Goethe, out of his actual, highly impressionistic art, could say to a friend: “I will tell you something that can explain people's attitude to my work. It can be really understood only by those who have had the same kind of experience as myself, those who have been in a similar situation.” Goethe already possessed this artistic perception. This is apparent poetically in the second part of his Faust, which up to now has met with but little understanding. He was able artistically to perceive that the physical-superphysical is to be sought in the recognition of how each part of nature is striving beyond itself to become a whole, through metamorphosis to become something different; it comprises with this something different, a new product of nature but is then killed by a higher life. When we thus penetrate into nature we come to true reality in a much higher sense than ordinary consciousness believes. What we here come to is the most conclusive proof that art has no need either to make merely a faithful copy of the physical or to bring to expression the superphysical, the spiritual, alone That would mean erring in two directions, But what art can shape, can express, is the physical in the superphysical, the superphysical in the physical. It is perhaps just this that constitutes man's naturalism in the truest sense of the term—that he recognises the physical-superphysical and can grasp it precisely through his being at the same time a super-naturalist. Thus, real artistic experiences can, I believe, be developed in the soul in such a way that they arouse understanding of art, appreciation of art, and that a man is enabled indeed to train himself to a certain extent to live in art as an artist. In any case a profound study of this kind of the physical-superphysical, and its realisation through art, will make Goethe"s words comprehensible—words arising out of deep perception and wide understanding of the world, words with which I began this lecture and now bring it to a close. These words will give a comprehensive picture of man's relation to art when once we are able to grasp in all its depths the relation of art to what is genuine, superphysical reality. Because human beings can never live without the superphysical, they will through their own needs be brought to realise more and more the truth of what Goethe has said: “The man to whom nature begins to reveal her open secret feels an irresistible longing for her worthiest exponent—art.” |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Goethe's “Faust” from the Point of View of Spiritual Science
23 Jan 1910, Strasburg Rudolf Steiner |
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The second part was sealed at his death, like the great testament he had to give to humanity. It is a momentous document. We can only understand this document if we follow Goethe a little, as he himself sought to struggle towards knowledge. |
Then that appears to him which appears to everyone who undergoes development: the worry that approaches everyone who still has selfish aspirations within them and which does not allow them to ascend into the spiritual world. |
It may appear pedantic when I state here something that one must know to understand the final words. Goethe spoke somewhat unclearly in his old age because he was toothless. |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Goethe's “Faust” from the Point of View of Spiritual Science
23 Jan 1910, Strasburg Rudolf Steiner |
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Spiritual science that wants to live into the modern cultural current does not want to be something new and precisely in this way differs from the many world views and other schools of thought that come forward and believe that they can prove their right to exist by claiming to bring something new to this or that question of spiritual life. In contrast to this, the subject that is called spiritual science should emphasize that the sources of its knowledge and its life have been present in the same way at all times when people have thought and striven for the highest questions and riddles of existence. I have often been able to emphasize this, also in this city, when I had the honor of speaking in previous lectures. It must now be particularly appealing to consider not only the various religious beliefs and world views that have emerged in the development of humanity from this point of view, but also to look at personalities who are close to us from this perspective. For if something is to be true in spiritual science, then at least a kernel of this truth must be found in all those who have honestly and energetically striven for knowledge and for a dignified human existence. Now when spiritual science is discussed today, the most diverse judgments are asserted from one side or the other, and those who have not penetrated deeper into the corresponding field, who have gained a superficial knowledge from these or those lectures or pamphlets, will, depending on his point of view, regard this spiritual science as the fantasy or reverie of a few unworldly people who have strange ideas about life and its foundations. It must be fully admitted that, if one does not look more closely, such a judgment may seem understandable, because although today we are not talking about a specific topic, it should be pointed out that some of the main insights of this spiritual science are based on a special theme. And as soon as these are mentioned and characterized, our contemporaries may well feel, in all honesty, “What curious stuff is this?” On the whole, spiritual science, if taken seriously, is based on the premise that what surrounds us in the sensual world, what we can perceive with our senses, what we can grasp with the mind that is bound to our senses, is not the whole world, but that behind everything that is sensual lies a spiritual world. And this spiritual world is not in an indefinite hereafter, but is always around us, just as the phenomena of color and light are also around the blind. But in order for us to know about something that is around us, we need to have an organ to perceive it. And just as the blind man cannot see color and light, so too, as a rule, people in our age with normal abilities cannot perceive the spiritual facts and beings that are around us. But when we have the good fortune to operate on a blind person, then there comes for him the moment of the awakening of the eye, and what was not there for him, light and colors, now floods into his inner being. From the moment of his operation, this is a perceptible world for him. In the spiritual realm, there is a higher awakening, the awakening through which a person becomes initiated into the spiritual world. To speak with Goethe, there are spiritual eyes and ears, but as a rule, human souls are not ready to use them. But when we apply the means and methods by which these powers come into existence, then something happens in us on a higher plane, as when a blind person is operated on and is then flooded with the world of colors and light. When a person's eyes and ears are opened, he becomes awakened. A new world is around him, a world that was always there, but which he can only perceive from the moment of awakening. But then, when a person is ready, he learns to make various insights his own, insights that brighten life, insights that can give us strength and security for our work, that enable us to see into the essence of human destiny and the secrets of fate. And only one of these insights will be discussed here, one of those insights that, if not crazy, must often seem strange and dreamy to today's people. It is an insight that is nothing more than the revival of an ancient process of knowledge, its continuation in a higher realm, a truth that was only recently attained for a lower realm. In general, humanity has a short memory for great events in the spiritual world, and that is why so few people today remember that in the 17th century not only laymen but even scholars believed that lower animals, even worms and fish, would develop from river mud. It was the great naturalist Francesco Redi who first pointed out that no earthworm or fish grows out of dead river mud unless an earthworm or fish germ is present in it beforehand. He stated that life can only come from life, and from this it can be seen that it is only an inaccurate way of looking at things to believe that a fish or worm can grow out of lifeless river mud. A closer examination shows that we have to go back to the living germ, and that this living germ can only draw from its environment the forces that are there to bring to the greatest development what is alive in the germ. What Redi said, that living things develop only from living things, is taken for granted by science today. When Redi uttered these words, he only just escaped the fate of Giordano Bruno. Such is the way of the development of humanity. First, a truth must be so hard won that those who first express it are branded as heretics. Then it becomes a matter of course, the common property of humanity. What Redi did for natural science should be done for the spirit through spiritual science today, by transferring the sentence that Redi pronounced for natural science from the knowledge of the awakened spiritual eye and spiritual ear to the soul realm. And there this sentence means: The spiritual and soul can only arise from the spiritual and soul. This means that it is an inaccurate way of looking at it when we see a human being come into existence, to believe that everything that comes into life comes only from the father and mother and the ancestors. Just as we have to go back from the developing earthworm to the living earthworm germ, so we have to go back from the human being, who develops from the germ into a specific being, to an earlier spiritual existence, and we have to realize that this being, which comes into existence through birth, draws from its bodily ancestors only the strength for its development, just as the earthworm germ draws strength from its inanimate surroundings. And in a corresponding extension, this sentence: Living things can only come from living things, leads to the other sentence: The present life, which comes into existence through birth, not only leads back to physical ancestors, but through the centuries back to an earlier spiritual-soul. And if you delve deeper into it, you will see that it is scientifically shown that there is not just one, but repeated lives on earth, that what is in us now between birth and death is the repetition of a spiritual soul that was already there in earlier stages of existence, and that our present life is in turn the starting point for subsequent lives. Spiritual-soul-like comes from spiritual-soul-like, goes back to spiritual-soul-like, which was there before birth, which descends from the spiritual world and lives in physical embodiments. We now see something completely different when, for example, we as educators are confronted with a child who gradually develops his powers. At birth we see something indeterminate on his face, how something unfolds from within, ever more distinctly and distinctly, which does not come from heredity but from previous lives. We see how this center of the spiritual soul unfolds more and more from birth through talents. Today, spiritual science has something to say about repeated lives on earth. Today it may be a mere reverie, as what Francesco Redi said in the 17th century was considered a mere reverie. But what is considered a mere reverie today will become a matter of course in the not too distant future, and the sentence: spiritual-mental comes from spiritual-mental, will become common knowledge for humanity. Today, heretics are no longer treated as they were in the past. They are no longer burned at the stake, but they are considered fools and dreamers who speak out of random fantasy. They are ridiculed, and those in the know sit in the high chair of science and say that this is not compatible with real science, not knowing that it is true, genuine science that demands this truth. And now we can cite a hundred and a hundred such truths that would show us how spiritual science can illuminate life by showing that there is an immortal essence in man that passes through death into the spiritual world and, when it has fulfilled its destiny there, returns to physical existence to gain new experiences, which it then carries up through death into the spiritual worlds. We would see how the ties that are woven from person to person, from soul to soul in all areas of life, those traits of the heart that go from soul to soul and cannot otherwise be explained, can be explained by the fact that they were formed in previous life circumstances. And just as the spiritual bonds we weave today do not cease when death draws over existence, but just as what passes from soul to soul as bonds of life is immortal like the human soul itself, how it lives on through the spiritual world and will revive again in other, future earthly conditions and new embodiments. And it is only a matter of development that people will also remember their earlier experiences on earth, what they have gone through spiritually and soul-wise in earlier lives and states of existence. Such truths will become established in human life in the not too distant future as necessary things, and people will gain strength and hope and confidence from such conditions. Today we can only see that a few individuals in the world are drawn by their healthy sense of truth to what spiritual researchers have to proclaim from their experiences in the spiritual world. But spiritual-scientific knowledge will become the common property of mankind and will be assimilated by those who earnestly seek the truth. And those who have trodden the paths of earnest seekers after truth have always, in all that they have offered to mankind, developed the great wisdom and knowledge that spiritual science brings again today. An example should arise before our soul in a personality that is close to our modern life: the example of Goethe, and with him again that which occupied him as his most comprehensive and greatest work throughout his life: his “Faust”. If we approach Goethe and try to illuminate his striving with what spiritual science can give, we can actually start quite early on. One can say that from his entire disposition, one recognizes in Goethe how there was soul and spirit in him. Everything that pushes one to seek a spiritual element behind the phenomena of the sensual world was an early predisposition in him. There we see the seven-year-old Goethe, who could have absorbed ordinary ideas from his surroundings, as a boy can absorb them, for his first soul perception. That does not satisfy him; he recounts it himself in 'Poetry and Truth'. There we see how the seven-year-old boy begins something quite remarkable to express his yearning for the divine. He takes a music stand from his father's collection and makes an altar out of it, placing all kinds of minerals and plants and other products of nature on it, from which the spirit of nature speaks. The boy's soul builds an altar, puts a little incense on it, takes a burning glass, waits for the morning sun to rise, collects the first rays of the rising sun with the burning glass, lets them fall on the little incense, so that the smoke rises. And in his later years, Goethe remembers how, as a boy, he wanted to send his pious feelings up to the great god of nature, who speaks through minerals and plants, who sends us his fire in the rays of the sun. This grows with Goethe. We see how, at a more mature stage – but still out of a yearning soul, as it lives in Goethe – after he comes to Weimar and is appointed by the duke as his advisor, how this feeling for the spirit that speaks through all of nature is expressed in the beautiful prose hymn. There he says: “Nature, we are surrounded and embraced by it, unable to step out of it and unable to get deeper into it. Unwarned and uninvited, it takes us into the cycle of its dance and carries on with us until we are tired and fall into its arms. We have not done what we do, she has done everything; she is constantly thinking and pondering, looking at the world with a thousand eyes.” And again later, in the beautiful book about Winckelmann, ‘Antiquities’: ”When man's healthy nature works as a whole, when he feels in the world as in a great, beautiful, dignified and valuable whole, when the harmony of pleasure gives him pure, free delight: then the universe, if it could feel itself, would exult in reaching its goal and admire the summit of its own becoming and being. Thus Goethe felt, like everything that lives and moves outside in nature, a resurrection celebrating from the human soul, and like a higher nature, a spiritual nature is brought forth from the spirit and soul of man. But it took Goethe a long time to fully grasp the spiritual realization of nature. And there is no clearer or more obvious example of how Goethe was a lifelong seeker who never rested or paused, always striving to reshape his knowledge and reach higher levels, than his life's poem, “Faust.” From his earliest youth, he had begun to put everything that filled his yearning and intuitive soul into his poem; and as an old man in his later years, shortly before his death, he completed this poem, on which he had worked for over fifty years and into which he had put the best of his life. The second part was sealed at his death, like the great testament he had to give to humanity. It is a momentous document. We can only understand this document if we follow Goethe a little, as he himself sought to struggle towards knowledge. For example, there is the student Goethe at the University of Leipzig. He is supposed to become a lawyer, but that is of secondary concern to him. Even then, the young student was possessed by an invincible urge to fathom the secrets of the world, to seek the spiritual. He therefore immerses himself in everything Leipzig has to offer in the way of knowledge about nature. He seeks to eavesdrop on what nature has to say to us in its phenomena, to eavesdrop on the world's riddles of existence. But Goethe needed, in order to rework what natural science could offer him, to re-melt it in his soul to that all-powerful urge of his inner being, which does not seek abstract knowledge but warm hearted a great experience, an experience that really leads the human being to that knowledge which is the gate toward which we intuitively look, the gate that closes for today's normal human being, the invisible, the supersensible: the gate of death. At the end of his student days in Leipzig, he experienced death. A serious illness had prostrated him, brought him close to death. For hours and days he had to face the fact that at any moment he could pass through that mysterious portal. And the mysterious, impetuous urge to understand demanded the utmost seriousness in the pursuit of knowledge. With this newly formed attitude of knowledge, Goethe returned to his native city of Frankfurt. There he found a circle of people, headed by a woman of great and profound talent: Susanne von Klettenberg. Goethe created a wonderful monument to her in his “Confessions of a Beautiful Soul”. He showed how this personality, to whose spiritual world he had such close access at the time, contained something that can only be described as a soul. In Susanne von Klettenberg, there lived a soul that sought to grasp the divine within itself in order to find, through the divine within itself, the spiritual that lives through the world. Goethe was introduced at that time by the circle to which this lady belonged, to studies that, if you, as a truly modern person, let them have an effect on you today, seem crazy. Goethe immersed himself in medieval writings. Those who pick them up today cannot do anything with them. When you see the strange signs in them, you ask yourself: what is the point of this in the face of science's modern quest for truth? — There was a book called “Aurea catena Homeri”, “The Golden Chain of Homer”. When you open it, you find a strange symbolic illustration: a dragon at the top in a semicircle, a dragon full of life, bordering on another dragon, a withering dragon dying within itself. All kinds of signs are linked to it: symbolic keys, two interlocking triangles and the planetary signs. To our contemporaries this is fantasy, to today's science it is fantasy, because one does not know what to do with these signs. Goethe senses in his intuition that they express something, that one can do something with them when one looks at them. They do not immediately express something that can be found here or there in the world. But if you let these signs take effect on you, by memorizing them so that you become deaf and blind to your physical surroundings, only letting these signs take effect on you, then you experience something very peculiar, then you experience that the soul within itself senses something that was dormant before, like a spiritual eye that opens. And if you have enough stamina, you will grasp what you can call meditation, concentration, which will develop your soul to such an extent that you will actually undergo something like an operation of the spiritual eye, through which a new world will open up. At that time, a new world could not yet be opened up for Goethe; he was not yet that far. But what came to life in his soul was the inkling that there are keys to this spiritual world, that one can penetrate into this spiritual world. One must visualize this mood; the vivid sensation, the vivid feeling: something is being stirred in me, something is coming to life; there must be something that leads into the spiritual world. But at the same time he senses: he cannot yet enter it. If Goethe had ever been identical with Faust in his life, we would say: Goethe was in the same situation in which Faust appears at the beginning of the first part, when Faust, after having studied the most diverse fields of human science, opens books in which there are such signs and feels surrounded by a spiritual world, but cannot enter into the spiritual world. Goethe never felt identical with Faust. Faust was a part of him, but he outgrew what was only a part of himself. And so, what went beyond Faust in Goethe grew because he, fearing no discomfort, always strove further and further, saying to himself: “One does not get behind the secrets of existence in a flash , not by incantations and formulas, but by patiently and energetically penetrating, step by step, in a truly spiritual and soulful way, whatever comes our way in the physical world. — It is easy to say: “What is higher knowledge must be absorbed by the soul.” This higher knowledge must penetrate the soul, but it only takes on its true form when we strive with patience and perseverance to get to know the real phenomena of the physical world step by step and then to seek the spiritual behind these phenomena of the physical world. But with what Goethe took with him from his time in Frankfurt, he was able to summarize everything else, he was able to see everything in a different light. Goethe came from Frankfurt to this city, Strasbourg. We could cite many things that led him higher here. But what is particularly characteristic is how that which has such great significance in this city came before his soul: the cathedral, the minster. At that time, the idea of this wonderful building presented itself before Goethe's soul, and he understood why every single line is as it is. He saw with spiritual vision, with the vision gained through his immersion in Frankfurt, every triangle, every single angle of this significant building as belonging to the whole, and in his soul the great idea of the master builder celebrated a resurrection, and Goethe believed he recognized what had flowed into this building as a thought, as an idea. And so we could cite many instances of what had entered this soul as an inner vision and what it had taken up from external world processes entering into a marriage in Goethe's soul. Therefore it is not surprising that when he later came to Weimar, he took up natural science from a new angle, botany, zoology, bone theory and so on, in order to consider everything like letters that together make up the book of nature, leading into the secrets of existence. This is how his studies of plant development and the animal world came about, which he later continued as a student, only that he sought the spirit behind the sensual phenomena of existence everywhere. Thus we see how, during his Italian journey, he regarded art on the one hand and natural objects on the other, and how he observed the world of plants in order to recognize the spirit that reigns in them. The words he wrote to his friends, while he was engaged in this kind of spiritual natural science, are great and beautiful. He said: Oh, here everything presents itself to me in a new way; I would like to travel to India to look at what has already been discovered in my own way. — That is to say, as his development demanded, according to the indications we were able to give. And so we see how he also looks at the works of art that come to him. He writes in a letter: “This much is certain: the ancient artists had just as great a knowledge of nature and an equally sure concept of what can be imagined and how it must be imagined as Homer. Unfortunately, the number of works of art in the first class is all too small. But if one also sees these, one has nothing to wish for but to recognize them correctly and then to go there in peace. These lofty works of art are at the same time the highest works of nature, produced by man according to true and natural laws. All that is arbitrary and imaginary collapses; there is necessity, there is God.” Just as the great spirit of nature spoke to the seven-year-old boy from the altar he had erected, so the great spirit of the existence of the spiritual world spoke to him from these works of art, which he regarded as a unity. Thus Goethe gradually arrived at the contemplation of the individual in energetic, devoted work. Then he could calmly await the moment when a real insight into the spiritual world leaped out of his observations, a true spiritual science, which then confronts us, artistically transformed and reworked, in his “Faust”. Thus the first sections of Faust that were written have all the atmosphere of a man who senses the secrets of existence but is unable to penetrate these secrets. We see how Faust allows the signs to take effect that surround him with spiritual reality, but we also see how he is not yet mature enough to really feel this spiritual reality. These are the sentences where Faust, as the Nostradamus aura, allows the signs of the macrocosm and the earth spirit to take effect on him, where the spirit of the earth appears before him. Faust characterizes the earth spirit in wonderfully beautiful words. We see how he senses that what the planet Earth is, is not simply the physical sphere that natural science regards it as, but rather, just as the body contains a soul, so the Earth body contains a spirit.
