The Rudolf Steiner Archive

If you combine the reflections I presented here yesterday with the other lectures I gave here a week ago, you will, to a certain extent, gain an important key to much of spiritual science. I will only mention the main thoughts that we need for our further considerations, so that we can orient ourselves. About a week ago I pointed out the significance of the processes that, from the point of view of the physical world, are called processes of destruction. I pointed out that, from the point of view of the physical world, one actually only sees the real in what arises, what, as it were, emerges from nothingness and comes into noticeable existence. Thus, one speaks of the real when the plant struggles up from the root, developing leaf by leaf until it blossoms, and so forth. But one does not speak of the real in the same way when one looks at the processes of destruction, at the gradual withering, the gradual fading, the ultimate flowing away, one might say, to nothingness. But for anyone who wants to understand the world, it is eminently necessary that he also looks at the so-called destruction, at the processes of dissolution, at that which ultimately results for the physical world like flowing into nothingness. For consciousness can never develop in the physical world where mere sprouting and sprouting processes are taking place, but consciousness begins only where that which has sprouted in the physical world is in turn worn away and destroyed.

I have pointed out how those processes that life evokes in us must be destroyed by the soul-spiritual if consciousness is to arise in the physical world. It is indeed the case that when we perceive anything external, our soul-spiritual must instigate processes of destruction in our nervous system, and these processes of destruction then mediate consciousness. Every time we become aware of something, the processes of consciousness must arise out of processes of destruction. And I have indicated how the most significant process of destruction, the process of death, is precisely the creator of consciousness for the time we spend after death. Through the fact that our soul and spirit experiences the complete dissolution and detachment of the physical and etheric bodies, the absorption of the physical and etheric bodies into the general physical and etheric world, our soul and spirit draws the strength – from the process of death our soul and spirit draws the strength to be able to have processes of perception between death and a new birth. The saying of Jakob Böhme: 'Thus, then, death is the root of all life' acquires through this a higher significance for the whole context of world phenomena.

Now you will often have asked yourselves: What actually is the time that passes for the human soul between death and a new birth? It has often been pointed out that for the normal human life this time is a long one in relation to the time we spend here in the physical body between birth and death. It is short only for those people who use their lives in a way that is contrary to the world, who, I will say, come to do only that which in a real and true sense can be called criminal. Then there is a short lapse of time between death and a new birth. But for people who have not fallen prey to selfishness alone, but live their lives in a normal way between birth and death, there is usually a relatively long period of time between death and a new birth.

But the question must, I would say, burn in our souls: What determines whether a human soul returns to a new physical embodiment at all? The answer to this question is intimately connected with everything that can be known about the significance of the destructive processes I have mentioned. Just think that when we enter physical existence with our souls, we are born into very specific circumstances. We are born into a certain age, driven to certain people. So we are born into very specific circumstances. You must realize very thoroughly that the content of our life between birth and death is actually filled with everything we are born into. What we think, what we feel, what we sense, in short, the whole content of our life depends on the time into which we are born.

But now you will also easily be able to understand that what surrounds us when we are born into physical existence depends on the preceding causes, on what has happened before. Suppose, if I am to draw this schematically, we are born at a certain point in time and walk through life between birth and death. (It was drawn.) If you add what surrounds you, you do not stand there in isolation, but are the effect of what has gone before. What I mean is: you are brought together with what has gone before, with people. These people are children of other people, who in turn are children of other people, and so on. If we consider only these physical relationships of succession in generations, you will say: When I enter into physical existence I take something on from the people around me; during my education I take on much from the people around me. But these people, in turn, have also taken on very much from their ancestors, from the acquaintances and relatives of their ancestors, and so on. You could say that people have to search ever higher up to find the causes of what they themselves are.

If you then let your thoughts go further, you can say that you can follow a certain current upwards through your birth. This current has, as it were, brought with it everything that surrounds us in the life between birth and death. And if we continue to follow this current upwards, we would then come to a point in time where our previous incarnation lay. So by following the time upwards, before our birth, we would have a long time in which we dwelled in the spiritual world. During this time, many things have happened on earth. But what has happened has brought with it the conditions in which we live, into which we are born. And then, in the spiritual world, we finally come to the time when we were on earth in a previous incarnation. When we talk about these circumstances, we are definitely talking about average circumstances. Of course, there are many exceptions, but they all lie, I would say, in the line I indicated earlier for natures that come to earthly embodiment more quickly.

What determines whether we are born here again after a period of time has passed? Well, if we look at our previous embodiments, we were also surrounded by circumstances during our time on earth, and these circumstances had their effects. We were surrounded by people, these people had children, and passed on to the children their feelings and ideas. But if you follow the course of historical life, you will say to yourself: there will come a time in the course of evolution when you will no longer be able to recognize anything truly the same or even similar in the descendants as in the ancestors. All this is transferred, but the basic character that is present at a particular time appears in the children in a weakened form, in the grandchildren even more weakened and so on, until a time approaches when there is nothing left of the basic character of the environment in which one was in the previous incarnation. So that the stream of time works to destroy what the basic character of the environment once was. We watch this destruction in the time between death and a new birth. And when the character of the earlier age has been erased, when there is nothing left of it, when what it was like in an earlier incarnation has been destroyed, then the time comes when we enter earthly existence again. Just as the second half of our life is actually a kind of wearing down of our physical existence, so between death and a new birth there must be a kind of wearing down of earthly conditions, a destruction, a annihilation. And new conditions, new surroundings, into which we are born, must be there. So we are reborn when all that for the sake of which we were born before has been destroyed. So this idea of destruction is connected with the successive return of our incarnation on earth. And what our consciousness creates at the moment of death, when we see the body fall away from our spiritual and mental self, is strengthened at this moment of death, at this contemplation of destruction for the contemplation of the process of destruction that must take place in the circumstances on earth between our death and a new birth.

Now you will also understand that someone who has no interest at all in what surrounds him on earth, who basically is not interested in any person or any being, but is only interested in what is good for himself, and simply steals from one day to the next, that he is not very strongly connected to the conditions and things on earth. He is also not interested in following their slow erosion, but comes very soon to repair them, to really live with the conditions with which he must live, so that he learns to understand their gradual destruction. He who has never lived with earthly conditions does not understand their destruction, their dissolution. Therefore, those who have lived very intensely in the basic character of any age, have absorbed themselves in the basic character of any age, will, above all, tend, if nothing else intervenes, to bring about the destruction of that into which they were born, and to reappear when a completely new one has emerged. Of course, I would say that there are exceptions at the top. And these exceptions are particularly important for us to consider.

Let us assume that one lives one's way into such a movement, as the spiritual-scientific movement is now, at this point in time, where it does not agree with everything that is in the surrounding world, where it is something completely alien to the surrounding world. In this sense, the spiritual-scientific movement is not something we are born into, but something we have to work on, something we want to enter into the spiritual cultural development of the earth. In this case it is a matter of living with conditions that are contrary to spiritual science and then reappearing on earth when the earth has changed so much that the spiritual-scientific conditions can truly take hold of cultural life. So here we have the exception to the upside. There are exceptions downwards and upwards. Certainly, the most earnest co-workers of spiritual science today are preparing to reappear in an earthly existence as soon as possible, by working at the same time during this earthly existence to eliminate the conditions into which they were born. So you see, when you take the last thought, that you are helping, so to speak, the spiritual beings to direct the world by devoting yourself to what lies in the intentions of the spiritual beings.

If we consider the conditions of the times today, we have to say: on the one hand, we have something that is heading towards decadence and decline. Those who have a heart and soul for spiritual science have been placed in this age, so to speak, to see how it is ripe for decline. Here on earth they are introduced to that with which one can only become acquainted on earth, but they carry this up into the spiritual worlds, now see the decline of the age and will return when that is to bring about a new age, which lies precisely in the innermost impulses of spiritual striving. Thus the plans of the spiritual guides, the spiritual leaders of earthly evolution, are effectively furthered by what such people, who occupy themselves with something that is, so to speak, not the culture of the time, absorb into themselves.

You are perhaps familiar with the accusations that are very often made by people of today to those who profess spiritual science, namely that they deal with something that often appears to be outwardly unfruitful, that does not outwardly intervene in the conditions of the time. Yes, there is really a necessity for people in earthly existence to occupy themselves with that which is of significance for further development, but not immediately for the time. If anyone objects to this, then he should just consider the following. Imagine that these were consecutive years:

We could then go further. Suppose these were consecutive years and that these were the grain crops w w of the consecutive years. And what I am drawing here would always be the mouths > that consume these grains of grain. Now someone may come and say: Only the arrow that goes from the grains of grain to the mouths > is important, because that sustains the people of the following years. And he can say: Whoever thinks realistically only looks at these arrows going from the grain to the mouth. But the grain cares little about this arrow. It does not care at all, but has only the tendency to develop each grain of wheat into the next year. The grain kernels only care about this arrow; they don't care at all about being eaten. That is a side effect, something that arises along the way. Each grain kernel has, if I may say so, the will, the impulse to go over into the next year to become a grain kernel again. And it is good for the mouths that the grains follow this arrow direction, because if all the grains followed this arrow direction, then the mouths here would have nothing more to eat next year! If the grains from the year 1913 had all followed this arrow, then the mouths from the year 1914 would have nothing more to eat. If someone wanted to carry out materialistic thinking consistently, he would examine the grains of corn to see how they are chemically composed so that they produce the best possible food products. But that would not be a good observation; because this tendency does not lie in the grains of corn at all, but in the grains of corn lies the tendency to ensure further development and to develop over into next year's grain of corn.

But it is the same with the end of the world. Those truly follow the course of the world who ensure that evolution continues, and those who become materialists follow the mouths that only look at this arrow here. But those who ensure that the course of the world continues need not be deterred in their striving to prepare the next following times, any more than the grains of corn are deterred from preparing those of the following year, even if the mouths here long for the completely different arrows.

I pointed this out at the end of Riddles of Philosophy, pointing out that what we call materialistic knowledge can be compared to eating grain seeds, that what happens in world events really happens in the world, can be compared to reproduction, to what happens from one grain seed to the next year's. Therefore, what is called scientific knowledge is just as insignificant for the inner nature of things as eating is without inner significance for the growth of grain fruits. And today's science, which is only concerned with the way in which what can be known about things is received by the human mind, is doing exactly the same as the man who uses the grain for food, because what the grains of corn are when we eat them has nothing to do with the inner nature of the grains of corn, just as the outer knowledge has nothing to do with what develops inside the things.

In this way, I tried to throw a thought into the hustle and bustle of philosophy, and it will be interesting to see whether it will be understood or whether such a very plausible thought will be met again and again with the foolish objection: “Yes, but Kant has already proved that knowledge cannot approach things.” He proved it only from the point of view of knowledge, which can be compared to the consumption of grains of wheat, and not from the point of view of knowledge that arises with the progressive development that is in things. But we must familiarize ourselves with the fact that we have to repeat again and again to our age and to the age to come, in all possible forms, only not in hasty forms and not in agitative forms, not in fanatical forms, what the principle and essence of spiritual science is, until it is drummed into us. For it is precisely the characteristic of our age that Ahriman has made the skulls so hard and thick, and that they can only be softened slowly. So no one should shrink, I would say, from the necessity of emphasizing again and again, in all possible forms, what the essence and impulse of spiritual science is.

But now let us turn to another conclusion that was drawn here yesterday in connection with a number of assumptions: the conclusion that reverence for the truth must grow in our time, reverence for knowledge, not for authoritative knowledge, but for the knowledge that one acquires. There must be a growing realization that one should not judge out of nothing, but out of one's acquired knowledge of the workings of the world.

Now, by being born into a particular age, we are dependent on our environment, completely dependent on what is in our environment. But, as we have seen, this is connected with the whole stream of development, with the whole striving that leads upwards, so that we are born into circumstances that depend on the preceding circumstances. Just consider how we are placed into them. Of course we are placed in it by our karma, but we are still placed in that which surrounds us as something quite definite, as something that has a certain character. And now consider how we thereby become dependent in our judgment. This is not always clearly evident to us, but it is really so. So that we have to ask ourselves, even if it is related to our karma: What if we had not been born at a certain point in time and in a certain place, but fifty years earlier in a different place? How would it be then? Wouldn't we have received the form and inner direction of our judgments from the different circumstances of our environment, just as we have received them from where we were born?

So that on closer self-examination we really come to the conclusion that we are born into a certain milieu, into a certain environment, that we are dependent on this milieu in our judgments and in our feelings, that this milieu reappears, as it were, when we judge. Just think how it would be different, I just want to say, if Luther had been born in the 19th century and in a completely different place! So even with a personality who has an enormous influence on their surroundings, we can see how they incorporate into their own judgments that which is characteristic of the age, whereby the personality actually reflects the impulses of the age. And this is the case for every person, except that those for whom it is most the case are the least aware of it. Those who most closely reflect the impulses of their environment, into which they were born, are usually the ones who speak the most about their freedom, their independent judgment, their lack of prejudice, and so on. On the other hand, when we see people who are not as thoroughly dependent as most people are on their environment, we see that it is precisely such people who are most aware of what makes them dependent on their environment.