That is what lives in the earth as the spirit of the earth, just as our spirit lives in us. But Goethe characterizes Faust as not yet mature, his spirit as still unfinished. He must turn away from the terrible sign like a timid worm curled up. The earth spirit answers him: “You resemble the spirit you comprehend, not me.” In Goethe's soul there lived the realization, even if at first only a presentiment, that we cannot declare ourselves satisfied at any stage, but must strive from each stage to higher and higher stages, that we cannot say at any stage that we have achieved something, but must always strive higher from each stage. Goethe was led into these secrets by his diligent studies from phenomenon to phenomenon. And now we see him grow. The same spirit that he first summoned, and of whom he could only say, “Terrible face!” is addressed by Goethe through Faust, after Goethe himself had reached a higher level after his trip to Italy, after his journey, which I have characterized as one in which he wanted to permeate all of nature and art with his vision. Now Faust is attuned to the same spirit that Goethe himself was attuned to. Now Faust stands before the same spirit, which he thus addresses:
There Goethe has arrived, and with him Faust, to the heights, no longer turning away from the spirit that he had wanted to reach by leaping. Now the spirit presents itself as such that he no longer needs to turn away from it. Now he recognizes it in all living things, in all realms of nature: in forest and water, in the silent bush, in the giant spruce, in storm and thunder. And not only there. After it has appeared to him in the great outdoors, he also recognizes it in his own heart: its secret, deep wonders open up. This is a step forward in Goethe's knowledge of the spirit, and Goethe did not rest on his laurels. We then see how, spurred on by Schiller, he sought to deepen his knowledge, particularly in the 1890s. This knowledge enabled him to go beyond the vague characterization of spiritual consciousness that a spirit lives in everything. He succeeded in grasping this spirit in a concrete way. But Goethe needed much preparation before he was able to depict the life of the human spirit in the sense that spiritual and psychological things can only come from spiritual and psychological things. However, the fact that Goethe never failed to attempt to get deeper is shown by some of the works he created before the second part of Faust was completed. The second part of Faust shows the heights to which he has risen. Some have already turned away from him when they got to know the introspective Goethe in Pandora. Even today we hear people say: the first part of Faust is full of life, it breathes direct naturalness, but the second part is a product of Goethe's old age, full of symbols and contrivances. Such people have no idea what is in it, what infinite wisdom is in this second part of “Faust”, which only the Goethe of his rich life could have produced in his old age, leaving it as a testament. Therefore, we also understand when Goethe writes the lines about some works that already breathe the spirit of “Faust”, and we know that he presents Faust as a struggling soul, a soul that has been overtaken by something new. We recognize it in the anger he poured out on those who called “Faust” an inferior work of old age. He says of them:
Goethe once put into words his feelings towards those who believe that only what Goethe achieved in his younger years has validity, who do not want to ascend to what he achieved in his more mature years. After Goethe has introduced Faust into the life that directly surrounds us, and has allowed him to experience that wonderful tragedy of Gretchen, he leads him out into the world that is outwardly the great world, first of all into the world that is outwardly the great world: the world of the imperial court. There Goethe now wants to show that Faust should now really penetrate spiritually into the secrets of this world. But then Faust should be introduced to the real spiritual world, to the supersensible world. Right at the beginning of the second part, we see how Goethe has Faust surrounded by all kinds of spiritual beings. This is to express that Faust is not only to be led into an external physical world, but that he is also to experience what can be experienced by someone whose spiritual eye is open, whose spiritual ear is learning to perceive. Therefore, in the second part, Goethe shows us step by step the nature of the human soul, human development. What is Faust to experience? He is to experience the knowledge of the supersensible world. He is to be initiated into the secrets of the supersensible world. Where is this supersensible world? When we consider the spiritual content of “Faust”, we can only begin to address the question of Mephistopheles, the spirit that surrounds Faust from the very beginning and plays a part in everything Faust undertakes. But it is only in the second part, where Faust is to be led into the spiritual world, that we see what role Mephistopheles plays. After Faust has gone through the events at the “imperial court”, he begins to see what is no longer there in the sensual world: the spirit of Helen, who lived centuries and centuries ago. She is to be found for Faust. She cannot be found in the physical world. Faust must descend into the spiritual world. Mephistopheles has the key to this world, but he cannot enter this spiritual world himself; he can describe it intellectually. He can say: You will descend. One could also say: You will ascend. He then actually describes the spiritual world into which Faust is to descend in order to get to know it supersensibly, to find in it the spirit, the immortal, the eternal that has been left behind from Helena. A word is spoken, a wonderful word: Faust is to descend to the Mothers. What are the “Mothers”? One could talk for hours if one wanted to characterize exactly what the Mothers are. Here we need only say that the Mothers were for spiritual science at all times what man gets to know when his spiritual eye is opened. When he looks into the physical world, he sees all things limited. When he enters the spiritual world, he comes into something from which all physical things come out as ice comes out of a water pond. As one who could not see the water would say: Nothing is there but ice, it piles up out of nothing — so says he who knows not the spirit: Only physical things are there. He sees not the spirit that is between and behind physical things, out of which all physical things are formed as ice is formed out of water. There, where the source of physical things is, which is no longer visible to the physical eye, are the Mothers. Mephistopheles is the being that is to represent that intellect which only knows what is outwardly formed in space, which knows that there is a spiritual world but cannot penetrate into it. Mephistopheles stands there beside Faust, as the materialistic thinker stands today beside the spiritual researcher, and says: “Ah, you spiritual scientist, you theosophist, you want to see into a spiritual world? There is nothing in there, it is all a dream. It is all nothing. To the materialist, who wants to build firmly on what the microscope and the telescope reveal, but who wants to deny everything that lies behind physical phenomena, the spiritual researcher cries out: “In your nothingness I hope to find the All.” Thus the materialistic thinker stands opposed to the spiritual man, who hopes to find the spirit precisely where the other sees nothing. These two powers will confront each other forever. And from the very beginning, Mephisto confronts Faust as the spirit that can lead to the door, but cannot cross that threshold. The theosophist or spiritual scientist does not say: material science is nothing, is unnecessary. — He says: we must take this science seriously, study it, but it only has the key, it leads us to where the true spiritual life is to be found. Faust then descends into the realm of the mothers, into the spiritual world; he succeeds in bringing up the spirit of Helen. But he is not yet mature enough to truly connect this spirit with his own soul. Hence the scene where passion stirs in Faust, where he wants to embrace the image of Helen with sensual passion. That is why he is repulsed. This is the fate of everyone who wants to approach the spiritual world from personal, selfish feelings. He is repulsed, as Faust is repulsed when he has brought up from the realm of the mothers the spirit of Helen. Faust must first mature, learn to recognize how the three members of human nature really come together: the immortal spirit that goes from life to life, from embodiment to embodiment; the body that lives between birth and death; and the soul that stands between the two. Faust is to learn how body, soul and spirit are connected and how they belong together. Faust has already sought the archetype of Helen, the immortal, the eternal that passes from embodiment to embodiment, from life to life, but in an immature state. Now he is to mature in order to become worthy of truly entering the spiritual world. To do this, Faust must learn how this immortality first approaches the human being when he can embody himself again in a new life between birth and death in his physical existence. Therefore, Goethe must show how the soul lives between spirit and body, how it places itself between the immortal spirit and the body that stands between birth and death. This is what Goethe shows us in the second part of “Faust”. In Goethe, the soul is hidden in that wondrous structure about which Goethe researchers do not know much to say, in which spiritual researchers who are well-versed recognize the archetype of the soul. This is nothing other than the wonderful structure of the homunculus, the little human being. This is an image of the human soul. What does this soul do? It is the mediator between body and spirit; it must draw the elements of the body from all realms of nature in order to connect with them. Only then can it be united with the immortal spirit. Thus we see how Faust is led by this homunculus into the realm of the natural philosophers Anaxagoras and Thales, who have been reflecting on the origin of nature and life. Therein is shown the true doctrine of evolution, which goes back to the fact that not only an animalistic element underlies human development, but also a soul that gathers the elements from nature to gradually build up the body. Hence the advice given to the homunculus: you must start from the lowest realm in order to ascend to higher and higher ones. The human soul is first referred to the mineral kingdom. Then it is told: “You have to go through the plant kingdom.” There is a wonderful expression here: “It grunts so” to describe the passage through the plant world, the juicy green. There the soul gathers all the elements of the natural kingdoms in order to ascend. It is explicitly said: “And you have time until you reach the human being.” Then we see how the spirit of love, Eros, approaches after the soul has formed the body out of all the realms of nature. There it unites with the spirit. Body, soul and spirit are united. Here that which is the soul of the homunculus, that which it organizes into the body, unites with the spirit of Helen. That is why Helen can appear to us in the third act of the second part in the flesh. We see the doctrine of re-embodiment poetically and artistically enshrined in the second part of Faust. One does not unite with Helena by drawing her to oneself in stormy passion, but by truly living through the secrets of existence, truly living through the re-embodiment. Goethe was not yet able to express the idea of repeated lives on earth in the way we can today, but he did include it in the second part of his “Faust”. That is why he was able to say to Eckermann: “I have written my ‘Faust’ in such a way that it is suitable for the theater; that the images it presents are outwardly sensually interesting for those who only want to see outwardly sensually. But for those who are initiated, it will be evident that the deepest things have been woven into the second part of “Faust”. - Goethe expressly pointed out that one can find his view of life, his spiritual view, in this poetry. And so we now also understand that Goethe was able to illustrate to us in this reconnection of Faust with Helena what true mysticism is. Faust unites with the spiritual world. Not an ordinary child is born, but Euphorion, who is as true as he is poetic. He represents for us what comes to life in our soul when it unites with the spiritual world. When the soul penetrates into the secrets of the spiritual world, there comes a moment of development in the soul that is of tremendously deep significance for that soul. Before the soul can go further, it must first, for brief moments, gain connection with the spiritual world, to know for a very short time what the spiritual world is. Then it is as if a spiritual child were born out of spiritual knowledge. But then come the moments of life again, when this spiritual child seems to have disappeared into the spiritual world. One must grasp this with the heart, full of life, then one feels, like Euphorion, the mystic's spiritual child, despite all the poetic truth of life, sinks down into the spiritual world, cannot yet fully enter Faust, but as he passes over, something else does. That is an experience of the spiritual researcher, the spiritual seeker, when our soul has the hour when it truly senses its relationship to the spiritual world, and when knowledge appears as a child of a marriage with the spiritual world. Then it experiences it deeply when it sinks into the everyday, and it is as if it takes with it the best that we have. It is as if our own soul were to escape and go with it into the spiritual world. When one has felt this, one feels the spiritual words of Euphorion, who has sunk down, and who cries out from the dark depths: “Let me not alone in the gloomy realm, mother, let me not alone.” The true mystic knows this voice, the voice that calls from the spiritual child to our soul as its mother. But this soul must go further. It must break away from that which is only personal passion. We must be able to devote ourselves to the spiritual world impersonally. As long as there is still self-interest, self-will, we cannot grasp the spiritual world. Only then can we grasp this spiritual world when all that is personal has been erased before the higher things of the spiritual world; only then can we truly enter the spiritual world permanently. But there are still many moments when we have already experienced that moment that pushes us back into the physical world, moments that take away all mysticism for a long time. These are the moments when we have to say to ourselves: Yes, even if we have overcome all selfishness and self-will, there still remains this or that, as it is left behind in Faust, even after he has said: “I stand here in the open, I only want to work, to gain everything from nature, to do something only for others.” But he has not yet come that far. As he looks at the hut of Philemon and Baucis, something disturbs his view, he shows: he has not yet overcome the selfishness that wants to be pleased by the sight. He wanted to create a possession, selflessly, but he cannot yet bear what disfigures him: the hut of Philemon and Baucis. Then the spirit of evil approaches him once more. The hut is burnt down. Then that appears to him which appears to everyone who undergoes development: the worry that approaches everyone who still has selfish aspirations within them and which does not allow them to ascend into the spiritual world. Here it is, worry, and we learn to recognize it in its true form; then it is something that can lead us to the last of real spiritual knowledge. It is not intended to show that man should become unworldly, hostile to the world, but how man in the world should get to know that which does not let him go from the world. In wise self-knowledge, we should let worry take a back seat so that we can become free from the selfishness of worry, not from worry itself, which is illustrated by the fact that worry says it creeps in through a keyhole. When we get to know this worry, not just feel it, but learn to bear it, then we attain that degree of human development that opens the spiritual eye to us. This is illustrated by the fact that Faust goes blind in old age, can no longer see with his physical senses, but can look into the spiritual world. “The night seems to penetrate deeper and deeper.” It is dark on the outside, but inner bright light, the light that can illuminate the world, shines, the light in which the soul is between death and birth: the realm of the mothers. Only now can Faust begin his journey into the spiritual world, where his ascension is so beautifully described. Then Goethe can summarize what has become of Faust, from the intuitive striving of that person who despairs of science and turns away, to what he has become from that stage to the highest spiritual knowledge. He can summarize it in the Chorus mysticus, which, as its name indicates, is intended to signify something deeper. In this Chorus mysticus, it is intended to summarize paradigmatically in a few words what holds the key to all the secrets of the world, how everything that is transitory is only a parable for the immortal. That which the physical eye can see is only a parable for the spiritual, the immortal, of which Goethe showed that he even attained the knowledge of re-embodiment when he entered into this spiritual. It shall finally be shown that when man enters into the spiritual kingdom, then all that is present in the physical world as presentiment, as hope, is there a truth. What is striven for in the physical world becomes a presentiment in the spiritual world. It may appear pedantic when I state here something that one must know to understand the final words. Goethe spoke somewhat unclearly in his old age because he was toothless. He dictated the second part of his “Faust” to a scribe. Since he still had some of the Frankfurt dialect, some words and sounds came out a bit unclear. So for some words, the scribe used g's where there should have been ch's. For example, “Erreichnis” was written as “Ereignis”. When dictating the final words of Faust, Goethe spoke “Erreichnis”. The inadequate becomes here something that can be achieved, an “Erreichnis”, that is, with two r's and two ch's. Everywhere, in all editions of Goethe's works, you will find “Ereignis” written. Goethe researchers know so little about penetrating into the sense. That which is inadequate in the physical world becomes “achievement” in the spiritual world. What cannot be described in the physical world is done in the spiritual world. There it becomes a living deed. And finally, we experience the great thing that Goethe is allowed to express in the closing words of the second part of “Faust”: “The eternal feminine”. Oh, it is a sin against Goethe to say that Goethe means the female sex by this. Goethe means that depth which the human soul represents in relation to the mystery of the world, that which longs as the eternal in man: the eternal feminine, that draws the soul up to the eternal immortal, the eternal wisdom, and that gives itself to the eternal masculine. The eternal feminine draws us up to that which is the eternal masculine. It does not refer to something feminine in the ordinary sense. Therefore, we may well seek this eternal feminine in man and woman: the eternal feminine that strives towards the eternal masculine in the cosmos in order to unite, to become one with the divine-spiritual that permeates and interweaves the world, towards which Faust strives. This secret of men of all times, towards which Faust has been striving from the very beginning, this secret to which spiritual science in a modern sense is to lead us, is expressed by Goethe in a paradigmatic and monumental way in those beautiful words at the end of the second part of Faust, which he presents as a mystical spirit-choir, that all physical things which surround us in the world of sense, Maja, illusion, deception, are a parable of the spiritual. But we see this spiritual when we penetrate to what covers it like a veil. In this spiritual we see what cannot be achieved here on earth. We see that which is indescribable for the mind bound to the senses, transformed into real action when the spirit of man unites with the spiritual world. “The indescribable, here it is done.” And we see that which is significant, where the soul unites, lives together with the eternal masculine of the great world, which lives through and weaves through this world. That is the great secret that Goethe expresses with the words:
Goethe was able to say to himself: Now I have done my life's work. It does not really matter now what I accomplish on earth during the rest of the time I have left to live. Goethe sealed up the second part of his “Faust”. And this second part was not given to mankind until after his death, and mankind will have to draw on all of its spiritual science to penetrate the secrets of this mighty work. Today, only sketches could be given. One could spend hours and weeks using all the means of wisdom to illuminate what Goethe gave to mankind as a testament. May humanity open up this testament more and more! Seal after seal will fall, the more people will have the will to penetrate the secrets of the second part. The voices of those who say, “You are seeking to find something in there that Goethe never intended to put in his work,” will fall silent. Those who speak thus do not know the depths of Goethe's soul. Only those who see the highest in this work and in what Goethe condenses into the mystical chorus, which can conclude so many reflections that are intended to lead to the spirit, recognize this. |
Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: The Relationship Between Goethe's “Faust” and Goethe
17 Dec 1911, Berlin Rudolf Steiner |
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So it could well be that here and there his “Faust” seemed rather questionable to him, when he undertook what he had written decades ago. In the meantime, he had progressed. Now, what he had created years ago is to be continued. |
Faced with this figure, Mephistopheles says, because he does not understand her: With this potion in your body, Soon you will see Helens in every woman. |
With these words of conviction, commentators have tried to explain the strangest thing, because they could not understand that it is not a matter of conviction here, but that Goethe, in the sense in which he speaks of the superhuman, is speaking here of a conviction. |
Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: The Relationship Between Goethe's “Faust” and Goethe
17 Dec 1911, Berlin Rudolf Steiner |
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Since Ms. Wandrey's illness has prevented her from giving her Faust lectures during our time together in Berlin, I would like to make some brief and rather random remarks about Goethe's “Faust” this morning. I have often lectured on Faust and I hope to one day put together a compilation of what I have said in various lectures in a smaller publication. The Faust theme is an extraordinarily comprehensive one on the one hand, and on the other hand it is extraordinarily difficult, difficult because there are probably not many works of world literature that are as inextricably linked to their author as Goethe's Faust is to Goethe. We need only consider the fact that Goethe brought with him to Weimar a kind of first form of the Faust legend, which he had developed as a Faust legend, and that in Weimar, in a relatively early period, he only had to add a little and work it out in detail, and then he could read it aloud. It is the figure that was published at the end of the 19th century, found in a copy that bears the rather distasteful name “Goethe's Urfaust”. So with this we actually have the Faust figure before us, which Goethe had very early on. Then we have a version of the Faust poem that Goethe published in 1790 out of certain feelings, a “Faust fragment”. I say out of certain feelings, of course, because the fact that Goethe published it was associated with the fact that Goethe actually despaired of finishing this Faust poem at the time. So it was a matter of repelling what he had thought up to that point because he no longer saw any possibility of continuing it. Then we have the form in which 'Faust' appeared in the early 19th century. That is roughly our first part today with the 'Dedication', the 'Prologue in Heaven' and so on. But that is not the end of it, because the “Helena Scene” was already finished at the time, and this now appears as the third act of the second part, so that at the time when Goethe had this figure of “Faust”, he already had in his feelings and thoughts a connection between this Faust figure and the figure of Helen. And then, in 1824, when Goethe was seventy-five years old, he energetically set about rounding off the second part and making it into a full-fledged poem, which he then left as a testament after his death. We therefore have a piece of writing before us that not only accompanied Goethe throughout his entire life, on which he not only worked throughout his entire life, but which also continually changed its entire inner structure, content, form, conception, everything at all in the course of time. To this we must add that Goethe shows himself in this “Faust” as one of the most truthful poets that we find in world literature. For in writing Faust, his aim was never to present something outwardly beautiful or perfect, but always to give what he could give out of the deepest, innermost sincerity, to give unadorned what his soul had grasped as truth at the time. If we add to this the fact that this Goethean life was a striving through and through, that we can follow how this Goethean life developed and rose from decade to decade, how Goethe thought and recognized new things, formed relationships to new worlds, then we will recognize the importance that lies in the fact that Goethe always let what was in him flow into the Faustian poetry. So it could well be that here and there his “Faust” seemed rather questionable to him, when he undertook what he had written decades ago. In the meantime, he had progressed. Now, what he had created years ago is to be continued. One thing will be considered here to take a look into Goethe's soul with the help of “Faust”. If you take what has now been published as “Urfaust”, you have something that you can call: It is approximately what brought Goethe to Weimar and rounded off the first Weimar years. It is something that could be called the poetry of a young, extraordinarily talented poet who, however, has not yet been able to bring much of what was actually in his soul out of his soul for himself. For this form of Faust poetry still lacks all the connections that Goethe would later in life call connections with the spiritual world. There are actually only the external, quite realistic human scenes that could be conceived in such youthfulness. It is self-evident that people who want to remain in such a relationship to the spiritual world all their lives, and who do not want to see the becoming, the development in Goethe, find contradictions. Of them, Goethe said:
But let us look at Goethe's situation, let us look at the matter with regard to Goethe's soul. We can stop at the time when Goethe was in Italy, when he was in Rome, that is, in the second half of the penultimate decade of the 18th century, 1787 to 1788. What happened in the time between when Goethe wrote what is now combined in the Urfaust, until the time in the Goethean soul when he was in Italy, when he regarded as most appropriate the form of art he had given in “Tasso” and in “Iphigenia”? Consider what it means that it is the same personality that had already written the strange, chaotic “Götz von Berlichingen” in its first form on the one hand and then gave the wonderfully rounded form in “Tasso” and “Iphigenie” on the other. It is the same person. For reasons that will become clear later, when we no longer know that these works are by the same poet, it will be possible to prove that the same poet could not possibly have written these things. We can say that there were already different people in Goethe himself in the truest sense of the word. In 1775, Goethe had overcome Goethe, and in 1788, it was the Goethe who wrote “Hexenküche” (Witch's Kitchen) in the Villa Borghese in Rome and the wonderful scene “Sublime Spirit, thou gavest me, gavest me everything, why I asked”. It is a fact of profound significance for our knowledge of Goethe's soul that the images of the original Faust, which he wrote in youthful titanic rebellion against the prevailing intellectual currents, arise before Goethe's spirit in the same mood in which “Götz von Berlichingen” was created. In Rome, the same Goethe felt the urge to bring measure and harmony into his conception and to take up the old figures again. He must again honestly and sincerely add something from his present to Faust, seek to continue Faust himself, as he himself has progressed. That was a very difficult situation. The earlier time is no longer there, but it confronted the poet Goethe. He would have had to rewrite everything that had been written so far, or he had something in front of him that was really as if he, at the age of forty, had his figure at seventeen, twenty-five, thirty, and so on, as if he had all that in front of him. And again, if he had completely reworked the whole of Faust, it would not have been true, because he would not have expressed the mood that was in him when he was interested in these scenes. All this makes the Faust legend so tremendously important and so unfit for the philistinism we find in life. But there is still something in Goethe when he wrote the “witch's cauldron” and the scene “sublime spirit”, there is still something there. What had already occurred before Goethe? Goethe had approached everything that was in his soul, the fourth post-Atlantic cultural period, the Greek-Latin period. He is full of enthusiasm for this fourth post-Atlantic cultural period, for the Greek-Latin period. I have the suspicion, he wrote from Italy, that I am on the trail of the laws of Greek art. The artists proceeded according to the same laws that nature itself follows. After reading Spinoza deeply to find God in nature, when he stands before the works of art in Italy, what appears to him as art, stands before him, as he said: “Here is necessity, here is God.” Now, he felt himself confronted with what he had absorbed in the north from a culture in which what had emerged as the first dawn of the fifth post-Atlantic cultural period had essentially played a role. No matter how strange some of the beliefs, legends, and superstitions that emerged during the strange twilight of the Middle Ages may seem, they are connected to the cultural period that followed the Greco-Latin period. And now, in this period, the completion of the human being in the Greco-Latin period stands before Goethe's mind in a very remarkable way. It was a perfection that was brought about by the fact that this cultural period, which is the middle of the post-Atlantic period, is preceded by three periods that are repeated to a certain extent later, but that this fourth period is the middle, the center of gravity of the post-Atlantic period, that at that time man went out into the physical world to the utmost. Hence the sense of completion and calm perfection in this art. That was what made such an impression on Goethe. He felt: when you have such a work of art before you, you do not need to go out into space, into the external world, everything has been poured into the work of art. — It was this outpouring into form, into the “how”, that particularly gripped him. In the north, he was confronted by what he himself loved so much with the other side of his nature in the early days. Take a Gothic cathedral or the art of Dürer, Holbein and so on. There we have what prepared the fifth period. The works of art are not closed. You have to look for what is inside the work of art. A Greek temple is complete, so complete that no one needs to be there. The Gothic cathedral is not; it is only complete when there are devoted people in it. Until the time of decline in Greece, we always have the spiritual in the outer form. But in Dürer's form, we have the endeavor everywhere to go deeper than what the outer form expresses. The forms are sometimes ugly in the Greek sense because a powerful will wants to express itself there. In his youth, Goethe was a follower of this art, of Shakespearean art, which is the opposite of Greek art. What is here like two opposing elements in Goethe's soul would hardly have caused such inner turmoil in another soul. For Goethe wanted nothing less than to have everything that confronted him in the external world, and at the same time the supersensible, the spiritual. He was not one of those people who were satisfied with the external form, but rather one of those who valued the external form that he saw in Greek-Latin art so much because the supersensible was present at the same time. Form itself was a super-sensible reality. For Goethe, what is given in nature, what otherwise confronts him in the world, is already Maya, great illusion; Maya or great illusion is everywhere present. But from art he demanded that it place the true in the midst of Maya, the Greek temple, the Greek god, which from the super-sensible point of view is the true. Thus Goethe was thirsty for the truth of the supersensible in the sensible, drunk with Greek-Latin art because he wanted to place a realm of truth in the realm of Maja through art. All that is untrue should be removed from art. But on the other hand, he saw how dangerous such an artistic demand is. Through spiritual science, we know why it is dangerous. Because every form of art is tied to a particular epoch, because it cannot reappear later. That was something for the fourth period, but not for the fifth. There, people had to focus on the supersensible, which cannot express itself in form. That was the fate of humanity, to be judged by that. Hence the struggle in the Nordic cultures against all outward appearance, the grotesque appearance of the spiritual in everything. As long as one — Goethe said to himself — merely talks about these things — Goethe said this to himself when he was sitting in the Villa Borghese —, as long as one merely talks, as I also did in my youth, one is not really true. For in external speech, the phrase is unavoidable as long as it is not imbued with inner soul. Everything Goethe had created up to that point seemed to him to be untrue compared to the plan he now had to place truth in art in the Maja. Thus arose in him the urge to bring across into the new era that which, like an eternal, can live on in every epoch, to bring across from the Greek-Latin epoch that which can live on. Do you grasp that? No, it is unconsciously brought across, because every cultural epoch stands on the earlier one. Unconsciously, the fourth lived on in the fifth cultural epoch. All this lived in Goethe as an urge: how can one consciously bring this across, how can one let that which lived at that time and has eternal value flow over? How would it appear if people could consciously transfer what lived in Greco-Latin culture into their consciousness? — This was something that lived in Goethe's soul: What would a person who had lived entirely in the Greco-Latin period and who now consciously transferred his consciousness into later times be like? — This was the beginning of the whole problem of reincarnation in Goethe's soul. It could not have been more deeply felt at that time. He wondered how one could consciously transfer earlier cultural ideas into later cultural ideas. It lived in him so much that he did not know how to grasp it in his own soul. In the subconscious soul lay that which had transformed the soul in such a way that in the transition from the fourth to the fifth period a figure as remarkable as Faust could appear. Faust really lived and is registered in the records of the University of Heidelberg. What kind of a person was he? In a certain sense he was a contemporary of Nostradamus. He was a man who felt, in a certain way, the longing to bring forth, more or less consciously, what must now be brought forth again from the hidden depths of the soul. The third cultural epoch is to be brought up again. It is Faust's destiny to bring up this third cultural epoch again. The justification of such a spirit, alongside the spirit that arose as an ideal in Goethe's soul, was always clear to Goethe. He could never doubt that this modern spirit had a right to exist alongside the ideal man in his soul from the Greco-Latin period. But now he said to himself: This spirit must dive down into the depths of its own soul, must become acquainted with all that divides man when he enters the higher worlds. No sooner has man approached the “Keeper of the Threshold” than Goethe felt that a multitude of figures immediately confront him. Thus, for Goethe, Faust became a highly questionable figure, but one that he could not ignore: “How is the spirit that I have carried over from the fourth cultural period legitimately contained in a spirit in transition to the fifth cultural period?” It is contained in such a way that all the dangers that confront man when he passes the “keeper of the threshold” and enters the supersensible worlds must play a part in the striving. That Faust enters the supersensible worlds emerges from his longing, from his intuitive contemplation. Goethe was aware of this from the outset, but only gradually became aware of the dangers that still existed at that time, but no longer do today, because they can be avoided by following the teachings in “How to Know Higher Worlds”. But Faust still faced these dangers. The way in which Faust enters the supersensible worlds is such that, simultaneously with the arising of a certain imaginative realization, an arousal, an inflammation and ignition of the lower passionate life must go along with it. Both things cannot be separated unless a regular spiritual path is taken. These things cannot be separated, you can also read that in Blavatsky. She says that one can only notice how the karma of someone who wants to penetrate into the spiritual worlds changes, how he can bring misfortune upon those around him if he does not enter the higher worlds in a regular way, how he spreads the circles that emanate from the impulses within him over his entire environment. In return, his own urges and passions also mingle in the higher worlds; worlds of forms surround the human being. Goethe had to picture these real seekers of the spirit before his soul because he stood on the ground of having an inkling within himself of the absolute truth of Greek and Latin culture. He had to picture this seeker of the spirit of the fifth period with all its difficulties before his soul. What surrounds such a man, what dangers befall him? In the whole world of sense there is nothing that corresponds to what such a man experiences. He must enter into the spiritual world. But first one must know how what such a person experiences differs from the sense world. That is why there is the 'witch's kitchen': because Goethe wanted to show the whole supersensible environment into which Faust had to enter, because it had to be shown how the supersensible worlds present themselves in all the antecedents of which we have spoken. One must accept this 'witch's kitchen' as part of the spiritual world. It must be realized that Goethe knew certain secrets of the supersensible world, so that he was able to describe accurately how things are actually perceived by the clairvoyant consciousness. Thus the supersensible world is described with extraordinary accuracy, with all the seething human passions being described when the terrible process of entering the spiritual world takes place. All the seething passions that arise there are reflected in the monkeys, which have the names Meerkat and Meerkat, and are reflected in everything that is appropriately depicted in the “witch's kitchen”. But Goethe has the urge to get Faust up to the truth, not to this world of untruth. It is a world that is absolutely true in fact, but a world that is even more illusion than the ordinary world of the senses is for the senses, Maja. Goethe must endeavor to approach the truth. He must depict how the external world, to which Mephistopheles belongs, the supersensible world, which is depicted in the “Witches' Kitchen”, is surrounded. Goethe wants to show that Faust can get out of the world from which Mephisto can receive his inspiration. Imagine a person placed in the supersensible world, as Faust is in the “witches' kitchen.” If one can no longer find one's way in this world, then not even the ordinary laws of the number system can be right. It does not depend on a witty interpretation of the witches' multiplication table; one must feel what it means to really stand in the presence of what is written in the witches' multiplication table:
It is about putting oneself in the shoes of a person who suddenly finds themselves in this world, where everything is different, after having known the ordinary number system. If you interpret these things more or less ingeniously, you do a disservice to the poetry, because it then seems as if the poet himself had symbolized it that way. No, the situation was vivid before the poet. Anyone who calls Goethe a symbolist or an abstract thinker shows that he is incapable of grasping the meaningful and real aspects of this situation. What had to happen to Faust if he did not want to destroy his own karma and that of those around him, such as Gretchen? It was a long way from this Faust to the one who speaks out of the contemplation of the fourth cultural epoch: Oh, from the human heart arise the imaginations that spin a web around the whole world of illusion:
That is Faust, who speaks with nature by connecting his imaginative world with what is present as Maja or illusion, who is different from the one to whom Mephistopheles may say so strangely:
How did he cure him? By introducing him to the transcendental world. But Faust is not to be cured of imagination in this way, but rather in such a way that he recognizes imagination as the all-embracing Maja, the illusion. What is necessary for Faust to be able to say:
In order for this classical sense of calm to arise, what must Faust confront in the “witch's kitchen”, where he must lose himself if he does not develop something very specific? He must not proceed like a theosophical theorist; he must come to himself like a human being with a very specific experience; he must see himself objectively. He must encounter something in the “witch's kitchen” in which he sees himself. Something of higher truth must appear in the imagination, but something that has a higher reality than the “witch's kitchen”. The higher self is feminine for man. This is very realistically depicted in the appearance of “Helena” in the “witch's kitchen”, the appearance of the etheric body, which can only be seen from a certain distance. Faced with this figure, Mephistopheles says, because he does not understand her:
This is portrayed from a true poetic impulse that strives for what people of the outer world will not see as what is important. For the people of the fifth period, there will still be a question about what they need, a question that could easily be somewhat ambiguous, but when it is truly answered, it is easy to understand. How could one speak to the most important matter of the people of the fifth period?
It is a remarkable enigmatic speech with which Goethe approaches us at the beginning of the second part. One could find enough words to solve this riddle, but for our humanity the best solution will be found if one word is applied to everything that is asked. The word: Spirit. But Goethe did not want it to be so easy to solve the riddle, he did not want to present it so bluntly. But the spirit is enchanted in the most diverse ways and yet always welcome. One need only observe the spiritual development of mankind to know: What is longed for and always chased away? One need only point to spiritual science, for example. In those days, the spirit was only allowed to show itself in the guise of the court jester, otherwise it was not very welcome. The big question is how the fifth post-Atlantic culture should come to spirit, to spirit from what it has, how it can grasp the actual basic essence of the world. Now, in no cultural epoch has humanity been better suited to finding the spirit in the form of the ego than in our cultural epoch. But how could one find the true nature of man if one could grasp this I on the basis, on the background of the astral body? Let us assume that if a person in the 19th or even the 16th century wanted to find out what the astral body is. Imagination is not something that a person has in their external perception. Man should seek the astral body, that which lies at the basis of the moon-time of the outer development of the I. Of course, because all the powers can reach everywhere, even when man applies the intellect to things, he can arrive at something, but what will he bring out of the astral body? Let us assume what emerges from the astral body when we apply to it that which is well suited to the external world of maya. We cannot express this more aptly than by calling what emerges from the astral body the homunculus. The homunculus has something to do with the astral body, as it is structured around that which is the I. We are dealing with the supersensible, so that Goethe is allowed to coin a word here that from the outset refers to something that is created in the supersensible world. Then Wagner says – the philistine intellect does indeed produce the homunculus in the laboratory –:
With these words of conviction, commentators have tried to explain the strangest thing, because they could not understand that it is not a matter of conviction here, but that Goethe, in the sense in which he speaks of the superhuman, is speaking here of a conviction. But the second part of Faust has been commented on in such a strange way that the spelling mistakes have been commented on. For example, when Goethe dictated and the writer wrote: “Only do not strive for higher orders” and so on — it is truly not meant here, but the one to whom Goethe dictated wrote “order” instead of “places”. These things that we have here show us that for Goethe, after he had envisioned Faust in all his spiritual striving, the question now becomes particularly urgent: How can one consciously bring across consciousness? — The consciousness that lived, for example, in Helena, who now came before his mind. That was the burning question. In this context, I must mention – you have to take the Goethe of 1797 – that the greatest change that has ever taken place in the entire soul of Goethe has occurred. At the same time that the Faust figure in him, as a result of the necessity to think it, not only as a result of processes of the inner soul, when he had to write the “Prologue in Heaven”, all things in his inner being changed, so to speak. Then necessity also approached him, to give ever more definite form to this conscious coming over of consciousness from the fourth to the fifth period. Hence also the endeavor to solve the question somehow. I have often hinted at how Goethe attempts to solve the question of reincarnation in poetry by showing that the eternal part of Helena rests in the spiritual world of the “mothers”. But man cannot enter the spiritual world without further ado, otherwise what happened to Faust when he looked at the image of Helena would paralyze him. The spirit must first envelop itself with the soul, then with the natural body. Helena envelops herself with the soul when soul material is made available in the astral as a homunculus. In the homunculus we have the forces of the astral body of a human being entering into existence.
Everything is described quite appropriately, and finally the enveloping with the outer nature, where we are shown how the external corporeality is taken up. There he must pass through all the elements of nature, beginning with the mineral world and passing through the plant world. Goethe finds the wonderful word “It grunelt so” (it grunts so) to indicate what can pass from the greening plant world into human nature. So it goes through everything. “... until you reach man.” But then you cannot go any further.
This continues until the human being comes into existence through the mystery of love, which is so wonderfully portrayed, as the human being is called into existence through the mystery of love, through the mystery of the sexual opposition. After Goethe has portrayed everything that precedes the mystery, he has the sirens express the wonder:
And man comes into existence.
And we turn the page. Act Three: Helena has arrived. These things must not be grasped with coarse hands, must not be entrusted to external interpretation. These things can only be described by running after and slipping into what is being expressed, by dissolving them in the metamorphosing water, as in Goethe. But that is all there is to it. In Goethe is the urge to consciously bring up what has unconsciously lived in man of the fourth cultural period and what must consciously come up. And then Goethe still uses the moral-religious-mystical element of the north to show how what has shown itself unjustifiably in the “witch's kitchen” can indeed come out justified. He shows this so magnificently in the final scene, where spiritual science and mystery interact so wonderfully, where everything that lived in Goethe is so wonderfully compressed in the 'Chorus mysticus', that this Chorus mysticus can almost be used as a symbol of spiritual science, which is already expressed by the scattered roses, and when it is said:
In just a few lines, everything that we recognize as spiritual scientific truth is expressed. |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Faust's Struggle for the Christ-imbued Source of Life
04 Apr 1915, Dornach Rudolf Steiner |
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Well, one thing I just said can help us in our quest to understand this 'Faust' in aesthetic and artistic terms as well. Goethe published a fragment that roughly concludes with the cathedral scene in 1790. |
Why is this so? At a very advanced age, Goethe once again undertook to complete the second part of his Faust, for which he already had individual scenes, to which he added what he could add in his very old age. |
But since everything had become blurred, he did not understand that it was going against Ahriman. We see the scraps of the Ahrimanic danger shimmering through the stories of the folk play, but we see nothing clear. |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Faust's Struggle for the Christ-imbued Source of Life
04 Apr 1915, Dornach Rudolf Steiner |
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after the eurythmic-dramatic presentation of the “Easter Vigil” Among the Easter performances that have just passed before our minds were also those that depict how a soul that is about to pass through the gate of death through its own decision is brought back into the world of earthly life through the Easter message. I believe that, of the many impressions that the Faust story can have on us, this scene must be one of the most profound. Now, after the transformation, I would like to say, after the transformation, 1 the scene that signifies the world with its evolution, bring that you have absorbed as a prospect within the Faustian poetry into your soul, in connection with what was said here yesterday, so to speak, before the transformation, about that meaningful real vision that can arise in the human soul when it steps before the symbol of Jesus Christ resting in the tomb. Let us bear in mind that yesterday we were able to say that the sight of what is connected with human life through its development on earth in relation to the world of Lucifer and Ahriman is evoked through a corresponding spiritual contemplation or spiritual perception. Let us bear in mind that in the Faust epic we have a soul which announces itself to us immediately at the beginning of the poem as having absorbed Ahrimanic knowledge and insights. And then let us look into this soul as it struggles out of its connection with the Ahrimanic wisdom towards the — we may say from our point of view — Christ-imbued source of life: a momentous moment that is presented to us for a human soul. Let us visualize this human soul! There she stands before us with all the knowledge she has absorbed through observing the external material world and its interrelations, with the insight she has been able to gain through the instruments by which the external naturalist attempts to penetrate the interrelations of nature... And what has this soul come to with all the research that is linked to the various instruments and also to the phial containing the juices that “quickly make one drunk” for earthly life? We feel how an Ahrimanic nature already rules at the side of the Faust soul, and how this Ahrimanic nature is linked to what is earthly death. Do we not see how this human soul, filled with Ahrimanic nature, draws the result of its Ahrimanic insights? And this result of knowledge that Ahriman can give to man on earth is what is summarized in the words:
And already this soul has the vision of coming to the other shore, where it may be able to find that which it must believe it cannot find on this earth because of its ahrimanic entanglement. Already it has the vision of crossing over to the other shore:
And now that he has also taken up the other Ahrimanic instrument, he is ready to take the path over to those realms that he learned in Ahriman's school are numberless to the soul as long as it is enclosed in the earthly body. And this soul is torn out of this mood by the sound of the Easter bells and the choir of the Easter song. And so the Faust soul has lived an earthly life to now seek within the earthly body what this human soul, as a result of its seeking in the earthly body, is to carry through the gate of death, so that it can carry it up into the spiritual realm where it needs it for its further development. What you have heard today from the first part of Goethe's “Faust”, and much of what belongs to this part, to this scene of Goethe's “Faust”, first appeared as the completed first part of the poem in 1808. But before that, in 1790, Goethe had already published “Faust, a fragment”, this fragment, which did not yet have the last Gretchen scene. But this fragment did not even have the scene that has brought the events of such significance for Faust's soul to our own soul today. In 1790, Goethe published his fragment without this Easter scene and without the monologue that leads to the deepest depths of human and spiritual experience. And at the end of the 19th century, what Goethe had finished in the 1780s, even as early as the 1770s, was discovered in the 1790s. It was then published under the tasteless title “Urfaust”. In this Urfaust, we do not find, one might say, of course, this Easter scene. Why is it not there? Yes, Goethe, who was a child of his time, had to mature in order to be able to depict the effect of the Christ impulse on Faust's soul in his own way, in accordance with his soul; he first had to mature for this. And Goethe was not ripe for it until 1790. The nineties saw the deepening of Goethe's soul, which found its reflection in the well-known “Fairytale of the Green Snake and the Beautiful Lily”. It falls into the time between the moment when “Faust” was published without the Easter scene and the moment when it was published with the Easter scene. Goethe's soul experienced a profound deepening through what it developed in the “Tale of the Green Snake and the Beautiful Lily”. And it was only through this experience that Goethe realized how he could allow the Easter experience scene to affect Faust's soul. Now, let us look into this soul of Faust itself, and try to put ourselves in the place of the beginning of Goethe's “Faust,” which is more or less the same in the various successive publications. We know that it reads:
So he has been a lecturer for ten years. Let us assume that he entered the teaching career regularly, then we might think that he became a lecturer around the age of thirty. In fact, he has been leading his students by the nose since the age of thirty! Let us recall what I said yesterday. In the thirties, the human being will stand before the image of the Jupiter existence when he visualizes the seduction I spoke of yesterday. And a vision, a prophetic vision of this seduction, is what one has before one when one stands before Christ Jesus lying in the tomb. Do we not have this vision dramatically developed in Faust? Does he not stand before us before the Easter Mystery, and does he not stand before us, one might say, at the end of the 1830s, before the Easter Mystery? May we not assume that in his feelings, what man must feel from the Easter Mystery, rumbles like a premonition of the Jupiter experience with Lucifer and Ahriman? In Goethe's time one could not present it as one can present it now, but Goethe could present the rumbling sensation in the heart towards the Easter Mystery, and it rumbled in Faust's soul. And is it not as if Faust felt, when Mephisto-Ahriman approaches him, how his soul has fallen prey to the Ahrimanic powers? How he has to save himself from something? Yes, but from what? From what must he save himself? Can we not say that Goethe sensed something of this when, as a mature man, as a mature soul, he allowed the spirit of his own Faust to take effect on him again, as he was able to sense it in his time, of the Easter mood that we have been picturing in our minds these days, and that this gave rise to the need to insert the Easter scene into “Faust”, which did not have this Easter scene before? The “Faust” was re-written into Christian verse with the insertion of the Easter scene between the years 1790 and 1800. So what years did Faust have to live through? Before which years of life did he shudder so much that he wanted to reach for the vial himself? Well, before the second, descending part of life, that part of life of which we have said how man, when he stands before the vision of the Jupiter existence, knows that later on he must carry to Jupiter that which the Christ can give him as provisions for the journey, because otherwise he would have to go without nourishment in the second half of life. What is Faust seeking? He seeks nourishment for the soul for the second half of life. We have all been seeking it since the time when the Mystery of Golgotha has passed over the evolution of our Earth. We are all seeking it. For that which will take physical and psychic form on Jupiter is already living in the depths of our souls, and we must all feel something of this Faustian mood. We need a power that we cannot have through that which, as human beings, only gives us freedom and thus leads us to Ahriman and Lucifer; we need a power for those impulses in us that are connected with the descending half of life. It is the power of Christ, the power of Christ, which the Christ has after he has passed through the gate of death and has not lived through in an earthly body the second half of man's life. Why did he not live through it? Because this power, which must be bestowed upon people in the second half of life, had to flow into the earth aura so that all people can find themselves through the evolution of the earth. Through the Easter mystery, that which we need to enable us to journey through our entire life on earth with our soul is resurrected. And now imagine this profound connection in Goethe's “Faust”. Faust has absorbed within himself — Goethe knew how to absorb this, because he presented it without the Easter mystery when he published his fragment without the Easter mystery — Faust has absorbed within himself what man can absorb through the connection with Lucifer and Ahriman, what gives us the possibility of a free soul. But Faust, who measures the depths of the soul, is aware that he cannot continue to live with him; he needs something else in order to live. And Goethe was ripe to show what Faust needs, what is the impulse of the Easter Mystery. Does not the Easter Mystery stand profoundly before us in what Goethe made of his “Faust” only as a fully mature man, what he could not yet have included in 1790 because he did not yet understand it? How did the poetic idea for this poem, which takes us to such depths, come about in the young Goethe? We know that the young Goethe was deeply impressed both by the puppet show of Faust, which he saw, where the fate of Faust was simply presented through puppets, and by the folk play of “Doctor Faust”. This thoroughly popular element came before Goethe's soul. What then is this Faust? And Goethe's soul immediately realized: this Faust must be the striving human being in general, who, through his striving, can dive down into all the depths of the human soul and must find the way up to the bright heights of the spirit. That an inner path must be traversed by a human soul, the young Goethe knew that. For what is it, after all, if not a meditation that Faust experiences in his soul as he gazes at the various signs? It is a meditation that ultimately leads him to the vision of the Earth Spirit that flows through and permeates the Earth. The meditation receives the words in response:
Meditation and counter-meditation! It leads Faust into the depths of life, but how to get out? How to ascend to spiritual heights? Now that we have placed ourselves before the soul, what a grandiose idea of the striving Faust in Goethe's soul arose from the puppet show and the folk play, and what form this grandiose idea took through the penetration of the Goethean soul into the mystery of the soul, we now ask ourselves: What did Goethe make of Faust throughout his life? After we have realized the magnitude of what Goethe's soul was capable of through the impact of the Faust impulse, we may well ask ourselves: What did these impressions become in artistic and poetic terms? Well, one thing I just said can help us in our quest to understand this 'Faust' in aesthetic and artistic terms as well. Goethe published a fragment that roughly concludes with the cathedral scene in 1790. What makes the “Faust” seem so grandiose to us today is not in it. He added it later, when he was in Rome. In 1787, he added what we now know as the “Witches' Kitchen”. He inserted other scenes into the manuscript at other times. The original manuscript was written and copied by someone else, and at the time the later scenes were added, Schiller himself described it as a “yellowed manuscript”. And when Schiller called upon Goethe at the turn of the 18th to the 19th century to do something to round off Faust, Goethe said that it would be difficult for him to take on the old monster Faust again and to appropriately complete what had been left unfinished for so long. Goethe was afraid of incorporating into this his “Faust” that with which he had later matured, into all that he was and had appeared by the year 1790. And now let us look at the first part of this “Faust”. Is it not a work that we can clearly see has been patched together from what was created at different times? If people were not attached to traditional judgments, they would see in “Faust” the most magnificent poetic idea that has ever come into the world with regard to the individual human being. At the same time, they would have to admit to themselves that in terms of art and poetry, this “Faust” is the most inconsistent, that it is a thoroughly disharmonious work, into which one could still put many things that are not in it, that has cracks and fissures everywhere, that is artistically far from perfect. Goethe's great genius could only ever complete fragments of what was before his soul. And however much we may admire the magnificent beauty of individual scenes, if we are not merely attached to the traditional judgment that literary historians have passed, but if we are unbiased, we cannot deny that “Faust” as it is is not a harmonious work of art, that it is glued in many places, but shows cracks and fissures everywhere. Why is this so? At a very advanced age, Goethe once again undertook to complete the second part of his Faust, for which he already had individual scenes, to which he added what he could add in his very old age. For example: the beginning of the classical-romantic phantasmagoria, the Helena interlude, was already completed around the turn of the 18th to the 19th century, and some parts were completed earlier. And again, we have every reason not to say, as some literary historians say, that one cannot understand the second part of “Faust,” or, as a very clever man, who is by no means stupid, said, that “Faust” is “a cobbled-together, patched-up concoction of old age.” It is not! On the other hand, it is a work whose task was so great that even Goethe's rich life experience was not enough in his time to shape it. One may well have one's own opinion even about the greatest things in the world. But why is that so? Well, I have already indicated on one occasion, in a lecture series held in The Hague, that this Faust is by no means, I would say, so extraordinarily young in world history. Faust, as he lived in the folk play that Goethe saw and as he lived in the puppet show, represents the human being descending into the depths of spiritual life and the human being wanting to rise to the light of the heights; he represents him in such a way that the greatest poet of modern times needed the Easter mystery for the liberation of his soul. As he appears in the folk play, he is a combination of the external physical reality, of the Dr. Georg Faust, who lived in the second half of the Middle Ages and wandered around like a tramp; of whom Trithem of Sponheim as well as other important men who met him report, and who even had a certain respect for him, the respect that one has for a remarkable personality who, through the way he expresses himself emotionally, knows many things and is capable of many things. And it was not for nothing that this real Doctor Faust was called by the name, as I have once stated here: Magister Georgius Sabellicus Faustus Junior, fons necromanticorum, Magus Secundus, Chiromanticus Aeromanticus, Pyromanticus, in hydra arte secundus. That was the name he gave himself. Now, it was common in those days to have many titles, and a long list of similar-sounding titles could be said of Giordano Bruno and many other important minds of the Middle Ages. If today's sophisticated people may find it strange that Trithem von Sponheim and others who knew about the existence of this real Faust thought that he was in contact with demonic powers of the world and the earth and through them was able to accomplish many things, then we must remember that in Luther's time, for example, there was nothing special about telling such a story. We know how Luther himself wrestled with the devil. We know that all this was common practice, the views and stories of that time. But a feeling lived in all this, which helped to shape Faust in the popular consciousness. The feeling lived — I say the feeling and not the concept, not the idea — natural science is coming up, natural science, which brings the Ahrimanic part of real reality before the human soul. And from this arose the feeling that Faust is a personality, and always has been, who has something to do with these Ahrimanic powers. People saw, as it were, the secret spiritual connecting threads that went from the soul of Faust to the Ahrimanic powers. And they found that Faust's destiny was tied to this inclination towards the Ahrimanic powers. That the Ahrimanic and the Luciferic has to do with the entire evolution of the human soul was still sensed and felt from the remnants of ancient clairvoyance and clear-sighted knowledge. And so the Faust figure was linked to this feeling of man's connection with the Luciferic and Ahrimanic powers. But at the same time, this intuitive knowledge was already descending into twilight, becoming unclear. And so, one might say, the feeling arose that one could depict the striving human being with all his temptations and dangers for his soul in the figure of Faust. But how this striving of the human being is connected with Lucifer and Ahriman was no longer known exactly. It had become blurred, and that is where the tremendous vagueness came from, which one gets a sense of when one picks up the medieval Faust book, in which all that the folk character is said to have experienced is where everything is thrown together in a grotesque ragout of all kinds of adventures that the human soul experiences in its quest to master all possible demonic and elementary spirits, Ahriman and Lucifer. After they were no longer seen in their full form, after they were shattered and ground into a ragout with all possible elemental spirits of nature, the figure of Doctor Faust was now placed in this ragout in this folk book. It was only Goethe's inspired insight that was able to discern in this gruesome ragout the mighty fundamental idea and to develop it to the point of the Easter Mystery. But it is really quite interesting to observe how, I might say, Lucifer and Ahriman were gradually dismembered into such ragout pieces. If we go back and search for the figure of Faust in ancient times, we can look in books that were written as popular books at the time and that were in the hands of all those who were dealing with matters related to such things at the time. Augustine's works were very widespread when this book was written, cobbled together, glued together. One has the feeling of a bookseller who wanted to make a book that was as thick as possible, and not as if it were from a writer or even a literary man. But he must have known his Augustine, especially the biography of Augustine. And Augustine