And one of those who never got rid of the idea of dependence on their environment is the great spirit, of whom we have now seen another piece pass before our eyes, is Goethe. He knew in the most eminent sense that he would not be as he was if he had not been born in 1749 in Frankfurt am Main and so on. He knew that, in a sense, his age speaks through him. This moved and warmed his behavior in an extraordinary way. He knew that by seeing certain times and circumstances in his father's house, he formed his judgment. By spending his student days in Leipzig, he formed his judgment. By coming to Strasbourg, he formed his judgment. That is why he wanted to get out of these circumstances and into completely different ones, so that in the 1880s, one might say, he suddenly disappeared into the night and fog and only told his friends about his disappearance when he was already far away, after he could not be brought back under the circumstances at the time. He wanted to break out so that something else could speak through him. And if you take many of Goethe's utterances from his developmental period, you will notice this feeling, this sense of dependence on the environment everywhere.

Yes, but what would Goethe have had to strive for if, at the moment when he had truly come to realize that one is actually completely dependent on one's environment, if he had connected his feelings, his perceptions of this dependence with the thoughts we have expressed today? He would have had to say: Yes, my environment is dependent on the whole stream of evolution right back to my ancestors. I will always remain dependent. I would have to transport myself back in thought, in soul experience, to a time when today's conditions did not yet exist, when completely different conditions prevailed. Then, if I could transport myself into these conditions, I would come to an independent judgment, not just judging as my time judges about my time, but judging as I judge when I completely transcend my time.

Of course, it is not necessary for such a person, who perceives this as a necessity, to place himself in his own previous incarnation. But essentially he must place himself at a point in time that is connected with an earlier incarnation, where he lived in completely different circumstances. And when he now transfers himself back into this incarnation, he will not be dependent as before, because the circumstances have become quite different, the earlier circumstances have since been destroyed, perished. It is, of course, different if I now transfer myself back to a time when the whole environment, the whole milieu has disappeared. What do you actually have then? Yes, one must say: before, one lives in life, one enjoys life; one is interwoven with life. One can no longer be interwoven with the life that has perished, with the life of an earlier time; one can only relive this life spiritually and mentally. Then one would be able to say: “We have life in its colorful reflection.”

Yes, but what would have to happen if such a person, feeling this, wanted to depict this emergence from the circumstances of the present and the coming to an objective judgment from a point of view that is not possible today? He would have to describe it in such a way that he would be transported back into completely different circumstances. Whether this is exactly the previous incarnation or not is not important, but rather the circumstances on earth were completely different. And he would have to strive to fill his soul with the impulses that were there at that time. He would have to, as it were, place himself in a kind of phantasmagoria, identify with this phantasmagoria and live in it, live in a kind of phantasmagoria that represents an earlier time.

But that is what Goethe strives for by continuing his “Faust” in the second part. Consider that he has initially brought his Faust into the circumstances of the present. There he lets him experience everything that can be experienced in the present. But in spite of all this, he has a deep inner feeling: “This cannot lead to any kind of true judgment, because I am always inspired by what is around me; I have to go out, I have to go back to a time when the circumstances have been completely changed up to our time, and so they cannot affect the judgment.” Goethe therefore allows Faust to go all the way back to classical Greek times and to enter, to come together with the classical Walpurgis Night.

That which he can experience in the deepest sense in the present has been depicted in the Nordic Walpurgis Night. Now he must go back to the classical Walpurgis Night, because from the Nordic Walpurgis Night to the classical Walpurgis Night, all conditions have changed. What was essential in the classical Walpurgis Night has disappeared, and new conditions have arisen, which are symbolized by the Nordic Walpurgis Night. There you have the justification for Faust's return to Greek times. The whole of the second part of “Faust” is the realization of what one can call: “In the colored reflection we have life.”

First, there is still a passage through the conditions of the present, but those conditions that are already preparing destruction. We will see what is developing at the “imperial court,” where the devil takes the place of the fool and so on.

We see through the creation of the homunculus how the emergence from the present is sought, and how in the third act of “Faust” the classical scene now occurs. Goethe had already written the beginning around the turn of the 18th century; the most important scenes were not added until 1825, but the Helena scene was already written (800) and Goethe calls it a “classical phantasmagoria” to suggest through the words that he means a return to conditions that are not the physical, real conditions of the present.

That is the significant thing about Goethe's Faust poetry, that it is, I would say, a work of striving, a work of wrestling. I have really emphasized clearly enough in recent times that it would be nonsense to regard Goethe's Faust poetry as a completed work of art. I have done enough to show that it cannot be considered a finished work of art. But as a work of striving, as a work of wrestling, this Faust epic is so significant. Only then can one understand what Goethe intuitively achieved when one opens oneself to the light that can fall from our spiritual science on such a composition and sees how Faust looks into the classical period, into the milieu of Greek culture, where within the fourth post-Atlantic period very different conditions existed than in our fifth post-Atlantic period. One is truly filled with the greatest reverence for this struggle when one sees how Goethe began to work on this Faust in his early youth, how he abandoned himself to everything that was accessible to him at the time, without really understanding it very well. Truly, when approaching Faust, one must apply this point of view of spiritual science, for the judgments that the outer world sometimes brings are too foolish in relation to Faust.

How could it escape the attention of the spiritual scientist when, time and again, people who think they are particularly clever approach and point out how magnificently the creed is expressed by this Faust, and say: Yes, compared to what so many people say about some confession of faith, one would have to remember more and more the conversation between Faust and Gretchen:

...feeling is everything;
name is sound and smoke,
fogging up heavenly glow.

Well, you know what Faust is discussing with Gretchen, and what is always mentioned when someone thinks they have to emphasize what should not be seen as religious reflection and what should be seen as religious sentiment. But what is not considered is that in this case, Faust was formulating his religious creed for the sixteen-year-old Gretchen, and that all the clever professors are then demanding that people never progress beyond the Gretchen point of view in their religious understanding. The moment you present that confession of Faust to Gretchen as something particularly sublime, you demand that humanity never rise above the Gretchen point of view. That is actually easy and convenient to achieve. It is also very easy to boast that everything is feeling and so on, but you don't realize that it is the Gretchen point of view.

Goethe, for his part, strove quite differently to make his Faust the bearer of an ongoing struggle, as I have now indicated again with reference to this placing himself in a completely earlier age in order to get at the truth. Perhaps at the same time or a little earlier when Goethe wrote this “classical-romantic phantasmagoria”, this placing of Faust in the world of the Greeks, he wanted to make clear to himself once again how his “Faust” should actually proceed, what he wanted to present in “Faust”. And so Goethe wrote down a scheme. At that time, there was a version of his “Faust” available: a foundation, a number of scenes from the first part and probably also the Helena scene. Goethe wrote down:

“Ideal pursuit of influence and empathy in all of nature.”

So, as the century drew to a close, Goethe took up, as he said, “the old thread, the barbaric composition”, at Schiller's suggestion. That is how he rightly described his “Faust” at the end of the century, because it was written scene by scene. Now he said to himself: What have I actually done there? And he stood before the soul of this striving Faust: out of erudition, closer to nature.

He wrote down: “I wanted to set forth

1. Ideal striving for influence and empathy in all of nature.

2. Appearance of the spirit as a world and deed genius.

This is how he sketches the appearance of the earth spirit.

Now I have shown you how, according to the appearance of the earth spirit, it is actually the Wagner who appears, and who is only a means to the self-knowledge of Faust, which is in Faust himself, a part of Faust. What is arguing in Faust? What is Faust doing now that something is arguing in him? He realizes: Until now you have only lived in your environment, in what the outer world has offered you. He can see this most clearly in the part that is within him, in Wagner, who is quite content. Faust is in the process of attaining something in order to free himself from what he is born into, but Wagner wants to remain entirely as he is, to remain in what he is on the outside. What is it that lives out itself outwardly in the world from generation to generation, from epoch to epoch? It is the form into which human striving is molded. The spirits of form work outside in that which we are to live in. But man must always, if he does not want to die in the form, if he really wants to progress, strive beyond this form. “Struggle between form and formlessness,“ Goethe also writes.

”3. Struggle between form and formlessness."

But now Faust looks at the form: the Faust in Wagner in there. He wants to be free of this form. This is a striving for the content of this form, a new content that can arise from within.

We could also have looked at all possible forms and studied all possible styles and then built a new building, as many architects of the 19th century did, as we find it everywhere outside. We would not have created anything new from the form that has come about in the evolution of the world: Wagner nature. But we preferred to take the 'formless content'. We have sought to take the spiritual science that is vividly experienced from what is initially formless, what is only content, and to pour it into new forms.

This is what Faust does by rejecting Wagner:

Let him not be a shallow
Let him not be a foolish fool!
With little art, reason and right sense

“4. Preference for formless content,” Goethe also writes.

And that is the scene he has written, in which Faust rejects Wagner:

“Preference for formless content over empty form.”

But over time, the form becomes empty. If, after a hundred years, someone were to perform a play exactly as we are performing it today, it would again be an empty form. That is what we must take into account. That is why Goethe writes:

“5. Content brings form with it.”

That is what I want us to experience! That is what we want to achieve with our building: form brings content with it. And, as Goethe writes, “Form is never without content.” Of course it is never without content, but Wagnerian natures do not see the content in it, which is why they only accept the empty form. The form is as justified as it can possibly be. But the point is to make progress, to overcome the old form with the new content.

“6. Form is never without content.”

1. Ideal striving for influence and empathy in all of nature.
2. Appearance of the spirit as a world and deed genius.
3. Conflict between form and formlessness.
4. Preference for formless content over empty form.
5. Content brings form with it.
6. Form is never without content.

And now a sentence that Goethe writes down to give his “Faust”, so to speak, the impulse, a highly characteristic sentence. For the Wagnerian natures, they think about it: Yes, form, content - how can I concoct that - how can I bring it together? — You can very well imagine a person in the present day who wants to be an artist and who says to himself: Well, spiritual science, all right. But it's none of my business what these tricky minds come up with as spiritual science. But they want to build a house that, I believe, contains Greek, Renaissance, Gothic styles; and there I see what they are thinking in the house they are building, how the content corresponds to the form. One could imagine that this will come. It must come, if people think about eradicating contradictions, while the world is precisely composed of contradictions, and it is important that you can put the contradictions next to each other. So Goethe writes:

"7. These contradictions, instead of uniting them, are to be made more disparate.

That is, he wants to present them in his “Faust” in such a way that they emerge as strongly as possible: “These contradictions, instead of uniting them, make them more disparate.” And to do that, he juxtaposes two figures again, where one lives entirely in form and is satisfied when he adheres to form, greedily digs for treasures of knowledge and is happy when he finds earthworms. In our time, we could say: greedily striving for the secret of becoming human and glad when he finds out, for example, that the human being has emerged from an animal species similar to our hedgehogs and rabbits. Edinger, one of the most important philosophers of the present day, recently gave a lecture on the emergence of the human being from a primal form similar to our hedgehog and rabbit. The theory that the human race descended from apes, prosimians, and so on, is no longer accepted by science; we have to go further back, to an earlier point of divergence between the animal species. Once upon a time there were ancestors that resembled the hedgehog and the rabbit, and on the other hand we have man as our ancestor. It is not true that because man is most similar to the rabbit and the hedgehog in certain things in terms of his brain formation, he must have descended from something similar. These animal species have survived, everything else has of course died out. So dig greedily for treasures and be glad if you find rabbits and hedgehogs. That is one striving, striving only in form. Goethe wanted to place it in Wagner, and he knows well that it is a clever striving; people are not stupid, they are clever. Goethe calls it: “Bright, cold, scientific striving.” “Wagner,” he adds.

“8. Bright, cold, scientific striving: Wagner.”

The other, the disparate, is what one wants to work out with all the fibers of the soul from within, after not finding it in the forms within. Goethe calls it “dull, warm, scientific striving”; he contrasts it with the other and adds “student” to it. Now that Wagner has been confronted with Faust, the student also confronts him. Faust remembers how he used to be a student, what he took in as philosophy, law, medicine and, unfortunately, theology. What he said to himself when he was still like the student: “All of this makes me feel as stupid as if a mill wheel were turning in my head.” But that's over. He can no longer put himself back in that position. But it all had an effect on him. So:

“9. Dull, warm, scientific striving: schoolboy.”

And so it continues. From this point onwards, we actually see Faust becoming a schoolboy and then once again delving into everything that allows one to grasp the present.

Goethe now calls the rest of Part One, insofar as it was already finished and was still to be finished:

“10. The enjoyment of life as seen from the outside; in dullness and passion, first part.”

Goethe is clear about what he has created. Now he wants to say: how should Faust really come out of this enjoyment of life into an objective worldview? — He must come to the form, but he must now grasp the form with his whole being. And we have seen how far he must go back, to where completely different conditions exist. There the form then meets him as a reflection. There the form meets him in such a way that he now absorbs it by becoming one with the truth that was justified at that time, and discards everything that had to happen at that time. In other words, he tries to put himself in the position of the time insofar as it was not permeated by Lucifer. He tries to go back to the divine point of view of ancient Greece.

And when you immerse yourself in the outside world in such a way that you enter it with your whole being, but take nothing from the circumstances into which you have grown, then you arrive at what Goethe describes as beauty in the highest sense. That is why he says: “Enjoyment of the deed”. Now no longer: enjoyment of the person, enjoyment of life. Enjoyment of the deed, going out, gradually moving away from oneself. Settling into the world is enjoyment of the deed outwards and enjoyment with consciousness. “ii. Enjoyment of the deed outwards and enjoyment with consciousness: beauty, second part.”

What Goethe was no longer able to achieve in his struggle because his time was not yet the time of spiritual science, he sketches out for himself at the turn of the 18th to the 19th century. For Goethe has very significant words at the end of this sketch, which he wrote there, and which was a recapitulation of what he had done in the first part. He had already planned to write a kind of third part to his “Faust”; but it only became the two parts, which do not express everything Goethe wanted, because he would have needed spiritual science to do so.

What Goethe wanted to depict here is the experience of the whole of creation outside, when one has emerged from one's personal life. This whole experience of Creation outside, in objectivity in the world outside, so that Creation is experienced from within, by carrying what is truly within outwards, that is sketched out by Goethe, I would say, stammering with the words: 'Enjoyment of Creation from within' - that is, not from his standpoint, by stepping out of himself.

“12. Enjoyment of Creation from Within.”

With this “Enjoyment of Creation from Within,” Faust had now entered not only the classical world, but the world of the spiritual.

Then there is something else at the end, a very strange sentence that points to the scene that Goethe wanted to do, did not do, but did want to do, that he would have done if he had already lived in our time, but that shone before him. He wrote:

"13. Epilogue in Chaos on the Way to Hell.

I have heard very clever people discuss what this last sentence: “Epilogue in Chaos on the Way to Hell” means. People said: So, in 1800, Goethe really still had the idea that Faust goes to hell and delivers an epilogue in the chaos before entering hell? So it was only much, much later that he came up with the idea of not letting Faust go to hell! I have heard many, many very learned discussions about this, as well as many other discussions! It means that in 1800 Goethe was not yet free from the idea of letting Faust go to hell after all. But they did not think about the fact that it is not Faust who delivers the epilogue, but of course Mephistopheles, after Faust has escaped him in heaven!

The epilogue would be, as we would say today, Lucifer and Ahriman on their way to hell; on their way to hell, they would discuss what they had experienced with the striving Faust.

I wanted to draw your attention to this recapitulation and to this exposition by Goethe once again because it shows us in the most eminent sense how Goethe, with all that he was able to gain in his time, strove towards the path that leads straight up into the realm of spiritual science.

We shall only be able to view Faust aright if we ask ourselves: Why has Faust, in its innermost core, remained an incomplete work of literature, despite being the greatest work of striving in the world, and why is Faust the representative of all humanity in that he strives out of his environment and is even carried into an earlier age? Why has this Faust nevertheless remained an unsatisfactory work of literature? Because it represents the striving for what spiritual science should incorporate into human cultural development.

It is good to focus attention on this fact: that at the turn of the 18th to the 19th century, a work of literature was created in which the figure of Faust, who forms the center of this work, was to be lifted out of all the restrictive limitations that must surround human beings, by having him go through his life in repeated lives on earth. The significance of Faust lies in the fact that, however intensely he has outgrown his nationality, he has nevertheless outgrown nationality and grown into the universal human condition. Faust has nothing of the narrow limitations of nationality, but strives upward to the general humanity, so that we find him not only as the Faust of modern times, but in the second part as a Faust who stands as a Greek among Greeks. It is a tremendous setback in our time, when in the course of the 19th century people began to place the greatest emphasis on the limits of human development again, and even see in the “national idea” an idea that could somehow still be a cultural force for our era. Mankind could wonderfully rise to an understanding of what spiritual science should become, if one wanted to understand something like what is secretly contained in “Faust”.

It was not for nothing that Goethe said to Eckermann, when he was writing the second part of his “Faust”, that he had secretly included in the “Faust” much that would only come out little by little.

But anyone who wants to understand the present must judge this present from a higher vantage point than this present itself is.

That is what I have tried to put into your souls as a feeling in these days, a feeling that I have tried to show you follows from a truly inner, living understanding of spiritual science, and how it has been striven for by the greatest minds of the past, of whom Goethe is one.

Only by not merely absorbing what arises in our soul in these contemplations as something theoretical, but by assimilating it in our souls and letting it live in our soul's meditations, does it become living spiritual science. May we hold it so with this, with much, indeed with all that passes through our soul as spiritual science.

Tomorrow we will attempt to present the final scene of Goethe's “Faust” in eurythmy. It will be apparent that my reflections today and tomorrow will be linked to the end of the second part of Goethe's Faust. We are, of course, dealing with one of the greatest poetic attempts in world evolution, with regard to the entire second part of Goethe's Faust, but especially with regard to the final scene, which is based on the most significant spiritual truths. Nevertheless, as true as it is that Goethe's “Faust” allows for different degrees and levels of understanding, it is also true that one can always go further and further in terms of seeking out what has flowed from Goethe's infinitely rich spiritual life into “Faust” and especially into the second part of “Faust”.

Furthermore, we shall see that the very end of the second part has so many occult truths to reveal to us, if we go to the subtleties in the presentation of the same, as hardly any other writer in the world has tried to reveal so far. And we shall see that these truths are enshrined by Goethe in the second part of “Faust” with a wonderful—to use an apparently pedantic expression—occult-appropriate science.

Now I must frankly admit to you that I would not dare to speak about Faust in the way I want to, if I did not have a Faust and Goethe problem that has never been dormant since 1884. Therefore, perhaps I may be permitted to hint at many things in aphorisms, which would require much more detailed substantiation for anyone who does not start from spiritual science. Nevertheless, I must confess that I do not approach the subject without a certain shyness, especially when it comes to linking occult observations to Goethe's “Faust” or to any other work of literature. For then all the lamentable things that have been done by occultists and non-occultists in the interpretation of poetry arise before my eyes.

One must really be somewhat appalled at the occultistic discussion of poetry when one considers what has been done in the world with regard to such interpretations, whether from the side of science or from so-called theosophists! And so please allow me to send a kind of introduction in advance, from which you can see how little inclined I myself am to dream occult truths, occult insights, into any kind of poetry of the spiritual development of humanity, and how hard I try to present only what can really be considered absolutely established.

Now, it is my custom when I have to talk about a subject to first immerse myself in the subject in a broader sense. When taking occult considerations seriously, it is necessary to immerse oneself in the whole atmosphere in which the subject is placed. And so I endeavored to immerse myself in Goetheanism once again.

For this purpose, I had to procure a great deal of literary material that I had studied decades ago. So I took up Goethe's “Prophecies of Bakis” again. These are thirty-two sayings clothed in enigmatic form, so to speak thirty-two riddles. Now you can imagine that an enormous amount has been written about what Goethe called “prophecies” and over which he poured, so to speak, oriental wisdom – it is a particular food for literary historians. Thus, in the thirty-two riddle verses, the most diverse people have seen the most colossal secrets.

I will give you a characteristic example in a moment. It is the twenty-ninth and thirty-third riddle verse that Goethe coined. It is quite good that we delve into these types of riddle verses before we go to the last scene of “Faust”.

One thing I know and revere, even worship at its feet;
Placed on the crown of the head, it is cursed by everyone.
I know one thing, and it firmly presses the lip shut;
But in the next moment it is the loathing of the world.

It must be said: it sounds quite mysterious! And the thirtieth riddle is:

This is the highest, and at the same time the basest!
Now the most beautiful, and at once the most hideous too.
Drink it up, and taste no deeper:
Beneath the enticing foam the dregs sink to the bottom.

Before we imagine how a theosophist might “interpret” these mysterious verses, let us look at an exoteric. We will not be able to make sense of what he says, but that does not matter; it shows us what is meant by “science”: “A most remarkable turn! Goethe chose this form to conceal and at the same time reveal his meaning.” Another Goethe interpreter has referred to these verses as “Freedom and Love”. The good man is at a loss and now wants to point out an explanation himself. “The highest, and at the same time the most abominable.” That should be: youth. That is both the highest and the most abominable. He says: That solves the mystery by itself.

That is an exoteric! An esoteric could say: You have to go much deeper than that!

One I know and venerate, yes, worship at its feet;
Placed on the crown of the head, it is cursed by everyone.
One I know, and it firmly presses the lips together;
But in the next moment it is the loathing of the world.

This refers to the plant, one could say, which represents the inverted human being. It can be associated with the Logos and Lucifer, or with white and black magic, and so on! Such explanations are widespread in the theosophical literature by the thousands.

Now, the art of familiarizing oneself with spiritual science does not consist in knowing how to apply what one has absorbed in spiritual science to anything at all, but in knowing how to relate to it in the right way – in our case, for example, to Goethe. Spiritual science should not lead us to all kinds of craziness, but should take us to where truth flows. And then one finds that the first two lines of the first verse mean — a slipper, and the last two, a cigar. Goethe hated cigar smoke. Yes, that is the truth, it is not profound, but it is as Goethe meant it. And the solution of the second verse is: spirit. As the spirit it is the highest, in alcohol as intoxication it is the most abominable. It is quite good to demonstrate such a process once, because you really should not be blinded by the art of interpretation and all sorts of profound arts, but you should be guided to where the truth is.

Goethe has also been made into a national chauvinist. But he was not at all. Take the fifth verse:

Two I see! The great one! I see the greater one! The two
rubbing with hostile power, one upon the other. Here are rocks and land, there are rocks and waves!
Which is the greater one, the fate speaks only.

This was taken to refer to the struggle between France and England for control of the continent. However, the commentator quoted above rejects this and says that the French Revolution and the German people are meant. This is quite foolish! What is really meant is life and death!

Now, this matter must be taken very seriously indeed. Just because something can be proved, that is absolutely no proof that the matter is right.

I wanted to say this in advance so that you do not think that I want to fall into the same error when explaining the final scene of 'Faust'. This final scene presents us with what could be called 'Faust's Ascension'. As is well known, Faust has gone through severe aberration, and also through all the possible madness and confusion of the wider, larger world. This is how it should be shown: Faust is to be led under the influence of Ahriman-Mephistopheles through the aberrations of the world, but the deepest thing that is embodied as the eternal in the human breast should not be able to be corroded by that which comes from Mephisto-Ahriman. In the end, Faust should still be able to be absorbed by the good spiritual worlds. That is what Goethe set out to achieve with his Faust epic.

Anyone who has learned something about the spiritual worlds through spiritual science and has little artistic sense within them can generally form an idea of how they would imagine it. For Goethe, who was an artist in the most intimate and highest sense, it was not so easy. He could not simply depict how Faust ascends to heaven and turn it all into an abstract, allegorical construct. For him, that would have been symbolism, a straw he was not willing to use. He wanted art. He wanted something that would endure and be secure in the face of true reality. That is what he wanted to be there. And so it occurred to him: How should I now present this on the stage, so that Faust is led into heaven? One can only place objects of the physical plane into it, they can only hint at something symbolic, but that would be straw, that would be no art! Even with all kinds of machinery one could only represent straw. Goethe first had to seek the means through which Faust can penetrate as a soul into the spiritual worlds. One cannot penetrate into the spiritual worlds through the air, one cannot penetrate through the external physical elements. Where is something real that can provide the means by which Faust can penetrate? That can only be what the spiritual represents on earth. Yes, where is that on earth? That is the consciousness that receives the spiritual! That is, Goethe first had to create a reality of consciousness that would receive the spiritual. He does this by placing people in his scenes, people in whose consciousness the spiritual can be said to live: monks, anchorites, and he layers them on top of each other. And one can say that a soul's ascent into the spiritual worlds is a real process. To present a spiritual process before an ordinary parquet floor would not be real, it is not rooted there; but it is rooted in the souls that Goethe presents. So he first tried to depict the consciousnesses that observe the spiritual process. So he presents the choir and the echo, which can perceive the elementary world of the spirit in the sensual-physical. They have prepared themselves not only to see the outer physical nature, but also within the physical plan the spiritual world into which the soul of Faust must enter.

And now it is described in such a way that only these monks can feel it. For just take the words, they are really not descriptions of physical processes:

Forest, it sways along.

It is as if one feels the elemental world emerging from natural things.

Woods, they sway towards it.
Rocks, they press against it.
Roots, they cling to it.
Trunk close to trunk up to it.
Wave after wave splashes against it.
Cave, the deepest, protects it.
Lions, they slink silently –
friendly around us,
a place consecrated to honor,
a holy love-nest.

There is an echo to this chorus. This is not without significance. It is meant to suggest to us how truly all-encompassing that which comes from elementary nature is.

Now we are led at the same time to something that becomes a wonderful intensification in Goethe. We are presented with three advanced anchorites, the Pater ecstaticus, the Pater profundus and the Pater Seraphicus, three who have attained higher levels than the others, who as anchorites only describe the processes just described. But there is a wonderful progression from the Pater ecstaticus through the Pater profundus to the Pater Seraphicus.