presents himself to us in all his development in such a remarkable way. How he at first cannot understand what Christianity is in its essence, how he gradually overcomes the inner resistance that he must bring to bear on Christianity in the development of his soul, first to what can now become known to him from the Manichaean doctrine. And from a great and important man within the Manichaean sect, Augustine receives knowledge from the Manichaean bishop Faustus. And we almost sense who this Faustus senior is, in comparison to whom the Faustus I mentioned earlier calls himself Faustus junior. He is the one whom Augustine once encountered in ancient times, the one who represented something of the Manichaean doctrine as Faustus, as bishop of the Manichaeans. But what did he represent of the Manichaean doctrine? That which is corroded by Ahriman, that which no longer allows one to see how man, with his soul, is connected to the whole cosmos, to all cosmic, all stellar impulses. One can say: Even in the Manichean Bishop Faustus, the bond of knowledge that leads up to the cosmic insights that show how the human soul is born out of the cosmos, and which one must know if one wants to understand the Easter mystery in truth, is already torn. So it could be that in the person who wrote the folk book about Doctor Faust, precisely through the figure that Augustine describes as the Manichean bishop Faustus, it could emerge in this writer and compiler through the figure of Faustus, who had fallen prey to Ahriman. But since everything had become blurred, he did not understand that it was going against Ahriman. We see the scraps of the Ahrimanic danger shimmering through the stories of the folk play, but we see nothing clear. Yet we can get a clear feeling that Faustus is to be presented as the representative of the striving human being, so that danger threatens him from the Ahrimanic side. And much of what has been added to the Faust figure as it developed up to Goethe has been added by that Manichean Bishop Faustus, Faust senior. Many chapters of the folk tale seem as if they had been copied, but badly copied, only from the book in which Augustine describes his own development and his encounter with Bishop Faustus. We can prove that the Ahrimanic trait in the Faust figure points in this direction, and that when the folk book was written only the last dark urge remained to depict the Ahrimanic elements of human nature in the Faust figure. And now, what about the Luciferic element? How were the Luciferic elements chopped up into those ragout pieces, which were then cooked into the ragout of elemental spirits and pieces of Lucifer and Ahriman, as I just said? Yes, we have to search if we want to find the connection between Faust and Lucifer. We can also search for it historically, we don't even have to go terribly far, we just have to go to Basel, and we can find clues in Basel as to how Lucifer was chopped up into a ragout. We are told that Erasmus of Rotterdam met with Faust in Basel, where they wanted to have a meal in the college, but could not find the right food. And since Erasmus lacked something that should now taste good to him, he told Faust, who was sitting with him and wanted to eat with him, but they had nothing right. So the Faust saga tells us that Faustus was now able to suddenly bring to the table, cooked and roasted, from somewhere - we don't know where - very strange birds that were not otherwise available in Basel. So we see a scene between Erasmus of Rotterdam and Faust, in which Faust is able to present such birds, which could not be bought in Basel at the time, nor far and wide in the surrounding area, to Erasmus. What is it actually? As such, it is not at all comprehensible in the legend, one can say, completely incomprehensible, but it becomes more understandable to us if we go back and bring together what we can gain from the writings of Erasmus of Rotterdam, who himself tells us that he made the acquaintance of a certain Faustus Andrelinus in Paris. This Faustus Andrelinus was an extremely learned man, but also an extremely sensual man. At first, Erasmus became so familiar with this Faustus that he had no real taste for the sensual sides of this Faustus. But again, we hear about a meal that the two are said to have eaten together. Now, however, two learned gentlemen of the time, such as Erasmus of Rotterdam and Faustus Andrelinus – we cannot expect them to serve each other such birds and in such a way, as Faustus of Basel is said to have served them to Erasmus. So it is likely that what has been handed down to us is just a kind of, I would say, joking speech that the two exchanged at the meal. But we do get a little behind this jocular talk when we also hear within this talk that Faust – this time it is probably Faust – was not satisfied with what was served to him, and demanded something else. Faust would now like to eat, in order to particularly torment himself, strange birds and rabbits; yes, strange birds and rabbits. Erasmus initially has the idea that this must mean something. So he behaves exactly like some theosophists who reflect on what things mean. Well, then the other one says, okay, he wants to do without the rabbits. Erasmus said: Could it not mean flies and ants? He wants to do without the rabbits. But the birds really are flies, and he wants to kill himself with flies for a change. Now we are very far. Now the birds have transformed into flies through astral transformation. And in Goethe we have the god of the flies in the figure of Mephisto. All that is needed is the spirit that commands these beings, and it could conjure up these beings. And so we have built the connecting bridge from the incomprehensible Basel legend and the strange birds to the flies that simply come from the devil. And we need not be surprised that the devil presents flies to him whom he invites to the table. But what kind of soul Faustus Andrelinus has, what kind of soul he has, that much becomes clear to us when we follow Erasmus a little further on his journey in Paris. In Paris, Erasmus was not yet quite inclined to engage with this Faustus Andrelinus character. But then he has to make a trip to London. There he writes that he has now learned – truly, Erasmus, think! , that he had manners like a coarse peasant, — that he has now learned to bow and even knows how to move around on the court parquet! And, yes, Erasmus writes it, that he lives in an atmosphere where, as you come and go, you always kiss each other by mistake. One recognizes from this that he wants to meet the tastes of his Parisian friend. He writes: “Come over here.” And if the gout prevents you too much, come over through the air in the spirit chariot. That is an element for you! — One sees that Faustus has a connection with the Luciferic kind of soul tendency. With Goethe, we then encounter how Faust carries out his seductions by seducing Gretchen and so on. Lucifer has really fallen so far from the surroundings of the Faust figure that one must already do such literary investigations if we want to state the connection of Faust with Lucifer in the Parisian Faust. But we literally see Faust standing there, Lucifer and Ahriman at his side, albeit indistinctly through the confused time, boiled down into a ragout in the folk play. Should we be surprised to find in the folk play and folk drama, and even in Marlowe's Faust, something that is a remnant of ancient beliefs, still rooted in those times when man's connection with Ahriman and Lucifer was recognized through atavistic clairvoyance? But all this has become blurred, and in the literary product of which we have spoken, it is presented in a thoroughly blurred way. Goethe sensed the deep connection. But what could Goethe not do? He could not separate Lucifer and Ahriman from each other. They merged for him into the hybrid figure of Mephisto, in whom one does not really know whether it is the devil, Ahriman, or the real Mephisto. For he has also taken upon himself what Lucifer has. Goethe receives the ragout, as it were; he senses that Ahriman and Lucifer are at work, but he cannot yet sort it out; he devours them in the occult impossibility of the figure of Mephisto, who is a hybrid of Ahriman and Lucifer. One would like to be able to name the time that Goethe looked into by getting to know the Faust book: the last darkening of an old knowledge of this matter, the dying evening twilight of the old knowledge of Ahriman and Lucifer. And Goethe's Faust is the first dawn of the as yet unascended knowledge of Ahriman and Lucifer, dark and confused in the figure of Mephisto, Ahriman and Lucifer still mixed up. But already with the need to depict what the human soul can have by allowing itself to be affected by what has flowed into the earth's aura through the Christ being having passed through the mystery of Golgotha! The Easter Mystery appears to us as the dawn of a new era of spiritual life for humanity in Goethe's “Faust”, which, despite its grandiose nature, still has something confused about it, something of a dark, foggy dawn. It appears to us as something within this dark dawn that we can see when we climb a mountain and see the sun rise earlier than we could see it before we stood on the mountain. We feel how one of the greatest of men, in his striving for the renewal of ancient knowledge, turns his soul towards the Paschal Mystery, when we allow Goethe's Faust to take effect on us. And if we allow it to take effect on us in the right way, then we feel what can take place in the heart of one of the greatest of men when this human heart has been touched by the Paschal Mystery, as Goethe himself felt at the same time. There is also something in this intuitive presentiment of Goethe to the Easter Mystery in Goethe's anticipation of it, is something like a hint: Yes, after the dawn, into which the first dark-light rays of the Easter Mystery shine, will come the sun of a new spiritual knowledge. The human soul will rise from the grave of darkened knowledge into which it too must descend. In the course of its development, the human soul will experience the Easter Mystery, the resurrection of that which is the Christ impulse in its deep, grave-like depths, when it unites with the power that emanates from the contemplation of the Christ Easter Mystery. So, one would like to say, we feel Goethe's call and, after letting the tragedy of the Easter mystery take effect on us, would like to transform it into the call: May spiritual knowledge appropriate to the future rise in human hearts, in human souls! May human hearts and human souls, after sensing the deepest tragedy of the Easter mystery, feel and experience its depth in their innermost being, and may they experience resurrection in themselves through Christ! May you, today, through the words that I have taken the liberty of speaking to you, absorb something of the feeling in your soul, so that you are united here, in our building dedicated to spiritual research, so that you, through the power of your souls into the future, something of that resurrection impulse which is so powerfully illustrated in the Easter mystery, and from which we could see how the greatest spirits of that time, which has now passed away, longed for it. Feel in “Faust” something of what the magical sound of the Easter bells can resonate in the spirit of your souls.
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272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Faust's Penetration into the Spiritual World
11 Apr 1915, Dornach Rudolf Steiner |
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Mephisto is sent by the earth spirit: There you have another one of the spirits that you understand. Try to understand the Lucifer that is in you, and not immediately look at the spirit of the earth! |
Faust does not yet understand the text of the Gospel at all, otherwise he would stop at “In the beginning was the word”. He falters because he does not yet understand it. |
It is something that one must first gain an understanding of, something that one cannot even understand according to the thinking habits of our national community. |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: Faust's Penetration into the Spiritual World
11 Apr 1915, Dornach Rudolf Steiner |
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after a eurythmy-dramatic presentation Today we have preceded the Easter scene in 'Faust' with the scene in which the Earth Spirit appears to Faust. Eight days ago, we were able to tie in many thoughts from 'Faust' that can be meaningful to those who want to approach the laws of the world, the life of the world, in a spiritual scientific way. It is not just to give you explanations of Goethe's 'Faust' that I am taking up Goethe's poetic creation last time on Easter Sunday and this time here. The reason is because the human soul can truly perceive something of the artistic images that confront us in “Faust” that must be called the development of this soul into the spiritual worlds, which one can call becoming familiar with the spiritual worlds. To the extent that we can, so to speak, immerse ourselves in “Faust” from a spiritual scientific point of view, we may indeed tie one or the other reflection to this poetic creation. In essence, Goethe's 'Faust' is the expression of the striving into the spiritual world in Goethe, and thus the expression of how, at an important turning point in modern history, a mind as deep as Goethe's tried to enter the world that we seek through our spiritual deepening. Last time, we were able to convince ourselves that Goethe lived in a time in which it was really not yet possible to find the way into the spiritual worlds in a clear, I would say unambiguous, way. We were able to convince ourselves that such truths as those of the significance of Lucifer and Ahriman still hovered before Goethe's soul as an unclear realization, one might say, like an unclear sense of the spiritual world, and we were able to convince ourselves that in the figure of Mephistopheles the two figures of Lucifer and Ahriman have been conflated, so that Goethe has before him an unclear figure in Mephistopheles, to whom he cannot get close in an unambiguous spiritual-scientific relationship. And so we can see precisely in this striving of Goethe's, as it is expressed in 'Faust', with what seriousness and with what inner conscientiousness, one might say, with what responsibility before our own soul we should pursue what spiritual-scientific deepening is intended to open up. When a spirit so profound encounters such difficulties in the way of what many, many people today are seeking, there is truly an opportunity to learn a great deal from Goethe's own quest and striving. One would wish that everyone who has delved a little into the results of our spiritual science would again approach this document, Goethe's “Faust”, which is a document from the dawn, not yet from the time after the sunrise of spiritual-scientific endeavors. Last time I said that Goethe needed the maturity of his life to emerge from the state of his soul in his youth. Goethe's soul cannot be satisfied with just seeing in the world what the sensory eyes see and what the mind, bound to the brain, perceives. And what lived and raged in his soul for the deeper spiritual foundations of life, he shaped it in the striving Faust, who is not a likeness of Goethe, but who does present certain aspects of Goethe's striving and Goethe's life in a truly artistic way. And so we have here, in the scene with the Earth Spirit, one of the oldest parts of Goethe's Faust that he wrote down. Last time I spoke about Goethe's “Faust” in such a way that if I were misunderstood as I often am, one could go and say that I had called “Faust” a defective work of art and would even have said some harsh words about it. And someone who is particularly inventive might say that I have undergone a change in my view of Goethe, for I was of course once an admirer of Goethe and have now proved myself to be someone who criticizes Goethe. Now, I should not need to mention that I venerate Goethe no less than I ever did, that he appears to me as the most magnificent spirit of modern times. But what is venerating devotion to a personality should never lead us to a blind sense of authority, but should always keep us clear-sighted for that which we have recognized as truth. The various parts of Faust can be said to have been pieced together, not to mention glued, and it can be said that at the time when Goethe wrote the oldest parts of Faust in the 1770s, 18th century, was really incapable of writing the later parts, that he really had to mature first in order to come from his longing for the spiritual world to what one might call his understanding of Christianity. It was only through the maturity of life that Goethe was able to continue Faust, who is searching for the spirit world, in such a way that Faust comes to be preserved in life through the Austrian memory, and that Faust even comes to take the Gospel into his own hands and to begin translating the Gospel of John. When one hears some people today saying that they need no spiritual knowledge to fathom the depths of Christianity, that this spiritual science is unnecessary stuff, because Christianity can be sufficiently understood by what every pastor proclaims from the pulpit, that mere belief must prevail, especially in this Christianity, and one compares such soul mood with what must be said about Goethe, who, as one of the deepest took decades to mature to his understanding of Christianity, then one can get an idea of the tremendous arrogance, the tremendous conceit, that is in people who, conceited and haughty, always speak of the simplicity of their minds, and who dismiss what they do not need — the content of spiritual science, what they do not need according to their view. In the scene with the Earth Spirit, we see something of what occupied Goethe in his youth, in his thirties, and also in the last twenties of his life. We can see from this earth spirit scene and from what preceded it, the so-called first Faust monologue, how Goethe immersed himself in so-called occult-mystical literature and how he tried to find the spiritual world through meditation and meditative devotion, through what this literature gave him. We see him in the scene that has been presented to us today, in the midst of his search through meditation, which arises from the allusions that he, as it is said here, can gain from an occult-mystical book, from an old mystical book by Nostradamus, as he strives through his meditation, which arises from a mystical book, to rise up into the spiritual worlds. Let us try to imagine the worlds to which Faust, and thus also Goethe, actually wants to go. When the soul of man has really managed to strengthen its inner power so that the spiritual-soul core of man's being is released from the instrument of the physical body, when the soul, so to speak, with its powers that are not perceptible to it in ordinary everyday life, has slipped from the physical body, what becomes – not the physical body itself in its spatial boundaries, but the physical life, with which the human being is always spiritually connected because a ray or stream goes to this physical life – what becomes for the human soul this physical experience? In the time between death and a new birth, a ray or stream of spiritual life goes back to what we have experienced on earth, as you can see from the illustrations of earlier lectures. So there is always something like a spiritual reaching out, or even more than a spiritual reaching out, back to what is physical experience. What then does this physical experience become for the human soul, which has been freed from the use of the instrument of the physical body? I would like to say: the whole physical experience becomes a soul organ for the person who has emerged from this physical experience. The physical experience becomes, as it were, an eye or an ear; the whole human being becomes a sense organ, a spiritual sense organ, an organ, one might say, of the whole earth, which looks out into space. In order for our eye to see physical objects, we have to be outside of our eye. The eye has to be embedded like a kind of independent organ in the eye socket, which is even closed off by bony walls, so that the eye is a relatively independent organ. In a similar way, the ear is also closed. Again, the whole physical apparatus of the brain is enclosed in the head cavity and closed off from the rest of the human body. The physical experience of the human being must become so closed off that it becomes a kind of sensory organ, a kind of eye or ear through which the human being, who is outside of what his physical experience is, looks out into the vastness of space. What is experienced there can also be described as follows: one can say that one is now in the world that is presented in the book 'Theosophy' as the soul world. This is the world that one first enters when one has the experience of being outside the body with the soul that has become independent and having one's own physical experience outside of it. In the Vienna Cycle of April 1914, I described how, in the life between death and a new birth, the human being has a spiritual-soul sense organ through his last life on earth to perceive the rest of the world, that is, he perceives the rest of the world through this life on earth. In this world we find our deceased for quite some time after their death, until they advance to another world, which can only be reached by a later state of development of the soul, even for the human initiate. In this world, into which we enter, many things must strike the observer. Only details about this world can be said. From the various lectures, one must gather what characterizes this supersensible world. Above all, what the soul immediately notices is that, having become free from the body and entering into a new world, the soul now sees the stars going out, feels the stars going out. The soul settles into an elementary world, so that it now weaves with the sea of air, itself surges with the warmth surging in the world, radiates out with the light, and since the soul radiates out with the light, it cannot see external objects through the light. That is why the sun and stars fade, and the moon extinguishes its light before the soul. It is not an external looking at, in which one then is, it is a co-experiencing of the elemental world. And at the same time it is a co-experiencing of that which one calls the power of historical happenings, of historical becoming. In this world one can see in process what history really does in human life. In its further meditative development, the soul can then struggle up to a higher experience. Then, not only its own experience becomes a spiritual-soul sense organ, but the whole earth becomes a sense organ. To put it quite paradoxically, but you will understand me, the human soul must advance to such an experience, of which one can say: The human being is now something in which the whole globe is inserted, as otherwise the eye or ear is inserted into our body, and as we otherwise see with our eyes, hear with our ears, so we perceive the cosmic space with the whole earth and its experiences. There we become aware that what physicists say about the sun and the stars is mere materialistic dreaming. The stars have indeed already gone out, the sun, the moonlight has gone out in the previous world. But now we become aware that where we suspected the sun there is a community of spirits, that everywhere we suspected a star there is a spiritual world. And we become aware, by remembering our life on earth, that the materialistic reverie of which the physicists speak is a fantastic one, because when stars or suns appear to us, it is because somewhere in the spiritual world there is the seat of a spiritual community, just as the earth is the seat of a community of people. But just as little as one would perceive the physical bodies of a distant star, only the human souls, so little can it be said that something up there among the stars could interest us that is not of a spiritual-soul nature. But what we see, we must imagine as the vapors of the earth's atmosphere, which collide with what is coming in, and the physical eye can see nothing of what the star really is, but only the vapor that the earth itself throws out into space. All that we see as the starry sky is nothing but the material, albeit ethereal, material of the earth itself woven together, it is a curtain that the earth draws across what is behind it. But when the soul comes to live itself out in this world, then it perceives that out there are not these fantastic stars, these materialistic-fantastic stars that physicists speak of, but living beings, living communities of beings, floating up and down, weaving back and forth in the outer space of the universe, passing the gifts from top to bottom, and in turn the gifts are passed from bottom to top. If you translate the words into the spiritual:
— Powers, but now in the sense in which we speak of primal forces -,
But if we imagine all this in spiritual and mental terms, then we have roughly the world in which the soul lives out itself. Now, what did Faust have of all that has been described here at the time when he is presented to us? He has opened an old book, written by someone who has recorded an ancient observation in signs: this was given by the sign of the macrocosm. But Faust is naturally not in a position to project his soul into worlds where the entities in space develop their great happenings. Faust is not able to reach that level. He only sees the sign that someone who has reached that level has written down, the sign of the macrocosm. But a dream, a presentiment is evoked that this sign means something. So imagine yourself in your soul, that you had never heard of spiritual science, that you had the sign in front of you, but that you had an inkling that someone had once seen something similar that you would also like to see, then you are in Faust's soul. At first you can dream yourself into it, so that your imagination brings to life something through these outer signs, which are essentially the signs of the zodiac, the signs of the elements, the signs of the planets. You can even begin to break out with overflowing feeling into the words:
But this strikes back at you, for now you become aware that you have nothing but the sign in the book, nothing but a fantasy...