The Pater Ecstaticus is concerned with the lower stages of perfection, with sensory experiences, with being within oneself. The Pater Profundus has already progressed to the point of going from within outwards, of experiencing that which nature lives through as spirit and which is at the same time human spirit. Seen from the spiritual point of view, he stands higher than the Pater Ecstaticus. We can say: the Pater Profundus sees the spirit in the cosmos, which for him simultaneously becomes spirit in man. The Pater Seraphicus sees directly into the world of the spirit; for him it does not reveal itself through nature, but he deals directly with the spirit.

Hence the mysticization of the Pater ecstaticus through inner development. What is said now means nothing but inner states:

Eternal bliss,
glowing bond of love,
boiling pain of the chest,
foaming divine joy.
Arrows, pierce me,
Lances, vanquish me,
Maces, crush me,
Lightning, batter me;
That the vain
All evaporate,
Shine the permanent star,
Eternal love's core.

We have already covered the Pater profundus, which leads to the stage of feeling the spirit through nature.

Like the rocky abyss at my feet
It weighs heavily on the deep abyss,
Like a thousand streams that flow radiantly
To the horror of the foam of the flood,
How straight, with its own powerful drive,
The trunk carries itself into the air:
So it is the almighty love
That forms and nurtures everything.
There is a wild roar around me,
As if the forest and rocky ground were surging!
And yet, lovingly in the roar,
The water rushes to the gorge,
Called to water the valley;
The lightning, which struck down in flames,
To improve the atmosphere,
Which carried poison and haze in its bosom:
Are messengers of love, they announce
What surrounds us eternally,
My innermost being may also ignite it,
Where the mind, confused, cold,
Tormented in dull senses,
A crowd of locked chains of pain.
Oh God! Soothe the thoughts,
Enlighten my needy heart.

Now, in the Pater Seraphicus, there comes an immediate grasp of the spiritual world into which Faust is to be accepted, that is, of the spirits in whose midst Faust is now to enter. For this, a consciousness must first be presented: that is the Pater Seraphicus; he provides the medium through which the blessed boys can appear. And now, again, wonderfully, I would say expertly and appropriately observed:

What a morning cloud floats
Through the firs' swaying hair!
Do I sense what lives within?
It is a young ghostly host.

Goethe has children appear who died immediately after they were born; in the vernacular, they are called midnight babies.

Faust is to join the company of such midnight babies first; they know nothing of the world, their consciousness of the past has been clouded by their birth, and they know nothing of the new world yet. This belongs together with the ascension of Faust. As in the physical world there is no lightning without thunder, so in the spiritual world such an ascension of Faust is not without the blessed boy's realization of himself.

That a lover is present,
Do you feel, so just approach;
But from rugged earthly ways,
Happy ones! you have no trace.

Spiritual beings can only see the physical plane through our eyes and ears, otherwise they see the spiritual. When a ghost sees a hand, it sees the will that moves the hand and the form; if it wants to see the physical of the hand, it must use a physical eye.

Descend into my eyes
world and earthy organ,
You can use them as yours,
Look at this area!
(He takes it in.)
These are trees, these are rocks,
waterfall that crashes
And with tremendous rolling
Shortens the steep path.

The blessed boys are now inside with Father Seraphicus. He gives them so much of his spiritual strength that they can ascend to higher spheres. This shows once again the connection between the spiritual and physical worlds. When we meditate, the spirits also benefit, which is why we should read to the dead. In this way, Pater Seraphicus gives the fruit of his meditation to the boys, and through this they ascend.

Rise to higher spheres,
Always grow unnoticed,
As, according to an eternally pure way,
Strengthen God's presence.
For that is the food of the spirits,
Which in the freest ether reign:
Eternal Love's revelation,
That to bliss unfolds.

To know the “Faust” as here in Goethe a deepest occult truth of a world poem has been incorporated, means to be closer to the occult than any number of “occult” explanations can give.

Now the boys are in their own territory. They have crossed over from the realm of the spirits of form into the realm of the spirits of movement.

Now come the angels, bringing Faust's entelechy, that is, his immortality. They have snatched this member of the spirit world from Mephistopheles and bring it up with the words:

The noble limb
Of the spirit world is saved from evil:
Whoever strives for it,
We can redeem him;
And if he has received love
From above,
The blessed host meets him
With a warm welcome.

The younger angels:

Those roses, from the hands
Of loving, holy penitents,
Helped us win the victory
And complete the great work,
To gain this treasure of souls.
Evil retreated when we scattered,
devils fled when we struck.
Instead of the usual punishments of hell
the spirits felt the torment of love;
even the old master of Satan
was permeated with acute pain.

It is an occult sentence: to Mephisto-Ahriman, love is a consuming fire and a terrible gift of darkness.

Rejoice! It is accomplished.

Now the more perfect angels:

We are left with a remnant of earth
to bear,
And if it were made of asbestos,
It is not clean.
When strong spiritual power
The elements
Gathered up in itself....

What kind of earthly remnant is this? Our soul, when it lives on earth, absorbs through its perceptions, ideas and feelings what is going on on earth, and in so doing, the soul, as it were, draws to itself what lives in the elements of the physical plane. This cannot be separated immediately. Just as corpses used to be wrapped in a fabric made of asbestos to hold the ashes together, Faust's soul has a remnant of the material world that is not pure, even if it is like the asbestos that withstands fire.

No angel parted
The united dual nature
Of the two intimate ones,
Only eternal love
Can separate them.

The angels cover their faces before the incarnation. This is a secret that can only be seen by those entities that can descend deeper than angels who have not experienced the incarnation. Only love can separate this.

Now the angels become aware of the blessed boys. The blessed boys receive what is being led up:

Release the flakes.

Here Goethe again draws on physical processes to characterize spiritual processes. When the Benedictine monks die, they are wrapped in a special garment, the “flocca”, which is brown in color; all Benedictines are buried in the same flocca, hence the word “flakes”.

Here I have tried to take a liberty with respect to what is actually there in Faust. I have said: all this must be revealed to us through consciousness. Up to now, everything passes through the consciousness of the choir, the anchorites. Now Faust himself must ascend through consciousness, but he must ascend through full consciousness, he must fill a new consciousness completely, a new consciousness that is, however, identical with him, for he ascends as a fully developed human being.

Much in Faust is still unfinished, and certainly unfinished is the Pater Marianus, whom Goethe later called Doctor Marianus. This Doctor Marianus is there so that Faust may appear through his consciousness, so I simply let Doctor Marianus be Faust himself. The anchorite Doctor Marianus is at the same time Doctor Marianus and Faust.

Now it is a matter of the profound mystery of love, as permeating the world in the fully Christian sense.

Faust, speaking in a profane sense, has seduced Gretchen, Gretchen has even been executed, she has become innocently guilty, in her there is that innocence which rests enclosed in the mystery of man, and her love is an “eternal, enduring star”. If one wants to express this in an image, one comes to the Mater Dolorosa Gloriosa. She brings with her three penitents, she does not look at the guilt of these three, but at what is innocently guilty in them. To Doctor Marianus this secret is revealed.

Here the view is unobstructed,
The spirit is uplifted.
There women pass by,
Floating upwards;
The glorious one in the middle
In a wreath of stars,
The Queen of Heaven,
I see it in the radiance.
(Enraptured)
Supreme ruler of the world!
Let me in the blue
Stretched out celestial vault
See your secret.
Appreciate what moves the man's chest
Seriously and tenderly
And with holy love
Towards you carry.

Our courage is unconquerable
When you command us,
Suddenly the heat subsides
As you pacify us.
Maiden, pure in the most beautiful sense,
Mother, worthy of honor,
Our chosen queen,
Equal to the gods.

Around her,
light clouds swirl.

Goethe quite appropriately allows the soul to emerge first from the nebulous clouds, and then to solidify into a finished form.

The chorus of penitents follows. It is magnificent that Goethe has taken, I would almost say, love in its sensual form and here has given it a religious transfiguration – for the second time; the Bible has already done so for the first time. Mary Magdalene has loved much in the real sense, but she has simply loved, and Christ sees only love, not sin, and so she also belongs to Christ. Then there is Maria Aegyptiaca and Una Poenitentium, otherwise known as Gretchen. It could also be called Doctor Marianus, otherwise known as Faust.

The blessed boys accept Faust into their circle. Faust seeks to find something of Mary in Gretchen through the Queen of Heaven, so a mystic choir may express what has taken place. This mystic choir contains great, succinct words:

All that is transitory
Is but a parable,
The inadequate,
Here it becomes reality;
The indescribable,
Here it is done;
The eternal feminine
Draws us on.

With this skeleton, I wanted to show you that Goethe really did depict this last scene appropriately, based on spiritual insight, and that he knew how to create the real foundations everywhere: the foundations of consciousness.

As one who is familiar with the subject knows, really understands, so has Goethe described. However, one must immerse oneself in what Goethe wanted. One must be in his intentions, as it were, have the dead Goethe standing before you as a living being. Because some things are not so easy to understand.

after a eurythmy presentation of Faust's Ascension

We tried to give eurythmy performances related to Goethe's “Faust” at Easter and Whitsun and at the Feast of the Assumption. In a way, we felt the need to have these performances ready by the Feast of the Assumption. You will recall that, in connection with the previous descriptions from Goethe's Faust, I tried to show how the way in which Goethe went through his spiritual development can be highly effective as a model because we can see in him can see how the great personality, in particular, slowly and gradually acquires and slowly and gradually works through the process of arriving at a point of view regarding a matter that can then satisfy him. How many people believe that they are good Christians and understand Christianity. We had to point out that at the time when Goethe wrote the first scenes of his Faust, he basically had, if not an anti-Christian, then, one might say, an un-Christian way of feeling. Just take a look at what has been preserved as the – forgive me for using the distasteful title, but it has become common – so-called “Urfaust” (the “Primal Faust”), and then what was published under the better title “Faust, a Fragment”.

We can see from this that Goethe had to grow quite old before he was able to insert a Christian element into these things in the meaningful way of expressing the most secret impulses of his soul. This soul needed infinite deepening in world knowledge and world feeling. And when the fragment of Faust appeared in 1790, it did not yet contain the scene that Goethe could only write at a much more mature age, the scene where Faust is stopped from taking the step he wants to take, from suicide, by the Easter bells. It was only at a mature age that Goethe felt compelled to introduce this Christian element into the first part of his Faust. A genius must live through and experience much, much more before he feels ripe in his own way, whereas many others feel ripe so soon. And we see that Goethe really felt this way, so that he added something Christian, something of Christianity, to “Faust,” which he had begun in his youth – but also already in his later youth – and had carried out in certain scenes.

It is now characteristic that Goethe, so to speak, needed a new approach to work his way through his way of feeling and the inner workings of his feelings towards the world – I would say through a realm from which the Christian impulses have been torn – before he could approach Christianity in a new way, in a way that would satisfy his later age, and also in a poetic way.

Yesterday I already pointed out to you how appropriate and professional, to use the pedantic expression, the whole structure of the last scene of the Ascension of Faust is. But we look even deeper into the matter when we realize something else from the spiritual considerations.

Let us imagine: in a particularly suitable natural setting – a wilderness, mountain gorge, rocks and everything possible that makes an impression corresponding to mysticism – a choir, we can imagine a monks' choir, approaches and absorbs what is happening in its consciousness. We have heard why this choir of monks is there. To put it on a real footing, Goethe needed this consciousness outside as a medium to absorb the events associated with Faust's soul ascending into the spiritual world. What is happening? The choir first points out to us what is going on. We can say: this choir senses that which is otherwise dormant as movement. The world of the spirits of form is slowly beginning to merge into the world of the spirits of movement. It spiritualizes as it begins to be moved, that which confronts us elementarily – everything initially in motion:

The forest sways,
the rocks press against it,
roots cling to it,
trunk close to trunk,
wave after wave splashes...

Why is that? Yes, that is because we are to be shown how a soul is to rise from this earthly existence, the physical plane, up into the spiritual world. A soul is to be wrested from the physical plane – the physical plane is also nature – a soul is to be wrested from nature. We now know that nature is permeated by the elemental world, that at the moment we pass from the rigid existence of nature to the elemental existence, everything is truly in motion. We cannot imagine that we can conjure up before our soul the idea of the soul of Faust ascending into the spiritual worlds if we cannot vividly visualize for ourselves the coming to life of nature and the release from the life of nature in relation to the soul of Faust. For it must be said: in the face of so much that is unhealthy, especially in mystical and occult movements, we have, in all that is allowed to tie in with Goethe's occultism, something thoroughly healthy, rooted in the solid ground of world reality. Goethe would not be able to present the spiritual world to us in any other way than by linking it to what confronts man on the physical plane, to nature, by showing, as it were, how nature spiritualizes itself before the healthy senses. And Goethe would never have said yes to an occultism that was not intimately connected with a real love of knowledge and of penetrating nature.

We can do an enormous amount to heal our spiritual science by striving to understand the secrets of nature. This is difficult in our time because, as was shown yesterday for research into the wisdom of the bakis or other things that arise before the soul's eyes in spiritual development, nature is approached in such a foolish way. And how is it? Just as those seemingly infinitely profound explanations of Goethe's eight lines, which are supposed to refer to everything possible, while they refer to slippers and cigars, so it is in reality with much of what is said today by science about nature. You see how much of what passes today as natural science bears just as little relation to the truth as what was communicated to you yesterday bears to philological science, and how Goethe's wisdom bears to what it actually refers to. That is why it is difficult in our time to gain from science the relationship to nature that Goethe actually has. But we must strive unceasingly to make our occultism thoroughly healthy. And there is no better, no more dignified starting point for our time than what Goethe has contributed to occultism.

We see how in the consciousness of the choir – whereby this now really enters into the impersonal of nature, in that the echo resonates – the spiritual of nature breaks free. And we can now hope that the same consciousness, which is capable of seeing through nature in such a way that everything comes from deep within nature, can also see the ascending soul. By first seeing it at all, the soul that is ascending in spirit sees it, completely placed in real life. But how do you get to see this spiritual world? I already mentioned yesterday: it is presented to us in a dignified way in three stages, in that the consciousness of the choir, which has a general awareness that spiritual essence is hidden within nature, the consciousness of the Pater ecstaticus, the consciousness of the Pater profundus, the consciousness of the Pater Seraphicus: these are successive stages of soul development. How the mystical development rises from self-absorption and the self to the realization of a further spirituality of nature, than the choir can see through, is shown to us in the transition from Pater ecstaticus to Pater profundus , and then in the transition from Pater profundus to Pater Seraphicus, how the soul can develop healthily, can truly develop into the spiritual world, so that it can see the spiritual world in its depths. Goethe had received guidance on this early in his youth, when he learned of the kind of contact Swedenborg had with the spirit world. We know that we should not overestimate this, but for Goethe it was a powerful stimulus. Swedenborg recounts that he associated with spiritual beings in such a way that they came very close to his mind, that they took possession of his sense organs, that they, guided by his eyes, saw the world and, of course, were able to communicate what they had seen and heard quite differently than the human soul. Thus Swedenborg experiences the spiritual world through those English beings who enter his sense organ. This made a great impression on Goethe, this entering of spirits into the human organism. So that in a certain respect it had become quite familiar to him how such a spirit deals with the spiritual world. These things were quite familiar to Goethe in general. What we have not yet been able to present here - we will do so later when our building is finished - is the fact that the Pater ecstaticus floats up and down. On May 26, 1787, Goethe wrote about Filippo Neri: “In the course of his life, the highest gifts of religious enthusiasm developed in him: the gift of tears, of ecstasy, and finally even of rising from the ground and floating above it, which is considered by all to be the highest.”

I want to emphasize this because I must tell you that Goethe did not write this unconsciously or as a mere fantasy, but because he was very well versed in these things, he knew them, knew them deeply. So he doesn't just let Pater ecstaticus float up and down because it occurs to him; we have to bear in mind that Goethe was a man who spoke of Filippo Neri in this way. This deepens the feeling tremendously. What is needed much less in these matters are clever explanations, and much more the ability to immerse oneself in Goethe's soul, to see how deeply he was connected in his soul with this ascent of the human being on this path of mystical knowledge. And then we see, the Pater ecstaticus shows us how the soul inwardly, in the manner of Meister Eckart or Johannes Tauler or Suso, takes in the divine reign, so that the soul comes to the point of confessing with Meister Eckart: “Not I, but the God in me wills and thinks and feels.” For if the soul continues to ascend, it will perceive spiritual revelation in nature from the elemental world, as we see in the Pater Profundus, whose inner being expands throughout the whole, all-encompassing nature.

Then the human soul, having undergone this, ascends to direct communication with the spiritual world, as we see in the case of Pater Seraphicus, who now really comes to perceive such spirits , such as the blessed boys, the midnight-born, who live as spiritual entities in all the spiritual activity and life that develops here between the dwellings of the anchorites and monks.

Thus, what comes to us most vividly – and it is the presentation of this living reality that is important – is that Goethe guides Faust's soul up into the spiritual world, but that he needs a spiritual setting to do so. We can guess how nature is set in motion, how elemental life rises out of nature, how nature's beings then develop into consciousnesses, which are ever higher, with the soul developing into the embrace of spiritual beings, as is the case with the blessed boys, and how it can then be the souls of penitents and also the soul of Faust himself. The entire spiritual scene contains this. And then there are wonderful increases right up to the end, where the Chorus mysticus expresses the mystery of the world, where we see how our spiritual eye is lifted up into a spiritual world. We make the ascent from standing in nature and on the firm ground of the physical plane to the spiritual worlds, into which the soul of Faust is taken.

During Goethe's lifetime, only the first part of Faust had been published, as we now have it. Then the scene: “Charming Area”, Faust bedded on flowery grass. Then individual parts of the scene at the “Imperial Court” from the first act of the second part. In it, a transition to the “Classical Walpurgis Night”, but not the Walpurgis Night itself, and then the “Helena Scene”.

Even during Goethe's lifetime, many people had thoughts about how Faust could be completed. If you follow these thoughts – and some of them were even printed – you will find that people already knew that Faust's soul must be redeemed, must ascend into the spiritual world. But all the ideas that people have come up with have something - there is no other way to put it - abstractly vague, something extraordinarily vague about them. Goethe once said to Eckermann that he had to call on Christian imagery to help him move from the vague to what he wanted to present as a spiritual reality.

And so, in his very old age, we are once again confronted with this wonder. Consider that Goethe wrote the whole pagan part, the whole pre-Christian part: Faust's connection with Helen. Then again something that is certainly not anti-Christian: the fourth act of “Faust”, that only after he has once more plunged into that in which not directly Christian impulses are at work, after he has once more wriggled through there, he is again to present the riddle of Faust in the highest sense, that only in his very old age, out of all pagan cult, he must plant Christianity in “Faust”. Goethe had to live to be eighty years old so that he could say to himself that he is able to use the Christian ideas in such a way that they are a garment for the path that the soul of Faust has to go.

It was Goethe who really paved the way for us to understand the Christ impulse more and more, a path we refer to in spiritual science. And the beginnings of this understanding, which we have now been able to experience, will be followed by many others in the future, when we are no longer able to be present or can only be present in subsequent incarnations. Goethe was the first to do this through spiritual science: to connect the penetration of reality with what flows in our soul through the Christ impulse. And Goethe has presented this in tremendous depth, but in such a way that it is always vivid and always appropriate.

Nature stands before us. The choir of monks, who initially appear before us pointing to the spiritual, see the elements emerging from nature, and spiritual-soul entities join the elements, that comes out of nature. Goethe already perceived this as a specifically Christian view. Christianity is not about always saying: Christ, Christ and Christ again! Christianity is not about always repeating Christian dogmas. It is a way of feeling, of relating to the world. And this feeling, this relating to the world, comes across in a wonderful way in the way Goethe presents it. The way this feeling lives through and permeates the last scenes of Faust is eminently Christian, and its Christianity is particularly evident to us in that the whole of Faust — despite the fact that some fragments and some parts remain unfinished — is so artistically great and so powerfully conceived that one only gradually comes to understand the tremendous artistic conception.

And before us stands the broad natural existence of the physical plane, which we see, in the truly Christian sense, transformed into the elementary and truly spiritual existence. Faust is led into this after he has gone through his connection with Helena, with the ancient spiritual world. Here, too, we are confronted by spiritual beings. Helena is led up from the underworld. Faust encounters her. She is surrounded by a chorus, twelve choruses surround Helena. When Helena returns to the underworld, the chorus stands there, and at this end of the third act the chorus shows itself to us as not yet fully matured into humanity, as elemental beings. And how does the chorus disappear in the third act of the second part of Goethe's 'Faust'? That is very interesting! There we are also dealing with elemental beings. And when Helen disappears, the chorus of these elemental beings also disappears. The chorus divides into four parts. What happens to one quarter of the chorus? Well, three members of the chorus describe how they disappear: they disappear into nature. Where Goethe presents paganism, he shows us the elemental beings who, as the twelve-voice chorus, surround Helen. They now disappear and merge with nature. Feel how the first part of the choir enters into nature:

We, in this thousand branches whispering tremors, purring floats,
Attracting prancing, luring softly, root of the life sources
After the branches; soon with leaves, sometimes with flowers exuberantly
we adorn the fluttering hairs freely to airy prosperity.

That is, these beings of the choir become trees, become nature. They may then approach us, out of the Christian impulses, when they approach us again as a

wood, it sways towards us.

The pagan elemental spirits disappear into nature, and they emerge again where the Christ impulse has come alive on the earth. Oh, how wonderfully this chorus disappears with Helena, and then - we know it from the last scene - when the beings, who have received the Christ impulse as blessed boys, emerge from nature. And take the other part of the chorus:

We, on this rock wall, smooth as a mirror,
nestle, moving in gentle waves, caressing;
listening to every sound, birdsong, flutes of the wind.

Truly, these are the same rocks into which these elemental beings have slipped, and then “cling”, and from which the beings of the spiritual world later emerge, after they have received the Christ impulse.

You can see how deeply felt this Faust poem is, how there are other connections in it than those usually observed. And it is these connections that are so important. Goethe was aware of this. That he was aware of this is clear from a very specific suggestion that Goethe wanted to make when he was not quite finished with the third act of the second part of Faust. He had completed it roughly up to the disappearance of Helena and up to the “going out into nature” of these elemental choruses, just up to this scene, roughly as far as I have read now. Then he wanted to do what he did in a sense at the end of the third act, to let Mephisto arise from Phorkyas, and now Mephisto was supposed to express what Goethe actually wanted with this Faust at the conclusion of his “Faust.” That he let it be spoken through the mouth of Mephisto was for reasons of performance, because Mephisto is, so to speak, the one who brings about the third act after all. The third act is incorporated into “Faust” as a classical-romantic phantasmagoria. Mephisto is, so to speak, the one who introduces the third act with a kind of spiritualistic laboratory magic, he is supposed to say what Goethe actually wants by continuing “Faust”. At a time when Goethe already realizes that he must incorporate the Christ impulse into his work, he wants to say through Mephistopheles: “Certainly, there have always been times when people have recognized that at the bottom of sensual existence there is spiritual existence. We can go back to the mysticism of ancient India and ancient Egypt, where it was known and described that at the basis of natural existence there is something spiritual. But it does not befit us, Goethe wanted to say, to understand this spiritual reality today in the same way as it was understood in these ancient mystical systems. The Christ Impulse has brought into the world something completely new in relation to all ancient mysticism and all ancient wisdom. The old can no longer serve us. That is what Goethe wanted to say. And I am not just asserting that he wanted to say it, but the passage has been preserved. It is not in 'Faust' now, but the passage has been preserved, conceived by Goethe, with corrections added by his scribe, as indicated by Goethe. At the end of the third act, it is said how he demands the newer Christ impulse for his “Faust”, how he does not want some ancient wisdom, but something completely new in the sense of the Christ impulse. For Mephisto, when he is to appear before the audience, should speak the following words:

Enough, you see him,

- Euphorion is meant –

though much worse
than on the British stage, where a little child
gradually grows up to become a hero.
Here it is even more fantastic. No sooner is he conceived
than he is also born,
he jumps, dances and speaks a delicate word.
Many criticize this,
others think that this is not so straightforward
and that it is to be understood roughly, that there is something behind it.
One can well sense mysteries, perhaps even
mystifications, Indian and also
Egyptian elements, and anyone who likes to put it all together,
brew it up, etymologically back and forth
is the right man.

Goethe already senses something of those teachings that have come and have etymologically concocted everything, but he wants nothing to do with any of them, because he says here:

We also say it, and our deep meaning will be a faithful student of newer symbolism.

Goethe says: not Egyptian, not Indian, but “to be a faithful disciple of newer symbolism”!

Then he came to incorporate the Christ impulse into his “Faust” in this way – not just by adding a Christian element here or there, but by enshrining the entire way in which the soul presents itself in the flow of his creation. And as we can see, he does that. We see how he really does know the development of mysticism in the progression of the three fathers, and on the other hand, we find how he wonderfully separates the initially unified choir of angels into two groups: the choir of younger angels and the choir of more mature angels. And when you read what the younger angels say and what the more mature angels say, we again find something quite remarkable. Take what the younger angels say first:

Those roses, from the hands
of loving, holy penitents

- one must remember the previous scene –

helped us to win the victory
and to complete the high work,
This treasure of the soul to win.
Evil fled as we scattered,
Devils fled as we struck.
Instead of the usual punishments of hell
The spirits felt the agony of love;
Even the old master of Satan
Was pierced with acute pain.
Rejoice! It has been accomplished.

But the angels can already be perceived in the previous scenes. These are now the younger angels. It is impossible to say how deeply one is touched when one lets the appropriateness of such a representation take effect on one. The younger angels – why that, the younger angels? That means: they are younger, they do not yet have so much connection with the earthly world.

In pre-Christian times, angels are the beings who cover their faces at all before the Incarnation on earth, who do not mix in the pre-Christian times with what is happening down below on earth. They remain at the very top in spiritual spheres.