Even just a spectacle as an inner fantasy! And you are thrown back. The sign has brought you to nothing, on the contrary, it has thrown you back, has brought you the feeling: there is the world of the spirit, before which you stand, but nowhere can you find an entrance.
Nothing but feeling inside the elements, in the light and in the air, as I said, in the subordinate world. And now even more clearly expressed. Faust has pushed his way up into the spiritual world, fallen back into the world that I described earlier as the next supersensible world. This with the air and light life, that expresses itself very well in the words:
He has fallen back completely, back from the spiritual world into the elemental world. But he is not yet able to recognize this either. It helps him that he opens the book and sees the sign of the earth spirit. That is the sign that someone has written who has had this lower world, the elemental world, as his own world. Now he feels at home in it. He has a presentiment of being at home in it.
— because he feels something in it, because he has turned away from the appearance of meaning and feels something of the world's inner workings. Now he is actually always speaking of this world:
— that which one experiences when one lives in warmth and light -,
Imagine feeling warmth in your soul when you live and weave in the world as a heat wave!
It really is like moving in the elements. I told you that life on earth becomes a sense organ, and just as you feel your eyes and ears within you, you now feel your sense organs in the earth.
when you are a wave in the air.
No wonder! I have just described to you how this happens, how stars like the moon go out. The light goes out because it goes with the light itself.
This is now internal perception.
Do you not notice how life is expressed in the elements here?
And now, out of his meditation, he speaks the spell that is added to the sign of the earth spirit, a meditative, suggestive spell that really does lead him to the sight of the spirit, who is the leader of the spirits in whose realm we enter when we enter the elemental world. But immediately we realize that Faust is not actually ready for this world, and above all cannot feel ready for this world. What will become of him, then, of Faust? He will come to self-knowledge, in the sense that this is the highest knowledge of the world, in that we all experience what can be experienced when we swim and weave and roll and dwell in the elemental world. But Faust cannot recognize what individualizes itself in it. This spiritual conversation between Faust and the Earth Spirit is so very characteristic of the state of maturity of Goethe at the time when he wrote the scene, as he describes his tremendous striving into the spiritual world.
Faust is already turning away. Of course, it doesn't sound like what we usually hear with our ears, that it sounds to us from afar, but rather so that we live in the sounds. It sounds different from what can be heard on earth, very different. Just as one does not see what one sees through the light, but rather shines with it. It looks different. Faust wanted to become a superhuman. That is, he wanted to enter the spiritual world, but he is seized by horror at this spiritual world. Through this encounter with the earth spirit, it becomes clear to Faust that one must become a different person than one was before as a human being if one wants to enter the spiritual world, that one cannot enter this spiritual world with one's ordinary powers, feelings and passions. Faust must have felt this deeply, how he was first thrown back, falling from the higher spiritual world into the elemental world, and how he is now thrown back in the elemental world in his knowledge, because he has remained only the ego he used to be, because he did not develop into this elementary world, to which the suggestive meditation brought him, which he carried out through the saying attributed to the earth spirit. He was able to see for a moment what kind of beings are within. But the spirit says to him:
That this voice resounded from the subconscious, I have already pointed out, that this was the Faust whom the outer Faust himself does not even really know.
This “you” now refers to the ordinary Faust, while the striving Faust was the higher human being Faust.
But now Faust's defiance awakens. He wants to plunge into the world for which he is not ready:
Now he can still hear how the spirits of the elemental world, into which he has transferred himself, live with human history, with what takes place on earth through the races and cultures, and how they live with it. And the secret of the elemental world is expressed by the earth spirit; it never speaks of being, but of becoming, of happening.
Not in space, but in time: read the lectures given in The Hague! Faust can grasp that this is the spirit that walks through history:
You who wander the wide world! You who are the spirit that belongs to the spirits of the age, how close I feel to you! — So he says in his presumptuousness. The spirit now tells him what Faust himself later calls the word of thunder, which strikes his soul like a word of thunder and in turn strikes him back into the ordinary world in which he is because he is not yet mature. He should seek self-knowledge and in the self expanded to the world, the spiritual world. He cannot yet find it, so the word of thunder must sound to him from this earth spirit:
What spirit is it then that Faust comprehends? What spirit does Faust comprehend? He, the image of the deity, who cannot comprehend the earth spirit? How can he then advance in self-knowledge? What kind of human spirit can Faust comprehend? Enter the other Faust, wearing a dressing gown and nightcap: this is the spirit you comprehend! You do comprehend Wagner! You have not progressed any further, for the other part of you lives only in defiance, as a passion! In self-knowledge he comes a little further. That is precisely what is so remarkable about Goethe's Faust, that is the beautiful artistic form of Goethe's Faust, that what is brought onto the stage in real form is always, at bottom, a piece of self-knowledge. Just as Mephistopheles is a piece of self-knowledge, so is Wagner also a piece of Faust's self-knowledge. Wagner is Faust himself. And it would not be wrong to stage “Faust” in such a way that the character of Wagner, dressed in a dressing gown and nightcap, to whom Faust turns away, would be a likeness of Faust himself. Then people would immediately understand why it is precisely this Wagner who comes in. What Wagner says is basically what Faust already understands; he only recites the rest. He just lets it out. He believes he is elevating himself to the highest truths, which he can recite in a phrase-like manner, but which he does not experience inwardly. And now a piece of self-knowledge takes place. Wagner speaks the truth. Basically, Faust has not spoken his innermost experiences, he has recited.
That is one truth: he only declaimed. And it is a piece of self-reflection to realize that you do not approach the spirit of the world in this way, but at most read a Greek tragedy. So many people, when they approach spiritual science, want to declaim about the highest truths, even if it is often a self-declamation about the highest truths. Basically, they want nothing more than to benefit from this spiritual science, to profit from it, to delude themselves with a hazy mist. With regard to today, it can be said that this is often the case in some circles. Some people are very interesting when they talk about their visions. In earlier times, we heard this from the priests; now the actors have learned it even better, so that the priests can learn something from the actors. If Faust were to go only as far as his understanding, he would have to say the words that Wagner speaks, his mirror image. But he goes beyond the limits of his passion, and goes beyond with the Luciferic, not with the genuine, full, human core of the soul, but with the Luciferic core. It is the Lucifer in Faust who now answers what Faust is, but what stands before us as Wagner:
This contempt, this arrogance comes from the Luciferian in Faust, because if Faust were not seized by Lucifer, he would speak as Wagner does when he expresses only what he can honestly admit as the subject of his understanding. The other thing is a dark foreboding in him of something he wants to get to. But this soliloquy – really, it is only a conversation with himself – does get him a little further. You get so much further in life when you encounter yourself in another. You don't like to admit to yourself that you have these or those qualities. But when they confront you in another, you are more willing to study them. In this way, we acquire self-knowledge when a quality presents itself in the form of another, as in Faust by Wagner. Faust has not yet reached the point where he would say to himself, now that Wagner is gone: Yes, that is actually me. — If he had already fully penetrated to himself with his understanding, he would say: I am only a Wagner, the Wagner is only here in my head!
For up to now he has done nothing else, except seek the spirits in the manner described. It is self-knowledge that confronts Faust in Wagner. Who sent Wagner into him? The Earth Spirit sent him in, the Earth Spirit:
And now Faust shall see what spirits he resembles. He does not resemble the Earth Spirit, who is the ruler of the Earth, but he shall see one of the forms within him: there is your Wagner! This Wagner is in you! But now there is not only Wagner in Faust, but the Luciferic element is opposed to Wagner, that is, opposed to itself. There is another element in him. If you look at “Faust” in its earlier form, as it was at the beginning, it is the case that Goethe did not finish the following after the earth spirit scene at the time. It continues like this: conversation with Wagner, then with the student, Mephisto... Mephisto enters, of whom Goethe does not quite know whether he is Lucifer or Ahriman. If he had studied spiritual science, Lucifer would appear now. But he has the other one, who is sent to him by the earth spirit. The earth spirit sends him Wagner, sends him Mephisto, we would say Lucifer. Faust is to get to know little by little what is in him. Mephisto is sent by the earth spirit: There you have another one of the spirits that you understand. Try to understand the Lucifer that is in you, and not immediately look at the spirit of the earth! How unclear Goethe was about the matter can be seen from the fact that a small piece, which was later left out, is in the original writing, in four lines. In 1775 there were four lines after the scene where Mephisto has brought Faust so far that he has led him to Gretchen, and that Faust now wants to force himself on Gretchen. There are four lines that were no longer in the fragment as early as 1790. After Faust, who is actually Lucifer – Goethe just mixes them up – has asked Mephisto to take care of the jewelry for Gretchen, Mephisto says in the old manuscript, after Faust has left:
There it is, Mephisto himself calls himself Lucifer. As I said, the four lines were later omitted. So what was Goethe actually trying to do in his earlier days, when he wanted, one might say, to express himself in his “Faust”? Well, he wanted to show how man should come to self-knowledge. But, one might say, there is an inkling of it in this first scene, which Goethe wrote in his youth, and which you can now read with clarity, where it is described in “How to Know Higher Worlds?” the encounter with the Guardian of the Threshold. You foresaw in Faust how the human being, who gradually realizes how different entities are within him, divides himself up, how he divides himself up into Wagner and Lucifer-Mephisto. He gets to know himself bit by bit in his individual parts, he gets to know himself as Wagner, he gets to know himself as Lucifer-Mephisto. But as I said, Goethe first had to mature in order to really see the great significance of the Christ impulse for humanity, as far as that was possible in his time. Therefore, we see how Goethe, in his later years, sought to supplement what he had written earlier about Faust's striving until man encounters himself in his various images, including the image of Lucifer, by having Faust come into contact with what has been incorporated into earthly development through Christ. One could say that the cultic symbols of Christ approach Faust. And so we see in Faust the document that shows us how Goethe himself brought occultism to Christianity, to the Christ impulse, and how we are indeed continuing today to work on the path that Goethe took with regard to its first steps. In Goethe's time one could only get a glimpse. Today, the time has come when it is possible for man, through spiritual science, to truly enter into the realm of spiritual life, into which all of Goethe's striving was directed. Today, Faust must be understood differently than Goethe himself understood him. Yes, the world is progressing, and if we do not fully recognize that the world is progressing, then we are not serious enough about the world. But such experiences, that one splits, that one encounters oneself in one's true form, in a Luciferian form, such experiences do bring one forward, but always only a little way. We must part with the belief that we can see the whole spiritual world if we have only made small advances, such as we can make through meditation. One always advances only a little. There are two natures in Faust: the Wagner nature and that which now strives forward. When Goethe wanted to point this out in his later years, he did it very beautifully. Goethe felt the need, when Faust had already approached Christianity, to show what the Wagner nature in Faust is. Therefore, he lets Wagner and Faust take the Easter Walk together. It is now the case that, as is naturally dramatic, two people are presented to us, showing what is going on in Faust's soul. The higher man in Faust strives forward, but the Faust-Wagner holds Faust back. A spark of comprehension of the spiritual world has been kindled in Faust, so that he now sees not only the sensual poodle, and there really is something like a soul force in Faust that expresses itself in the conversation with Wagner:
Now the nature of Wagner awakens in Faust.