Now think how characteristic these younger angels are, who have not yet found their way into the Christian sphere, but who are up there, who have not yet descended during the Christian sphere. Consider how the Elohim are characterized at the creation of the world. After the creation is presented to us from day to day, we are then told at the end: “And they saw that it was good,” or “beautiful.” The word that is used is difficult to translate. It means that the Elohim are such spiritual beings that they first make things and then see that it was beautiful. That is what matters. These are the other kind of entities that have attained perfection on the old moon and are now transitioning spiritually into earthly existence, doing first and then seeing and perceiving that it has been successful. These younger angels must have the perception of these spiritual entities; they must first say what they have done. Now they realize that they have strewn roses from the hands of the penitent, that they themselves have caused pain to the old Satan master.

So appropriately, Goethe writes that he knows: beings that have not come into contact with the Christian world only recognize the beauty and goodness of what has been done afterwards:

Those roses, from the hands
of loving, holy penitents,
helped us win the victory...

That the victory was won comes afterwards. You see, I'm not delirious!

Fogging around the rocky heights,
I just feel,
A ghostly life stirring in the
Nearby.
The clouds become clear;
I see a moving crowd
Of blessed boys,
Free from the pressure of the earth,
In a circle,
They refresh themselves
With the new spring and adornment
the upper world.
Be it from the very beginning
Increasing full profit
These joined!

The blessed boys are there long ago, and they have something to do with the appearance of these angels, but the angels only realize that they are there when the whole scene is set. Goethe is fully aware of all this. They do not carry that which is connected with the earth in the soul of Faust; that must be borne by those who have become a little older, more perfect, who have descended through the Mystery of Golgotha and come into contact with the earthly.

A remnant of the earth remains for us,

say the more mature angels, not the younger ones.

To bear it would be embarrassing,
and even if it were made of asbestos,
it is not clean.

And then they explain that through the Mystery of Golgotha they have now attained an insight for which the other angels veil their faces, how spiritual power connects with the elements that are mixed with the nature of earthly life. It is something quite tremendous to perceive how Goethe describes it, so expertly and appropriately, and how he knows how to characterize the individual members of the spiritual world correctly. When one compares the colorful, characterless stuff that others, who also wanted to represent spirits, concoct, it sometimes looks as if someone wanted to describe the external nature and would say: Oh, I went through the forest and meadow and saw such wonderful blue roses and such wonderful yellow chicory and such beautiful red and yellow violets and the like in the meadows – which is all wrong. Those who know the spiritual world find some descriptions to be extremely inept because everything is wrong. With Goethe, everything is right! That is the essential thing, to perceive not a crazy interpretation, but to perceive how this soul is rooted in the spiritual world at the moment when it decides to describe a spiritual event from within itself, as is the ascent of Faust into the spiritual world. And in doing so, the artistic, artistic compositional element in the spiritual!

I once tried to show you how, quite apart from what the Gospel of John actually is, there is something in the mood of the Gospel of John that makes it one of the greatest works of art. Remember the Kassel cycle on the Gospel of John! Truly, artistic endeavors of this kind, striving for artistic perfection in the spiritual, we find everywhere in Faust, but in such a way that the artistic in it is really, in being artistic, at the same time spiritually right. That is the significant thing. For it is essential that the world should more and more recognize that what is really recognized and experienced out of the spirit is the right thing, even when it is placed in the world. What is spun out of the spiritual usually looks like a house of cards in the world. But what is recognized out of the spiritual can be placed in the world.

This was the aim in the architecture of our building, that it should be truly created out of the spiritual. Therefore everything is feasible. It makes one all the less scrupulous when here and there people come and say: they don't like this and they don't like that. There are people like that who find fault with this or that in our building. But if you know the world a little and know that or to what extent people belong to the choir of those who interpret Goethe in the same way as that gentleman I told you about, you don't care about all the criticism, because that gentleman, for example, who was mentioned, could say whatever he wants about our construction and our way of thinking and so on, you wouldn't need to be impressed. And such is the spirit of the people after all. You just have to know life a little. But that which is born of the spiritual is possible because it is spirit and artistry at the same time.

And today I would like to point out at least one more thing. Three penitent women, together with the penitent woman otherwise called Gretchen, come to meet us. Yes, the artist never does that – the real, true artist – he never says: Now, I will have three penitent women appear. Where can you find three penitent women? – Of course, you can meet all kinds of people in life. There are people, really, such people, who take a rhyming dictionary and make up poetry according to it, you can start at the alphabet – whatever rhymes with that – and then comes the second line and so on. I knew people like that too. But a true poet, an artist, doesn't even do that. He doesn't just take three penitent women in any old way. Instead, as is particularly characteristic of Goethe, he brings us another of those wonderful intensifications, a case of wonderful inner composition that is both factually accurate and correct. What are the three penitent women supposed to be? First Mary Magdalene, then the Samaritan woman at the well, and then Mary of Egypt. Well, I have already hinted at it. They are meant to show us that there is something eternal in the female nature - “an eternal star of love” - that, as it were, cannot be eroded, Goethe wants to say, when it unites with the female soul, even with guilt. The love, the love that Christ brought, despite the fact that in their outer life they were by no means model human beings, but their souls were such that they could understand love. If we think about this correctly, we must say: Yes, something like the Christ impulse spreading throughout the world first seizes what is nearest, then it seizes what is further, then it seizes what is furthest. And it would be wonderful if the Christ's impulse of love spread like a wave, if it also took hold of the guilty and outshone the guilty, drawing ever wider circles. So, Mary Magdalene, the Jewish, the Hebrew woman, directly from the land that was intimately connected with Christ Jesus in Judaism: the closest environment is taken hold of by Christian love. Then He goes beyond the realm of Judaism, but still into the neighboring region, to the Samaritans, who have no ethnic community with the Jews: the second circle. And then He comes to the third circle. You know that what is presented as being very far removed from Christianity is presented as Egyptian: the Egyptian Mary. She comes from what is even more foreign out there in the pagan world, which is now grasped in a distant way, pushed back as if by an invisible hand because of the sin of touching the cross, and only atoning for the guilt through a forty-year penance: how far the waves of love reach out there!

We really see them, the waves of love, as they spread, and we understand something of what gradually crystallizes in Goethe's imagination as that which he then finally describes as the “eternal feminine”, in whose conception every trace of inferiority must be removed.

And the outpouring of love corresponds exactly, I might say, to the tone, the whole manner in which Goethe put the words into his mouth. Just try to find that wonderful intensification which now lies in the peculiar feeling, the rhythmic formation of the words:

By the love that made
of thy Son, transfigured with God,

We feel something like a trickling nearby.

At the well to which
Abram used to lead his flock,
At the bucket that was allowed to touch the Savior's cool lip;
At the pure, abundant spring,
Which now flows forth from thence,
Abundant, eternally bright,
Through all the worlds it flows —

Imagine how it expands! With this whole presentation, we are actually in the immediate vicinity of the person of Christ. Then whole worlds are included in the presentation of nature. And then, as we come to the Egyptian Mary:

At the hallowed spot,
Where they laid the Lord;
At the arm that from the. gate
Warned me, repelled me back;

The invisible, the spiritual, is directly addressed. Once again, an intensification! It is not the case that one first needs to intellectually ascertain that these three circles really exist. One must feel them by pronouncing the words. That is the significant thing.

And now let us consider the following. Through years of reflection, we have come to understand that before our evolution on Earth, there was a Saturnian era, then a solar era, then a lunar era, and that we are now at the Earth era. In a sense, the human being has gone through everything that has gone through these stages of development. Where, then, can we read the essence of these stages of development? It lies in the fact that these times were once there and then passed away again, and that the Earth time has emerged. But before the Earth time, man went through the Saturn, Sun and Moon time, and he carries the effect of these times within him. If we now examine modern man with the means of spiritual science, we find that the physical body, having acquired its first disposition on Saturn, then develops further through the sun, through the moon, to the earth, where it has once again connected with cosmic powers in order to take on something new. What the human being's physical body has gone through in these three stages – and here we touch the edge of a momentous mystery – in that the physical body has gone through it, has been most clearly expressed in the constitution of the inner female organs on Earth. The interior of the female organism, both the physical body and everything that is expressed as soul in connection with the physical body, bears the effects of Saturn, the Sun and the Moon in the most eminent sense. It is not without reason that the Bible relates how the Elohim took the dust, that is to say, that which was added to the earth only, like air and water – one thinks of the earthly element when one says 'dust' – to form Adam, the man. From the cosmos, the macrocosm, which the woman carries over from Saturn, Sun and Moon, is first joined with the male principle. There is a profound mystery about what confronts each other on earth as male and female. Of course, what has just been said refers only to what the male and female express in the organization of the human being. And this mystery is connected with the whole earth, is connected with the abilities that are proper to woman only as woman during earthly development, with the fact that the macrocosmic of Saturn, Sun and Moon development is carried over into woman's inner being and is taken up into woman's microcosm, while the macrocosm of the just preceding earthly development is taken up into man's microcosm. In a very special way, the feminine and the masculine carry the whole cosmos within them. And if I have often stated here that the human being carries the whole macrocosm within him, the feminine and the masculine organization carry it within them in a different way.

A cosmic thought dawns on Goethe as he brings the penitentesses close to the Mater gloriosa. For what is the Mater gloriosa to him? She who has most purely carried over into earthly time the eternal effects of the time of Saturn, the time of the sun and the time of the moon, leaving them untouched by the earthly and connecting with the macrocosm by being allowed to prepare the Christ of the earth. The macrocosmic, the eternal aspect of the feminine draws upward. What draws upward? How could we still answer this question? By repeating the mystic chorus.

That is what Goethe meant – only he does not want to use a general term – that is what Goethe meant.

All that is transient
Is but a parable;
The inadequate,
Here it becomes attainable;
The indescribable,
Here it is done;
The gloriosa Mater
Draws us on.

That which has been done, that which has taken place before us, at the same time draws the entire spiritual world upward.

Goethe's poem of life ends with a deeply Christian sentiment. We shall take up these aphoristic remarks (for that is what they should be) again in the following.

Let us look back at an earlier scene from the second part of Goethe's Faust, the scene in which I have often mentioned how it was made possible for Faust to unite with Helena. How is this possibility of Faust's union with Helena presented within the whole of the Faustian legend?

We know that in order to be united with Helena, Faust must first go to the region where even Mephistopheles cannot enter, to the realm called “the realm of the Mothers”. We have emphasized several times that Mephistopheles-Ahriman is only able to give Faust the key to the realm of the “unentered, unenterable”. We have also mentioned how in this realm of the Mothers we can find the eternal aspect of Helen of Troy, and we have mentioned how Goethe tried to solve the mystery of Helen's re-entry into the world. We have found that Goethe expressed this secret by allowing the homunculus to come into being, by allowing the homunculus to pass through the evolution of the earth's development, to catch up with this evolution of the earth's development, as it were, and that the homunculus, by dissolving itself dissolves in the elements, passes over into the elementary spiritual world, so that, by uniting with the archetype of Helen, which Faust brings from the mothers, he, as it were, “gives the re-embodiment with which Faust can now unite. Faust has, as it were, been elevated to the great arena of history; he seeks Helena. What does he need to seek Helena? Helena, the type of Greek beauty; Helena, the woman who brought so much ruin to the Greek world, but whom Goethe nevertheless presents to us in such a way that she also appears to us — and here I am referring to Gretchen — as being innocently guilty in the Greek sense. For thus Helen appears at the beginning of the third act: innocently guilty. Much guilt has been caused by her act. But Goethe seeks the eternal in every human nature and cannot reckon with guilt where he wants to present the evolution of humanity in the higher sense, but he can only reckon with the necessity of

If we now ask ourselves how Faust is put in a position to ascend to those spiritual realms where he can find Helena, we are confronted with the answer:

It is the mothers!
Mothers!

And Mephistopheles hands him the key to the Mothers. In a very characteristic way, we are shown that Faust is to descend to the Mothers; one could just as easily say ascend, because in this realm it is not important to distinguish between going up and going down in the physical sense.

The Mothers! Mothers! - it sounds so strange!

We hear the word from “Faust”. And when we recall how this realm of the Mothers is described, how they sit around the golden tripod, when we envision the entire scene of the realm of the Mothers, how could this journey of Faust into the realm of the Mothers be expressed? What are they, the Mothers, who reign eternally, but who are depicted as feminine and represent the forces from which Faust has brought forth the eternal, the immortal of Helen? If one wanted to express the whole fact at the point where Faust is sent to Helena, one would have to say: Faust will have to express his urge to Helena and to the Mothers by saying: The eternal feminine pulls us up or down – it does not matter now. We might just as well apply this last motive, which confronts us at the end of Faust, to the point where Faust descends to the Mothers. But with Faust on his journey to the Mothers and to Helen, we are standing on the soil of the old pagan world, the pre-Christian world, the world that preceded the Mystery of Golgotha. And at the end of Faust? We are confronted with a similar journey by Faust, the journey of the loving Faust, who wants to approach Gretchen's soul, but we are now with him on the ground of evolution after the mystery of Golgotha. And what does he strive for now? Still for the mothers? Not for the threesome of mothers. To the one mother, to the Mater gloriosa, who is to pave the way for him into the untrodden, the un-treadable, where Gretchen's soul dwells. The mothers, the eternal feminine too, are in the plural. The mother, the Mater gloriosa, is in the singular. And the striving towards the Mothers, in that it transports us into the time of evolution before the Mystery of Golgotha, and the striving towards the Mother, towards the gloriously magnificent Matter, in that it transports us into the evolution after the Mystery of Golgotha — does it not show us in a wonderful way, poetically magnificent, overwhelmingly magnificent, that which the Mystery of Golgotha has brought to humanity? From the threefold nature of still astral thinking, feeling and willing, humanity in Faust strives upwards towards the threefold nature of the eternal feminine. We have often described how the unity of the human soul in the I has come to humanity through the Mystery of Golgotha. The three Mothers become the one Mother, the Mater gloriosa, through the fact that the human being has progressed in the way we know to an inner interpenetration with the I.