These are objections that Faust himself actually raises. And now it continues. Faust begins to see the supersensible behind the sensual; he already senses it. So, it is a hunch, brought on by the experiences he has had. A spark of the spiritual world has entered into him. And it is beautiful, one wants to say, how infinitely artistically sincere and honest Goethe is, one just has to understand him. When Faust now feels the Luciferic in himself – as you know, the Luciferic is connected with obstinacy, with inner egoism – he, Faust, now also carries this Luciferic into his being gripped by the Christ impulse. It is a Luciferian trait that the Gospel of John, in that he wants to translate it, does not seem perfect to him at all. For the understanding, the Goethe commentators are a bit curious, who really go along with the poet, because they always go along with the poet, even where he distributes the things he wants to say among his characters. Faust does not yet understand the text of the Gospel at all, otherwise he would stop at “In the beginning was the word”. He falters because he does not yet understand it. The professors present it as if Faust understood it better, but he does not yet understand it. What appears to him now is the power, the deed – so he brings rationalism and intellectualism into the gospel. This now evokes the opposite phenomenon. Whereas he was once pushed down into the sensual world, he is now drawn up into the spiritual world. By fully asserting his limitations, by setting 'sense and power and action', he is pushed up into the spiritual world, because there is already a spark of spiritual power in Faust. Then the spirits come and again as the messenger of the earth spirit... Mephisto, this unclear figure between Lucifer and Ahriman. So you see, one must understand Goethe's struggle to penetrate Faust's spiritual world, and one can learn an infinite amount from it, especially for our present time. What I particularly wanted to do in the last lecture on Easter Sunday and in this lecture was to show you how it is more difficult for a spirit that wants to delve deeper to penetrate to the Christ impulse than for a spirit that remains in its infinite pride and conceit and does not want what spiritual science can offer it. On the other hand, I also wanted to use Faust to illustrate how powerful the impact of the Christ Impulse has been on the world. There will come a time when we will learn to understand the inner nature of the Christ impulse ever better and better, precisely through what spiritual science has to give. It stands there in the world – I would like to say, as an illustration of the development of humanity on earth, brought about by world history, of what the Christ impulse is – the fact stands that centuries after the Christ impulse entered into the development of humanity on earth, something occurs in this development of humanity that is also not properly understood. But at the moment when one begins to understand it correctly, one is led precisely through this understanding to a deeper feeling for the Christ event. You know, of course, that six hundred years after the Christ impulse entered into the evolution of mankind, a prophet arose in a certain community who initially rejected what had entered into the evolution of mankind through the Christ impulse: Mohammed. Today we must no longer profess the superstition of the 19th century, which, out of rationalism, seeks to explain in a belittling way what must be explained out of spiritual insight. And it must appear ridiculous to anyone who really wants to penetrate into spiritual science when a particularly learned and clever man says of Mohammed: Yes, he claims that the angel who whispered in his ear what he wrote in the Koran approached him in the form of doves! But Mohammed - so the rationalist scholar says - was a mere juggler. He put some grains, which doves like to eat, into his ear, so the doves flew up and took the grains, but flew away again when they had had them! Yes, there have been such explanations, within and outside of Christianity, in the very clever 19th century. There will come a time when such explanations will really only be laughed at, even though they are fully capable of satisfying materialism. We have to take Muhammad more deeply; we have to be clear that what lived in his soul was really such intercourse with the spiritual world as Goethe sought for his Faust. But what did Muhammad feel? What did he find? Today I can only hint at it, another time I will explain it more precisely. What did Mohammed find? Well, you know, Mohammed first strove for a world for which he had an expression, it is only one word: God. The world becomes a monism, a monistic expression of God. This world has nothing of the essence of Christianity, of course. But Mohammed does look into the spiritual world; he enters the elementary world of which I have spoken today. He promises his believers that they will enter, when they have gone through the gate of death, into this spiritual world. But he can only tell them about the spiritual world that he has come to know. What kind of spiritual world is this? This spiritual world, of which Mohammed tells his believers, is the Luciferian world, which he regards as paradise, the world that is to be aspired to. And when one passes from the abstract to the real, and adds, by way of interpretation, the meaning of Islam's striving in the spiritual world, one recognizes what spiritual science also proclaims. But this spiritual world is the world in which Lucifer rules; reinterpreted, the Luciferian world becomes a paradise, the world that people are just beginning to strive for. I believe that it must make a deep impression on our souls if we can delve into the essence of historical development in such a way, through a very important phenomenon. It must give us pause when we learn in the progression of religious life how a great prophet emerged with the error that the Luciferic world is paradise. I do not want you to take this in just as abstract truths, I believe it can shake the soul if you let it affect you. But what does the Muslim do to enter his spiritual world? Perhaps we could later have a note handed in at the door from each of our dear friends here who has read the entire Koran. It would be interesting to count the slips of paper of those who have read it. But it is not easy to read the Koran completely, with its endless repetitions, which Westerners find so endlessly boring to read. But among Muslims, there are people who claim to have read it from beginning to end seventy thousand times in their lives. That means: to have brought a word that was given to the soul in such a way that this word has become alive in the soul! Even if we cannot learn anything in terms of content from such a religious community with regard to Christianity, we can still learn that within that community of people, even spiritual error is treated quite differently than what we are called to recognize as spiritual truths. At most, a European might read Faust, then, when he has forgotten it, read it again, and when he has forgotten it again, read it once more. But those who have read Faust a hundred times will also be sought after. It is also understandable within the context of Western education to date. How could anyone read everything that is printed in the West seventy thousand times? It is quite understandable. But we should still acquire something, that it is one thing to simply inform oneself about a content that is meaningful for the soul's life, and something else to live with it, again and again, so that one becomes completely one with it, completely one. It is something that one must first gain an understanding of, something that one cannot even understand according to the thinking habits of our national community. But we should reflect on such things. Not just to tell you something, but to stimulate your reflection, words are spoken as they are in this reflection. To increase our sense of responsibility towards ourselves and towards the world, with regard to what spiritual science can and should be for us. We live in difficult times in many respects. The very difficult external events that surround us at present are only the outward sign of our very difficult times. It is not good to look at these very difficult times as if they were an illness, as we often call an illness an illness, because an illness is often a healing process, the true illness has preceded the physically apparent illness. So also what is now going through the world as mourning events has been preceded by something pathological, and we are to see into much deeper things than humanity is inclined to see into. Oh, a great pain can be deposited on the soul of the one who looks at the present time with the tasks it has, and with the little understanding that so many people have for these tasks. When one sees how people judge, think, feel and perceive the world today, and how these thoughts, feelings and perceptions lead to external events, and how people learn so little from these external events, then an infinitely meaningful pain is deposited on the soul. It is this feeling of pain that must now often come over the soul. If one can really look back over the past months of trial, to mention only the most recent, and turn one's gaze to what people have learned through these months of trial, to what judgment confronts one in relation to what confronted one eight months ago: it is the same kind of judgment, the same kind of feeling. What made people believe they were right eight months ago, they still think so, they even want the sad events to have occurred in order to prove them right in what they believed was right eight months ago. I cannot express how infinite the pain is that one feels at the small way in which human souls have changed in recent months according to the assumptions that had to be made for this change, so that our time really would be a time of trial, a time of learning. But of those who stand within spiritual science, one would wish that they absorb much of what can be learned when such considerations as these are undertaken in connection with Faust. Again and again one would like to point out to souls the deep seriousness and the sacred striving for truth that must be connected with our spiritual-scientific view. And in such a movement there must be retribution for everything that does not arise out of deep sincerity and a deep sense of truth. We must really try to overcome everything that can make one say to the one who utters it: Forgive me, I hear you declaiming! Is it not strange, when we see the stage traditions according to Wagner often on the stage today, and when scholars, when rationalists and intellectuals deride what Wagner is, instead of them knocking on their hearts and seeing themselves in the Wagner. This Wagner sits on the chairs everywhere, in the laboratories, and our scientific literature, our philosophical literature, would contain a deep truth if the majority of the authors chose the pseudonym “Wagner”. For they are written by Wagner, these philosophies of the present. I am quite sure that many a person who lives in the ranks of spiritual science also has sufficient reason to beat their breasts, to examine themselves in self-knowledge, to see how much of their soul is mere self-promotion and how much arises from absolute honesty, from an absolute sense of truth! With this admonition to your hearts, to the deepest powers of your soul, I close this reflection. |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: The Mood of Whitsun: Faust's Initiation with the Spirits of the Earth
22 May 1915, Dornach Rudolf Steiner |
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One could say: In the Pentecost proclamation, something is given that resonates so powerfully with the human mind that everyone can understand it, even though they only understand their mother tongue. Almost everyone feels that it contradicts what surrounds us at this year's Pentecost festival if only one interpretation of what this Pentecost proclamation can mean is given. |
And it is the same with Ahriman, who crouches in a rocky cave under the right side of the thoroughly Christianized human being, under which the earth is driven upwards: the material that is driven into people, but which cannot gain strength and weakens because the power of Christ is near it. |
This is what a person sees when he, I am not saying, undergoes the initiation, but when he lives the initiation. And he has reason to see the world anew. He would not utter the words he now speaks if only the person who had become guilty and who would live under the impression of this guilt in this incarnation were in him. |
272. Faust, the Aspiring Human: A Spiritual-Scientific Explanation of Goethe's “Faust”: The Mood of Whitsun: Faust's Initiation with the Spirits of the Earth
22 May 1915, Dornach Rudolf Steiner |
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following a eurythmy presentation of the first scene of the second part of “Faust” It will be understood that it is hardly possible to give a Whitsun lecture in the usual sense this year, especially at this time, namely at Whitsun itself. Let us consider what characterizes the time of Whitsun in the document of Christianity, the New Testament. We will find that the significant characteristic of the Pentecost is that the Spirit is poured out on those who are called apostles. And the consequence of the outpouring of the spirit is, as we see from the second chapter of Acts, that the people of the most diverse languages, who are gathered together at the Feast of Pentecost, ten days after the so-called Ascension, each hears what is to be proclaimed to them in a way that sounds familiar to him, even though each one expressly emphasizes that he is only capable of his mother tongue. And so the outpouring of the spirit at the Feast of Pentecost appears like the outpouring of the spirit of love, of unity, of harmony among those who speak the most diverse languages across the globe. Or, to put it better, to match the wording of the Bible, the matter could be put in the following way. One could say: In the Pentecost proclamation, something is given that resonates so powerfully with the human mind that everyone can understand it, even though they only understand their mother tongue. Almost everyone feels that it contradicts what surrounds us at this year's Pentecost festival if only one interpretation of what this Pentecost proclamation can mean is given. We need only consider that nineteen centuries after this Pentecostal proclamation, the world has managed to follow this Pentecostal proclamation in such a way that this Pentecost now sees thirty-four different speaking peoples fighting with each other, in a sense completely contradicting the meaning of Pentecost. Perhaps this language of fact will at least lead a certain number of people to realize that the Pentecost message has not yet spread throughout the world in a far-reaching way, that it has not yet sufficiently taken hold of people's minds and that it must speak to the minds of men in a new form, more urgently, more meaningfully than it has spoken up to now, so that it can be understood in the future in the way in which it must be understood. And so this year, as a Whitsun reflection, a general point of view will be taken, so to speak, a point of view that can bring us closer to the new Whitsun proclamation from a certain side, which we mean by spiritual science. For we must regard what has just been explained in the lectures that we have completed here as a Pentecostal proclamation to humanity; we must understand this spiritual science as a Pentecostal proclamation. Let us take what we know about the Mystery of Golgotha and let it enter our soul. What is the essence of this Mystery of Golgotha? This essence of the Mystery of Golgotha consists in the fact that a spiritual entity, which we know to belong to the cosmic spheres, descended and underwent earthly destinies, earthly suffering in a physical human body, that the Christ-entity lived for three years in the body of Jesus of Nazareth. Through what the Christ-being experienced in the body of Jesus of Nazareth, this Christ-being has been united since the Mystery of Golgotha with what we can call the spirit of the earth, what we can call the auric of the earth. So that for us the entire evolution of the earth breaks down into a time before the Mystery of Golgotha, when that which the Christ-spirit is can only be hinted at when man rises through initiation out of the earthly sphere, in order to perceive not that which lies within the earthly sphere, but that which the earth has no part in, which is only predetermined for it for a later future, and in the time after the Mystery of Golgotha. Since the Mystery of Golgotha, we know that the human being, with his spiritual soul, does not need to flee from the earth, but can remain within the earthly sphere and can perceive within this earthly sphere the impulses contained in the Christ-being. Now we must realize that for centuries until our time, a part of humanity has become aware that the Christ Impulse is connected with earthly existence. Something has changed in the collective consciousness of those human beings who have felt and sensed something of the Christ Impulse. Something has changed in the overall consciousness of these people. The belief has entered the soul that the Christ is with man, that the human mind can unite with the Christ, that the human mind can experience something within earthly existence that is vividly imbued with the Christ impulse. But an understanding of what the Christ impulse is in the entire earthly existence in the development of humanity must first really penetrate into human souls through spiritual science. And for this it is necessary to recognize how this Christ impulse works in the human soul in such a way that two other spiritual impulses are, as it were, kept in balance. This is what our sculpture, which we are erecting in the east of our building, will have to depict. There we will place the representative of humanity, the representative of the human being insofar as this human being can experience the deepest things in himself, insofar as this human being can experience what one experiences when one has taken up the Christ impulse as a living impulse in one's soul. For my sake, the main figure in the building in the east can be called the Christ; he can also be called the representative of the internalized human being in general. But one will have to see this spirit, which speaks through a human body, in connection with two other spiritual entities, with Lucifer and Ahriman. The representative of humanity will have to express his relationship to Lucifer and Ahriman while standing upright. Everything about this figure must be purely characteristic. Above all, you will notice later, when this figure has just been set up, that the gesture of the raised left hand and the gesture of the lowered right hand are very special. This gesture of the hands will be understood when one sees how, above, on the rock toward whose summit the left hand of the Representative of Humanity is raised, the left arm rises, just as above, on this rocky summit, Lucifer falls from the reason that he breaks his wings. Now one can easily believe that this breaking of the wings would be caused by the power emanating from the arm of the representative of humanity, as if, as it were, this power radiated out to Lucifer and broke his wings. That would be a false conception. And hopefully we will succeed in preventing this false conception from arising through the vivid description. For it is not a matter of something emanating from the fully Christianized human being that breaks Lucifer's wings, but rather that Lucifer experiences something within himself when he senses the proximity of the Christ, which leads to the breaking of his wings. Because he cannot bear the Christ-power, the Christ-impulse, he breaks his wings. It is a process that is not brought about by a battle between Christ and Lucifer, but it is a process within Lucifer himself, something that Lucifer must experience within himself, and there must be no doubt for a moment that it would be impossible for Christ to feel hatred or feelings of struggle against Lucifer. Christ is Christ and only fills the world-being with positive things, does not fight any power in the world! But it must fight against the power that now comes into its proximity as the power of Lucifer. Therefore, the hand raised on the left must not work aggressively, nor must the left half of the face work aggressively with this peculiar gesture. Rather, it is as if it is pointing out that, in the context of the world, Christ has something to do with Lucifer. But it is not a fight. The fight arises only in the soul of Lucifer himself. He breaks his own wings, they are not broken by Christ. And it is the same with Ahriman, who crouches in a rocky cave under the right side of the thoroughly Christianized human being, under which the earth is driven upwards: the material that is driven into people, but which cannot gain strength and weakens because the power of Christ is near it. In turn, the power of Christ, flowing through the arm into the hand, must betray nothing of hatred against Ahriman. It is Ahriman himself who weakens and who, through what is going on in his soul, wraps the hidden gold in the veins of the earth around him like fetters, so that he makes fetters out of the gold of the earth and forges them for himself. He is not forged by Christ, he forges himself on by feeling the proximity of Christ. But this only lays bare, I might say, the primal relationship, which must be recognized so that what the Christ impulse is can really be understood by human souls. A simple parable can be used to explain this Christ impulse in abstract terms. Imagine a pendulum. The pendulum swings to one side, then falls to the lowest point under its own gravity and swings to the other side, and so on until there is a point on this other side that we call the point of equilibrium. This point would be a dead point, a stationary point, if the pendulum did not now swing to the other side. There is life in the pendulum in that it swings to both sides and has a resting point in the middle. Since the Mystery of Golgotha, we can imagine the evolution of the Earth in the following way: a pendulum swing to one side, to the Luciferic side, and a pendulum swing to the other side, to the Ahrimanic side. And the point of equilibrium is the Christ in the middle. That this must first be recognized may be seen from a significant historical fact. We all admire the painting that Michelangelo called 'The Last Judgment'. You know it from reproductions of the original, which is in the Sistine Chapel. We see there, painted with magnificent mastery by Michelangelo, Christ, sending some to hell, triumphantly, to the evil spirits, and sending the others, the good, to heaven. And if we look into the face of this Christ, we see the wrath of the world in him. And if we have taken in spiritual science, if we have truly united in love with our minds everything that we have been able to take in of spiritual science so far, then today, despite our admiration for what Michelangelo created, we say: This is not Christ, because the Christ does not judge! People judge themselves, as Lucifer and Ahriman experience their own processes, not what is brought about by any kind of struggle of the Christ against them. When Michelangelo created his Christ, the time had not yet come to recognize the Christ in true perfection. I might say that a lack of clarity still prevailed in people. In Christ Himself, something was seen of which we know today that it must be attributed to Lucifer or Ahriman. And we can understand something of it today when people have found something of Lucifer or Ahriman in the Michelangelo Christ, for He is not yet free, as Michelangelo portrays Him, from that of which the Christ is completely free. If we take a good look at ourselves, we can see that from the perspective that gave birth to Michelangelo, it was impossible to create an image of Christ that corresponded to a true understanding of the mystery of Golgotha, because the one thing that had to be known was still unresolved: the relationship between Christ, Lucifer and Ahriman. How often has it been emphasized in our circles that it is a false sentiment to point to Lucifer and say, “I want to flee from him,” or to point to Ahriman and say, “I want to flee from him.” That would only mean wanting to make a pact with