The entire secret of humanity's transition before the Mystery of Golgotha is embodied in the Faust legend. And this transition from the eternal feminine of the trinity to the eternal feminine of unity is one of the greatest, most wonderful, most beautiful intensifications in the artistic realization that is found in this second part of “Faust”. But however deeply we penetrate the secrets of Faust, we find everywhere what I have said pedantically, but not meant pedantically, in that I have said: Everything sounds so appropriate and professional.

I have already pointed out that if we want to fully understand the human context, we must point out that the human being is first of all connected to the macrocosm as a whole human being, just as the macrocosm is reflected in the human being as the microcosm. We must only remember that man's development on earth remains incomprehensible if we do not know that man bears within him that which is initially transitory for this earthly development, but which is permanent for man's development, and which has developed into human nature through the old Saturn, Sun and Moon developments. We know that the human physical body was already formed in the first stage during the old Saturn evolution. We know that it then continued to develop through the sun and moon evolution up to the earth evolution. As I have already pointed out, what united with man in the three preliminary stages of evolution, the pre-earthly evolution, has now entered into the outer earthly formation of man in various ways.

I could only briefly hint at what was said about the matter earlier, and it must remain a brief hint. I have said: We touch here on a momentous mystery. — And it is only natural that these things can only be hinted at. He who wishes to follow them up must undertake a meditation on what has been suggested. He will then find what he still desires, even if it takes a little time.

We must realize, however, that man, by completing the lunar evolution, has begun the terrestrial evolution, and has, as it were, passed through a kind of dissolution, spiritualization, a world night, in this transition from the lunar evolution to the terrestrial evolution, and only now has he emerged again into the material. Certainly, the tendencies he formed through the evolution of Saturn, Sun and Moon remained with him, including the tendencies towards the physical body. But he also absorbed them into the spiritual and then developed them out of the spiritual again, so that we have to think of a time during the evolution of the earth when man was not yet physical.

If we disregard everything else that contributed to the development of the fact that man forms himself physically and sexually in his earthly existence, we can say in general: Just as man entered in the first place as an ethereal human being, so too did he enter as an etheric human being. To be sure, in this ethereal human being the tendencies towards the physical human being, which developed during the Saturn, Sun and Moon periods, were already present, but nevertheless they were formed in the etheric. I have already indicated this more precisely in Occult Science. And the physical must first develop out of the etheric. But Lucifer and Ahriman have their part in this whole process of development. For Lucifer and Ahriman intervene even before this, although their influence is repeated during the development of the earth, during the development of the moon and already during the development towards the moon in the whole development of mankind.

Now I have something to say here that is difficult to understand – not so much for the human intellect as for the entire human soul, I believe – but which really must be understood one day. Let us imagine: Man was once in the course of the earth before he gradually formed physically since the Lemurian and Atlantean times, ethereally, and - I will suggest this schematically - out of this ethereal, his physical gradually formed. Thus man was ethereal. Now we know that the etheric is a fourfold entity. We know the ether as a four-fold entity, so to speak. As we ascend from below, we know the ether as: heat ether; light ether; the ether with a material nature or also chemical ether, which, however, has its material nature in that the substance still fills the tone inwardly, the world harmony, the harmony of the spheres, for substances are substances because they are an expression of the world harmony. First of all, we have to imagine the world harmoniously. One tone, as it resonates through the world, causes, let us say, gold; the other tone causes silver; the third tone causes copper, and so on. Every substance is the expression of a certain tone, so that we can, of course, also speak of tone-ether. However, we must not represent the ether as it is perceptible on earth, but as a tone that fades away in the ether-spiritual sphere. And the last ether is the ether of life. So that man, if we still imagine him as ethereal, is formed ethereally by these four types of ether interlocking. We can therefore say: Man appears where the evolution of the earth is preparing to gradually allow the etheric human being to emerge from the etheric human being, as an etheric organism before becoming physical, where there is a mixed organization of warmth ether, light ether, material or tone ether, and life ether.

Now Lucifer and Ahriman are part of this whole process of the human becoming physical. They are always there. They take part in this whole evolution. They exert their influence. Of course there are special points where they exert this influence quite strongly, but they are always there, these special points, as you will find emphasized in “Occult Science”. Just as, I might say, the whole vegetative power is always in the plant, but asserts itself now as green foliage, now as a flower, so too have Lucifer and Ahriman always been present while man has developed through the various epochs of the earth's evolution, they are, so to speak, present in everything.

If you now disregard everything else (you can't always list everything), you can imagine this physical aspect of the human being, which arises from the etheric organization, in such a way (including everything else that I have described in 'Occult Science' and elsewhere, of course) that female and male forms arise. We are now disregarding everything else that contributes to this, but female and male forms arise. If Lucifer and Ahriman had not been involved, then the female and male forms would not have come into being, but rather what I once described in Munich: a middle form. So that we can truly say: it is due to Lucifer and Ahriman that the human form on earth was differentiated into a male and female form. And this is when we now imagine the state of approaching the earth, which is gradually solidifying through the mineral kingdom, when we also imagine that the earth is forming, physically solidifying, that in the earth's orbit there is also , we can imagine that the human being develops out of the ether of the whole earth and thus his character also approaches the physical of the earth, that in him, as it were, the etheric-mineral-physical meets with the mineral-physical of the earth. But Lucifer and Ahriman are at work, are truly at work. They have many means of exerting their influence on the evolution of mankind. And they use these various means for these or those processes, which they evoke.

Above all, Lucifer tends to develop the spirit of the ethereal; he actually does not want to let man become truly earthly, does not want to let him descend completely to earth. Lucifer is, after all, left behind in the development of the moon, and he wants to win man for himself, not letting him enter into the development of the earth. He seeks to achieve this by first of all seizing control of the forces of the heat and light ethers. He uses these forces in his own way in the processes that are now taking place as man becomes physical. Lucifer has power mainly over the heat and light ethers, and these he rules preferentially. He has already prepared himself well for this during the development of the moon, which he organizes in his own way. In this way he can influence the human becoming in a different way. By allowing man to become physical out of the ether, he can bring about the human form in a different way than would otherwise have happened, by taking hold of the warmth and light ether and exerting his power in a different way than would otherwise have happened. Just as he now rules and weaves in the warmth-light ether, it is not the human being that would otherwise come into being through this rule and weaving, but the female form of the human being. The female form of the human being would never have come about without Lucifer. It is already the expression of the emergence from the ether, in that Lucifer has just taken possession of the warmth-light ether.

Ahriman, in particular, has power over the ether of sound and life. Ahriman is at the same time the spirit of gravity. Ahriman endeavors to counteract Lucifer. In a certain way, this essentially brings about balance, in that the wise, progressive gods of luciferic power, who want to lift man above the earthly, oppose the ahrimanic power. Ahriman now actually wants to pull man down into the physical. He wants to make him more physical than he would otherwise be as a human being. Ahriman is prepared for this by the fact that he has particular power over the ether of sound and of life. And Ahriman works and weaves in the ether of sound and of life. And so the human physical form, as it emerges out of the ether into the physical, becomes physical in a different way from the way it would have become through the mere progressing gods, becoming the male form. Without the influence of Ahriman, the male form would be inconceivable, impossible. Thus we may say that the female form is woven out of the warmth and light of the ether by Lucifer, who instills in this form a certain upward striving. The male form is shaped by Ahriman in such a way that a certain striving towards the earth is implanted in it.

We can observe this, which is now so willed out of the macrocosmic world evolution, in a truly spiritual scientific way in the human being. If we take the female form, schematically drawn, we must say: Lucifer's warmth and light are woven into it in his own way. — Thus the physical female form is so woven that not only have the steadily progressing gods developed their forces in the light and warmth ether, but that Luciferic forces are also woven into this female etheric body. Let us now assume that in this female etheric body, that which the earth has given particularly, the consciousness of self, the consciousness that holds together, is tuned downwards; let a kind of tuned-down consciousness enter, which some people already call “clairvoyance”, a kind of dream-like, tr Then, in such a case, that which Lucifer has woven into light and heat ether emerges in a kind of aura, so that when female visionaries are in their visionary states, they are surrounded by an aura that has luciferic powers within it, namely that of heat and light ether. Now the point is that this aura, which now surrounds the female body when visionary states occur in a mediumistic way, is not seen as such. Because of course, when the female body is now in the midst of this aura (it is drawn), then the female organism sees into this aura and projects around it what it sees in this aura. It sees what is in its own aura. The objective observer sees something that he can name: the human being radiates imaginations, he has an aura that is formed from imaginations. This is an objective process that does not harm the observer. That is to say, when this imaginative aura is observed from the outside, by another person, it is simply an aura seen objectively, as something else is seen; but when this aura is seen from within, by the visionary herself, she sees only what Lucifer spreads within herself. There is a great difference between seeing something oneself and having it seen by others. An enormous difference!

This is why there is a great danger for a woman when visionary clairvoyance sets in if this visionary clairvoyance takes the form of imaginations. In this case, the woman needs to be especially careful. And it must always be assumed that the development must be taken firmly in hand, that it is a healthy one. Not to stop at all that one sees, not true, because that can simply be the actually luciferic aura, viewed from the inside, which was necessary to form the female body. And much of what female visionaries describe is interesting for a completely different reason than the reason why the female visionaries consider it interesting. If they describe or view it as if it were an interesting objective world, then they are quite wrong, then they are quite in error. But if this corresponding aura is seen from the outside, then it is what the ether has made possible for the female form in the development of the earth. So that we can say: A woman must take particular care when her visionary, imaginative clairvoyance begins to develop or manifests itself, because danger can very easily lurk there, the danger of falling into error.

The male organism is different. When we consider the male organism, Ahriman has woven his power into its aura, but now into the tone and life ether. And just as it is primarily the warmth ether in the case of woman, so it is primarily the life ether in the case of man. In woman it is primarily the warmth ether in which Lucifer works, and in man the life ether in which Ahriman works. When the man comes out of his consciousness, when the cohesion that expresses itself in him as ego consciousness is dampened, when a kind of passive state occurs in the man, then it is the case that one can see again how the aura asserts itself around him, the aura in which Ahriman has its power.

But now it is an aura that primarily contains the life ether and the tone ether. There is vibrating tone in it, so that one does not actually see this aura of the man so directly imaginatively. It is not an imaginative aura, but something of vibrating spiritual tone that surrounds the man. All this has to do with the form, not with the soul, of course; it has to do with the man in so far as he is physical. So that the one who looks at this form from the outside can see: the human being radiates — one can now say intuitions. These are the same intuitions from which his form was actually formed, through which he is there as the man in the world. There is a living, vibrant sound around you. Therefore, there is another danger for man when consciousness is dulled to passivity, the danger of only hearing this own aura, hearing inwardly. Man must be especially careful not to let himself go when he hears this own aura spiritually, for then he hears the Ahriman within him. For he must be there.

You see now how there would be no masculine and feminine in humanity on earth if Lucifer and Ahriman had not been at work. I would like to know how woman could escape Lucifer, how man could escape Ahriman! The sermon: one should flee from them, these powers – I have often emphasized this – is quite foolish, because they belong to that which lives in evolution, since evolution is already as it is.

But we can now say: Yes, by standing on earth as a man, in a male incarnation, he goes through his life, and what he is as a man, what he can experience as a man, what is the male experience, he has of it that this sounding life ether is in him, that he always has, so to speak, in himself, albeit mixed with Ahriman, chords of life that actually build up his male form. He has chords of life around him, in him, which only become visible and audible around him when he becomes medial.

Now let us assume that we are dealing with people who died at birth and want to express that they did not become “men” here during their incarnation. What would they say? They would say that this did not work at their birth, that they had the potential to become men in this incarnation, but that which makes a man a man did not work. They have been removed from what would have made them men in physical incarnation. In short, they will say:

We were removed early
From Lebechören.

That's what the blessed boys say.

We were removed early
From living choirs;
But this one has learned,

that is to say: he has gone through the experience, Faust. He has gone through the long life, through the long life on earth. He can convey something to us about this life on earth.

He will teach us.