weakness, would mean advising the pendulum to remain in a state of equilibrium, not to swing to the left or to the right, but always to remain at rest. We cannot escape the world forces that we call Lucifer and Ahriman; we just have to find the right relationship with them. And we find this right relationship when we understand the Christ impulse in the right way, when we see in the Christ Being the guide who can place us in the right relationship with the Luciferic and Ahrimanic powers, which must one day be the powers of the world. Let us consider everything that Lucifer brings into human life. He brings into it everything that is connected with perception, with the passions, with the life of feeling and of the emotions. Life would be dry, sober, abstract if it were not for the living sensation and feeling that permeate it. If we look at the development of history, we see what passion, often called the noble passion — and rightly so, the noble passion — has achieved in history, what feeling and sensation have achieved. But we are never able to cultivate feelings and sensations at all without entering the sphere of Lucifer. It is only because we never enter this sphere without the guidance of the Christ impulse. And on the other hand, we see how necessary it has become, especially in more recent times, to understand the world more and more, to develop science, to master the external forces of nature. Ahriman is the master of that which is external science, of that which lives in the external forces of nature. And we would remain foolish and stupid if we wanted to flee the Ahrimanic element. It is not a matter of fleeing the Ahrimanic element, but of entering, under the guidance of the Christ Impulse, into that sphere in which Ahriman rules in the world. And thus not indolently seeking merely the point of rest, but to witness the living movement of the world pendulum, to experience it in such a way that we do not take a step without the guidance of the Christ Impulse. Knowledge of Christ is only possible when the relationship of the Christ impulse to the Luciferic and Ahrimanic forces of the human soul has become clear. Therefore, the proclamation of the Luciferic and Ahrimanic side of the world is part of what our spiritual scientific movement had to take up, since it was aware that it had to place itself on the ground of the Christ impulse. And that is why you cannot find anything in the non-Christian theosophical teaching about the Ahrimanic and Luciferic elements, because this Luciferic and Ahrimanic element had to arise at the moment when the spiritual scientific movement had to reckon with the Christ impulse in a serious way. I think it is something extraordinarily important for the human soul to feel how spiritual science has the task of really bringing something new into human consciousness, something so new that we ourselves may measure it against such great creations of humanity as the Michelangelesque Christ of the “Last Judgment”. And what we have in mind through spiritual science must appear to us as the new Pentecostal proclamation in the true sense of the word. Around Easter time, we saw how one of the great minds of modern times, Goethe, wrestled with the question of how to relate the one he presented as the representative of humanity, Faust, to the Christ impulse. And we have seen how Goethe was not yet able to do this in his youth, but only in his mature years. And so, in many ways, spiritual life, as it has developed up to the present day, appears to us as a struggle, as an unceasing struggle. It truly appears to us in such a way that we must become extremely modest when we see how the most exquisite spirits of humanity have labored to gain insights and perceptions of what the Christ Impulse signifies. We realize how modest we must be in our human striving for this knowledge of the Christ Impulse. Goethe – as we have seen – was initially concerned with allowing what works around people as a Luciferic and Ahrimanic element to really take a back seat to his representative of humanity, to Faust. And we have seen how Goethe mixed up the Ahrimanic and the Luciferic element so that it is not easy to distinguish them in the figure of Mephistopheles. We have shown in the Easter lectures how the Luciferic and Ahrimanic elements are mixed together in the figure of Mephistopheles, because Goethe was not yet able to have a clear insight. Basically, Goethe felt throughout his life the striving within him to come to a clear understanding of the relationship between man and Lucifer and Ahriman. When, at the end of the 18th century, he was asked by Schiller, as a mature man, to continue his “Faust” and saw again what he had written in his youth, he called what he had put together at different times a tragelaph – half animal and half human; that is how his “Faust” appeared to him. And he called his “Faust,” to indicate the difficulty of continuing it now, “a barbaric composition,” so that we have the judgment of Goethe, who must have known more about his “Faust” than those who are not Goethe, that the “Faust” is a tragelaph, “half animal and half human,” that it is a “barbaric composition”! What I wanted to present at Easter, and what can so easily be misunderstood, ultimately leads back to a judgment of Goethe's own. Yes, of course, very clever people see in “Faust” a perfect work of art, see in “Faust” that which cannot be surpassed. It was not Goethe's opinion and must not be our opinion either. Even if we see in Faust a rise to the highest, we must realize that this Faust suffers above all in its inner composition from the fact that in his figure of Mephistopheles, Lucifer and Ahriman are mixed together in a completely inorganic way. But despite all this intermingling, Goethe felt darkly: Lucifer and Ahriman should have appeared together. Goethe just mixed everything together and called it all “Mephistopheles”, so that in the individual scenes in “Faust” Lucifer is often Lucifer, in other parts Mephistopheles or Ahriman. But this was quite clear to Goethe: something is happening in the human being that is taking place under the influence of Lucifer and Ahriman, of Lucifer and Mephistopheles. Such things happen in people. Now let us look at the end of the first part of Goethe's “Faust”. How does it end? Faust has incurred the most terrible guilt imaginable, has a human life on his conscience, has betrayed a person, incurred the terrible guilt, towards himself and towards the other person. And the last word of the first part of “Faust” is: “Her zu mir!” (To me!), at the same moment as, only through a voice as if from heaven, resounding: “Heinrich, Heinrich!” (Henry, Henry!) We therefore know from this end of the first part where Faust has come. He has come to Mephistopheles. Mephistopheles has him. There is no doubt about that. And now we see the beginning of the second part. This beginning of the second part presents us with a charming scene: “Faust, tired, restless, lying on a flowery meadow, seeking sleep.” Ghosts appear. And from what they say, we get the impression: we are dealing with nature, yes really, with nature – we just need to go out at this time of year – and we have this nature. Whitsun nature, for example! Whitsun mood, for example! This Whitsun mood has an effect on Faust. And afterwards he continues on his journey through life. A scholar made a comment about what Goethe had done, which, it can be said, has something to it, even though the remark is philistine and pedantic. The scholar said: When you have incurred a grave guilt, as Faust did towards Gretchen, then go to a charming region, to a flowery meadow, perhaps go on a mountain expedition, and your soul will be cured and capable of further deeds. One could say that, realistically Ahrimanically conceived, this saying of the scholar Rieger has much to be said for it. For it should actually be unbearable for all people who, in the usual sense of today, have a purely materialistic world view, to let the second part of “Faust” have an effect on them, after the great, powerful guilt that Faust has taken upon himself is characterized in the first part. But unfortunately, when it comes to the human and personal, we do not take humanity's greatest work of literature – for that is “Faust”, despite being a barbaric composition and a tragicomedy in its first part – we do not take it literally enough. If we took it literally enough, we would know that the line “Her zu mir!” (“To me!”) is true... Mephistopheles has Faust. As he has him, Faust is now lying on a flowery meadow, restlessly seeking sleep. We must not think of Faust as being separate from the infernal powers at the beginning of the second part. But Goethe was striving for true spiritual knowledge. How close Goethe was to spiritual knowledge may be seen from a passage in a letter that Goethe once wrote to his friend, the musician Zelter. It is a significant passage! Goethe writes: “Consider that with every breath an etheric Lethestrom permeates our entire being, so that we remember the joy only moderately, the suffering hardly.” With every breath, our inner being is indeed permeated by an etheric life stream, but that means nothing other than: Goethe knew very well about the etheric body that humans have. Of course, in his time he only brought this up in his circle of friends. How Goethe stood by the entire human being, how he, looking at this human being, said to himself: This human being can become guilty, because something dwells in him that is under Mephistophelian influence, that belongs to Mephistopheles belongs. As Goethe looked at this human being, who belongs to this sphere, it was clear to him at the same time that something lives in human nature that can never fall prey to this influence, that can be protected from the Ahrimanic-Luciferic influence. And it is this element in Faust that can be protected from the influence of Ahriman and Lucifer that we are dealing with at the beginning of the second part. Faust, who was capable of guilt, who allowed himself to be drawn by Mephistopheles into the most trivial, most banal pleasures of life, who then tempted Gretchen, has become guilty. In our spiritual language we would say: This part of Faust must wait until the next incarnation. But there is something in the nature of man that is his higher self, that remains in relationship to the spiritual powers of the world. Therefore, the spiritual powers of the world confront this eternal in Faust. We must not imagine the Faust that we see at the beginning of the second part in the realistic sense as Faust who has become so and so much older, but he is really only the representative of the higher self in Faust. He still wears the same form. But this form is the representative of something that could not have been guilty in Faust. This, which could not have been guilty in Faust, now enters into a relationship with the servants of the Earth Spirit. From his youth, Goethe longed to gain an insight into the nature of human guilt, of evil in the world, and yet to know that something hovered over all that must have a balancing effect on guilt and evil. And so Goethe ventured, since he had to surrender, so to speak, Faust's one nature to Mephisto – “Come to me!” And we must be quite clear about this: now, at the beginning of the second part, it is not the same Faust that speaks as we know from the first part, but a different, a second nature that only externally bears Faust's form and that can enter into that which, as a spiritual being, permeates the external world. But what has no immediate connection with Faust's outer physical body must find its way into it. For the physical body naturally retains, as long as we remain in the same incarnation, all the signs of the guilt into which we have fallen. Only that in us which frees itself from the physical body can truly connect with what the higher self is. And so Faust must undergo this transformation, which we can call the transformation of guilt into higher knowledge. He will carry what he bears as guilt into his next incarnation. For this incarnation, he bears the guilt as the source of a higher knowledge that opens up to him, a more precise knowledge of life. And so, despite bearing the most monstrous guilt on his soul, the possibility opens up for Faust that his higher self will be brought into connection with what pervades, lives through and interweaves the world as spiritual. Faust's higher self comes into contact with a spirit of the earth aura. Goethe wanted to show, so to speak, that what is highest in man could not be grasped by Mephistopheles, we would say: Lucifer-Ahriman, — that must have been preserved, that must be able to enter into other spheres. And so Goethe is quite sincere when he says that this higher self in Faust now enters into a relationship with what the elemental world contains as spiritual beings. We shall see later how this is connected with what has already been said here in the Easter lectures. But now let us consider how these spiritual beings, which are under the guidance of the air spirit, for such is Ariel, how these spirits, which we can thus call air spirits, are connected with the outer processes of nature, but how they reveal themselves as that which is another spiritual world, in contrast to the self that is not exposed to the influence of Lucifer and Ahriman in the supermundane nature:
— so when nature sprouts and sprouts in the spring-whitsun time, then the elemental spirits come out. They are small for the external material, they are great as spirits, for they are exalted above that which in the human heart can fall prey to good or evil.
— this is left to the next incarnation, it is not the concern of these spirits —
The spirits are dealing with his higher self, which is preserved from what has to play out in karma or incarnation. But these spirits can only work in their own element, in which the human being is with his essence when he has left the outer bodily shells as a spiritual soul. And now Goethe explains what these elves, with their greatness as spirits, have to achieve:
This cannot happen to Faust, who is exposed to Ahriman-Lucifer. This purification is called: Bring out Faust's higher self, present it purely. - And now something that proceeds like an initiation with Faust, who is outside of his body, is taken seriously:
— from six o'clock in the evening until six o'clock in the morning the elves fulfill their duty by connecting the soul from falling asleep to waking up with what spiritually permeates and interweaves earthly existence.
— the four pauses that the soul experiences from falling asleep to waking up.
- when he has taken in what the spirit that permeates the world has to offer, when this spirit has entered into that which is preserved in Faust's being as a higher self.
What happens externally between falling asleep and waking up are real, actual processes, similar to an initiation. And now we see what happens in each of the three hours from six to nine, from nine to twelve, from twelve to three and from three to six. First, there is the break from six to nine:
The soul is gone, separated from the body. The second part:
The harmony and wisdom of the spheres are absorbed by the great lights, the small sparks. And the secrets of the moon, all that we absorb in spiritual science from the secrets of the spheres, is sunk into Faust's higher self. The third part of sleeping:
Inwardly connecting with the existence of nature; we have also spoken of this before. Read the last Hague cycle, how the human soul, when it rises from the body, becomes one with the surging and weaving of external existence. But it also means the becoming in the soul of Faust:
And do you remember how I said that during sleep, man desires to re-enter the body? That is the last part of the night.
The sun can already be sensed.
An important sentence! A great poet does not write empty phrases! What does it mean: Sleep is a shell, throw it away!? — For someone who sleeps through an ordinary sleep, sleep is not a shell; for someone for whom this time from falling asleep to waking up becomes an absorption for the secrets of the world, sleep is a shell.
And now the tremendous roar that announces the approach of the sun, reminding us of what Goethe said in the “Prologue in Heaven” in the first part of “Faust” about this sounding of the sun:
When the sun comes up and the light pours over the physical plane, the soul, when it is outside the body, hears this approach of the sun as music of the spheres, as a special element in the music of the spheres. Spirits hear it naturally. Man does not hear it because he must hear through his physical body. But that is incorporated in the physical plane, and when the sun is in the physical plane, that is the time when man can be awake. Therefore spirits must withdraw. What Ariel, the spirit of the air, now says to his servants, that is suggestive of the approach of the music of the spheres. The spirits can hear it. He who is outside of his body can hear it. Faust can still hear it, this rising of the music of the spheres. Then he returns to his body. Then Ariel has the task of disappearing. Ariel instructs his servants what they have to do: they have to disappear from the physical plane. Because when the sun, which they can only find as a sounding sun, strikes them with its light, they go deaf from it. They go deaf from the light, while they can easily bear the sounding sun, in whose tones they themselves live.
And now the elves disappear. Faust returns to his body. But Faust remains unconscious of his guilt. He does not stand before us. He has descended deep into Faust's subconscious and remains there until the next incarnation. Faust, who has just experienced being with the whole spiritual cosmos, must now realize how what he has experienced relates to the four breaks of sleep-life, to how he now perceives the world. He now lives as a higher self in his body. A person who, after sleeping one night and not having everything within himself that Faust has within himself, a person who then, after waking up in the morning, would say: You, Earth, were also constant this night – would be a fool, because no one expects anything other than that the Earth was also constant this night. But indeed, if one has gone through what Faust experienced as an initiation with the spirits of the earth, then one has experienced something through which one could indeed believe that the whole earth had been transformed. Then it is justified to say that one has become a new person, or rather, that the new person has been awakened in one: “You, Earth, were also constant this night - despite what I have experienced. Then the world appears completely new, because it is indeed given to a new person.
Even now, when the mind has freed itself from what must be stored for the next incarnation!
This is what a person sees when he, I am not saying, undergoes the initiation, but when he lives the initiation. And he has reason to see the world anew. He would not utter the words he now speaks if only the person who had become guilty and who would live under the impression of this guilt in this incarnation were in him.
The higher self is now unable to see what the senses were able to see, the sun. Nevertheless, Faust has learned so much that the sun is now something essentially different for him. And now something stirs within him that is connected with human knowledge:
What fulfillment gates? Only those that have become close to him during his sleep. But even the ordinary world now appears to him as if it were breaking like a blaze of flames from eternal reasons:
We know this from the past, but what we are experiencing now is more than love and hate.
He cannot look at the sun now; he looks at the waterfall, in which the sun is reflected, and which shows him the colors of the rainbow in an arc. He turns away from the sun. He becomes a world observer, just as this world shines in as a reflection of spiritual life – this world of which one can say: All that is transitory is only a parable of the eternal.
He has looked at it before. Now he turns to the waterfall.
- which reflects in seven colors what is in unity in the sun.
We have life in its colored reflection! – This is how far Faust has come after this night: he no longer wants to plunge into life as Faust did in the first part, when he was thrown into guilt and evil, but instead turns to its colored reflection. It is the same colored reflection that we call spiritual science, which appears to him only as a colored reflection, and through which we gradually ascend to experience reality. What now follows, the second part, is the colored reflection of life at first. It is nonsense to understand this second part merely realistically. We have Faust, who, with his higher self, contemplates life through the physical body in its colorful reflection; he now carries this physical body through life as something he is preserving, so that everything in him can develop that, as his higher self, preserves him from that which comes in later incarnations. It was quite difficult for Goethe to continue his “Faust” after Mephistopheles' word had been spoken: “Come to me!” But we see how Goethe strives to penetrate the secrets that we today recognize as the secrets of spiritual science. How he approaches them. And then follow this second part, how Mephistopheles really has Faust at first, how Mephistopheles is everywhere in what happens at the “imperial court” and so on. And how, through the after-effects of the initiation living in him, Faust gradually breaks away from Mephistopheles in the course of the action of the second part. But these are further secrets of the second part. Goethe himself said that he had mysteriously included much in this second part! — People have not taken the word seriously enough. Through spiritual science, they will now gradually learn to take such words more and more seriously. But there is one thing you will have gathered from today's reflections, and that is that Goethe, in his “Faust”, strives to go further in this respect than in the first part, to express something in his “Faust” of the mood that is really symbolically hinted at here in the course of the seasons. When Pentecost approaches, and when the spirits of the elemental world draw near to men in such wise that it may be said of them:
Pentecostal mood! Outpouring of the spirit in the next sentences, which the choir speaks, in the four times of sleep from falling asleep to waking up! Thus we also show through this Faust from a certain point of view the necessity that humanity be handed down little by little what spiritual science wants to proclaim to it as a new Pentecost message. Faust is so well suited to show us how complicated that is, which exists down there at the bottom of human nature. It lives down there in human nature, which is constantly exposed to the Ahrimanic-Luciferic powers of the world, and there lives that which man can find when he places himself in the guidance of the Christ impulse. Why do we speak of a threshold? Why do we speak of a guardian of the threshold? We speak of it because, as if by a grace of the wisdom-filled steering of the world, what struggles and rumbles and wages war in our everyday lives was initially withdrawn from the human soul, down there on the deep underground of the human soul. It is as if there were a surface, and below it rumbles and fights and wages war in our everyday life. And even what we live through in our everyday life is a continuous victory. Only it must be fought for again and again. And in the future it will only be fought for again if people will know that which has unconsciously guided them up to now, a benevolent, wisdom-filled world guidance. In the depths of the soul we must really find that which is not known in ordinary everyday life, but which the spiritual can experience. In those human depths where the human being is connected with those powers of the world that transcend good and evil with their spiritual magnitude. I would like to express this with a Whitsun saying, in which I have combined how man, at the bottom of his soul, has elemental powers that oppose each other, and how that which lives in his consciousness is victory over that which wages war down there in the depths of his soul. We will speak tomorrow, or perhaps the day after tomorrow, about how these things relate to the context of human life. Today, however, I would like to conclude with this Whitsun saying, which basically expresses what always lives as the innermost nerve in our spiritual science, and to which we have also referred today:
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