So, in a sense, we have to look into the deepest depths of occult knowledge if we want to understand why a particular word is used in this particular poem. The commentator then comes along and says: Well, the poet chooses such a word: Lebechöre and so on. - Anything is fine with him, as long as he does not have to subject himself to the inconvenience of learning something. Through such things I would like to point out to you how appropriate and professional this Goethean poetry is in terms of the spiritual world view, what actually rests in this Goethean poetry.

Now, I may have made it difficult for you to understand something that is difficult for the human mind to grasp, in one direction or another, by pointing out characteristic points where Ahriman and Lucifer work in the world in such a way that we cannot escape them. For, however we may arrange it, when we prepare for an incarnation — for we must prepare for a male or female incarnation — if it is not Lucifer, then it is Ahriman. So it really is not possible to carry things so far as to say: one must escape both. — Not true, I have, so to speak, also made your heart heavy by showing you that there is a certain danger in observing one's own aura, as it were, looking into one's own aura. But therein lies the infinite wisdom of the world, that life is not like that, that it is a resting pendulum, but that it swings. And just as the pendulum swings to the right and to the left, so the life not only of humanity, but of the whole world swings to the Ahrimanic and Luciferic side. And only because life swings back and forth between Ahrimanic and Luciferic influences, maintaining its balance in between, is life possible. Therefore, something is set against what I have now described as dangerous. If it is a Luciferic influence, it is opposed by the Ahrimanic. If it is Ahrimanic, it is opposed by the Luciferic.

So let us take the female organism again. It radiates, as it were, a Luciferic aura. But by radiating it, it pushes back the life or tone ether, thus forming a kind of Ahrimanic aura around the female organism, so that the female organism then has the Luciferic aura in the middle, and further out the Ahrimanic aura. But this female organism can now, if it is not so inactive that it remains with its own aura, develop further. And that is precisely what is important: not to remain in an unhealthy way with the first imaginations that arise, but to apply all one's will power to penetrate through these imaginations. For one must ultimately bring it so far that one's own aura does not appear, but that it appears as if reflected back from a mirror plate, which is now an Ahrimanic aura. One must not look into one's own aura, but one must have what is in one's own aura reflected back from the outer aura. Thus you see, it is the case for the female organism that it receives the Luciferic mirrored back from the Ahrimanic and is thereby neutralized, thereby brought precisely into balance. Thus it is now neither Ahrimanic nor Luciferic, but it is defeminized, it becomes universally human. Truly, it becomes universally human.

I only ask you to feel this as it really is, how man, by ascending into the spiritual, by escaping the luciferic or ahrimanic power of his own aura, does not look into the luciferic or ahrimanic, but lets the one be reflected and thereby receives it back, asexually, without it being male or female. The feminine is neutralized into the masculine in the Ahrimanic, the masculine is neutralized into the feminine in the Luciferic. For just as the feminine-Luciferic aura surrounds itself with the Ahrimanic aura, so the masculine-Ahrimanic aura surrounds itself with the Luciferic aura, and there, just as in the case of the feminine, what one has within oneself is reflected back. You see it as a mirror image.

Now let us assume that someone wanted to describe this process. When would they be able to describe it? Well, what happens during clairvoyance also happens after death. The person is in the same situation. During clairvoyance, the feminine must neutralize itself into the masculine, the masculine into the feminine. This is also the case after death. What kind of images must arise then? Well, let us assume that a soul that was in a female organism has died, it would have to go through a lot after death, which is supposed to be a form of compensation for earthly guilt. Such a soul will then slowly strive towards neutralization from what it was bound to on earth. It will, as it were, strive towards the masculine after neutralization through the feminine. This neutralization should be such that striving towards the highest masculine is a release for it. If we find penitents after death, then it must be characteristic of them that in the spiritual world their yearning is to strive towards the masculine, the balancing element. The three penitents – the Magna peccatrix, the Mulier Samaritana, the Maria Aegyptiaca – are indeed in the wake of the Mater gloriosa, but they should strive for neutralization, for compensation. Therefore, the Mater gloriosa does work in the aura; it is very clearly expressed to us that the Mater gloriosa can work in her aura, has her own aura. Just listen:

Around them swirl
light clouds,
They are penitents,
a delicate folk,
around your knees
sipping the ether,
needing mercy.

You, the untouchables,
Do not find it strange
That the easily seduced
Come to you in confidence.

But they become aware of this only as a consciousness. It does not confront them as something that resounds like the heights of life. What resounds for them is what they are to experience in connection with the Mater gloriosa through the Christ. Therefore, we see the speeches of the three penitent women directed towards the masculine, Christ:

By the love that was at the feet
of Thy Son glorified by God...

And with the Samaritan woman, Mary:

By the well to which already of old
Abram led his flock...

And here it is spiritualized:

At the pure, abundant spring
That now flows forth from there....

The Christ calls Himself to the Samaritan woman: the true water.

And with Mary of Egypt we are already dealing with the Entombment:

At the most hallowed place,
Where they laid the Lord to rest....

We see how, in these three, that which lives in the aura wants to go out to that which neutralizes itself.

And if we ask what the man finds as that which neutralizes him, which lifts him out of masculinity, then it is the longing for the feminine that pervades the world.

Here the view is unobstructed,
the spirit uplifted.
There women pass by,
floating upwards;
the glorious center
in a halo of stars,
the Queen of Heaven,
I see it in the radiance.

He is not attracted directly by the Christ-male, as the penitents are, but he is first attracted by that which, as the female, belongs to the Christ. And that leads him in turn to the karmically connected Gretchen soul, again to the woman. There you see delicately interwoven into the poetry this deep mystery of man's relationship to the spiritual world. For how could it not, I would like to say, be felt with dismay when the occult facts are revealed to us: the disembodied soul, which still has the elements within it - nature, which must first be separated - which must neutralize itself through the feminine. And we see how, in the striving towards neutralization, because we are dealing with the masculine, Faust, the feminine must assert itself as “pulling towards”. Something quite wonderful is presented in this poem. And it is clearly and distinctly suggested to us that it should be so. Thus, through the mouth of Doctor Marianus, Faust will strive towards the feminine, that is, the spiritual eternal feminine, but the secret, the mystery. When he spiritually beholds the gloriosa mater, he says:

Supreme Ruler of the world!
Let me in the blue,
stretched out heavenly canopy
see your secret.

Now let us imagine: Faust striving for the spiritual world, longing to see the secret of the feminine in the Mater gloriosa. How can this be? Well, it will be possible for the light to be neutralized by its counter-radiation, that is, the female aura of light and warmth will appear, but radiated in the opposite direction, not as it flows directly. This must be neutralized, must be connected with the fact that this light has a counter-radiation. In the stretched-out canopy of heaven, the secret is seen: the woman with the aura, with the sun. When the light is reflected back from the moon: the woman standing on the moon. You know this image, at least you should be familiar with it. Thus we see Faust bearing desire, in the stretched-out canopy of heaven, to finally see the mystery: Maria, the woman clothed with the sun, the moon at her feet, reflecting back. And together with this secret, with this mystery in the expansive heavenly canopy, what he otherwise knows of the Mater gloriosa then forms the emotional and sensory content of the Chorus mysticus. For even that which is still human form in the Mater gloriosa is a parable, for that is the transitory thing about her human form, and all that is a parable. That which is inadequate, that is to say, that which is inadequate in human longing, only becomes adequate here. Here one receives the vision of the aura radiation in a sun-like way, the light of which reflects back from the moon, shines back: the ineffable, here it is done. That which cannot be grasped in physical life – that is sought, that which radiates out of the self in selfless return: here it is done. – Then, according to feeling, the whole thing said out of the mouth of man or said for the ears of man:

The eternal feminine draws us up.

One must say: to let 'Faust' take effect on oneself really means, with regard to many parties of 'Faust', directly entering into an occult atmosphere. - And if I wanted to tell you everything that could be said about 'Faust' in occult terms, we would have to stay up late for a long time. You would have to attend many lectures on it. But that is not necessary at all for the time being, because it is not so much a matter of absorbing as many concepts and ideas as possible, but rather, for us, it is really very important that our feelings deepen. And if we deepen our feelings and perceptions of this world literature to such an extent that we have a deep reverence for the working of genius on earth, in whose actions and creations the occult is truly present, then we will do the world and ourselves a great service. If we can feel the greatness of the spirit in the right reverent way, then this is a meaningful path to the gate of spiritual science.

Once again, it is less about raving and more about deepening our feelings. —- And I would give little to be able to tell you, for example, that the blessed boys' saying about being carried away from Lebechören leads to such occult depths; I would give little for the sake of these mere ideas if I could only know that your heart, your soul, your inner being is so touched when you express such a truth that you feel something of the sacred, profound forces that live in the world and pour into human creativity when that creativity is truly connected to the secrets of the world. If one can tremble at the fact that such depths can lie in a work of art, then this shuddering, which our soul, our mind, our heart has once experienced, is worth much more than the mere knowledge that the blessed boys say they are not united with living creatures. It is not the joy at the spiritual depth of the idea that should move us, but the joy that the world is so interwoven from the spiritual, that the reign of the spirit in the human heart has such an effect that such creativity can live in the spiritual development of humanity.

after eurythmy-dramatic presentations of the “Dedication” and the “Prologue in Heaven”

In the last few weeks, we have spoken of the three great, highest ideals of humanity and have described these three ideals as they have been described for a long time: the ideal of wisdom, the ideal of beauty and the ideal of kindness.

Now, in more recent times, these three highest ideals of humanity have always been associated with the three human soul powers that we know and have considered in the most diverse ways. The ideal of wisdom has been associated with thinking or imagining, the ideal of beauty with feeling, and the ideal of kindness with willing.

Wisdom can only be acquired by man through clear perceptions, through clear thinking. That which is the object of art, the beautiful, cannot be grasped in this way. Feeling is the soul power that is primarily concerned with beauty, as psychologists have long since discovered. And that which is realized as good in the world is connected with the will. It seems that what the psychologists and soul experts have said about the relationship between the three great ideals of humanity and the various soul powers is quite plausible. In a sense, we can add a kind of supplement: that Kant wrote three critiques, one of which, the “Critique of Pure Reason”, is supposed to serve wisdom because it seeks to criticize the power of imagination. Kant called another critique the “Critique of Judgment,” and it is divided into two parts: the “Critique of Aesthetic Judgment” and the “Critique of Teleological Judgment.” Basically, when Kant speaks of judgment here, he means what is contained in the knowledge of feeling, through which one affirms that something is beautiful or ugly, useful or harmful. So we could say – as a subsection, precisely in this Kantian sense, and others have retained the terminology – that the power of judgment, whereby we are thinking not only of the imaginative judgment, but also of the fact that the judgment comes from the heart, is related to the perception of beauty. And a third of Kant's criticisms is the “critique of practical reason,” which refers to the will, to the pursuit of the good.

Now, we can find what I have just said in all psychologists, except for one psychologist who emerged in the second half of the 19th century and found that this whole division of the human soul does not work, does not correspond to the unbiased observation of the human soul. And the assignment of humanity's great ideals to the various powers of the soul – imagination, feeling and will – is just as wrong. Imagination is assigned wisdom as its highest ideal, feeling is assigned beauty, and will is assigned goodness. The psychologist I am referring to, Franz Brentano, thought that he would have to overturn the whole doctrine that I have now outlined and, one might say, fundamentally change the way the human soul is structured. He assigns imagination to beauty, let us assume. You see, while everyone else assigns feeling, or rather judgment, aesthetic judgment, or judgment in general, to beauty, Brentano assigns imagination to beauty. Brentano assigns judgment to wisdom, insofar as it is something that man acquires; he does not say imagination, but judgment. And curiously enough, he even blunts the will by not focusing on the development of the will, on the impulse of the will, but on what underlies the impulse of the will: sympathy and antipathy. — There is much to be said for looking at things this way. Language itself sometimes leads us to associate the volitional impulse with sympathy and antipathy. For example, when we say: to have repugnance for something! We do not want anything, but we have an antipathy for something. And so Brentano, as it were, blunts the will to sympathy and antipathy and assigns to the will this sympathy and antipathy to say yes or no to something. He does not go as far as the volitional impulse, but only to what underlies the will: saying yes or no to something, affirming or denying a thing.

Through imagining, Brentano argues, one never arrives at a true, that is, a wisdom-filled, view, but only at a view. He says that one imagines, for example, a winged horse. There is nothing wrong with imagining a winged horse. But it is not — we must bear in mind that Brentano is living in the age of materialism — it is not full of wisdom to imagine a winged horse, because a winged horse has no reality. Something must be added when we form an idea. But that is, the recognition or non-recognition of the idea by the power of judgment must be added, and only then does wisdom come out.

We may ask ourselves, what is it, so to speak, that underlies such a complete reversal of the powers of the soul? What has led Brentano to distribute the soul powers quite differently from the other psychologists, namely, into beauty, goodness, and wisdom? If we inquire into the reason why Brentano has arrived at this different grouping of the soul life, we can get no answer except by taking into account Brentano's own personal development. The other psychologists of modern times are people who have mostly emerged from the more recent development of world views. It is a peculiarity of modern philosophers, of all philosophers, that they know Greek philosophy relatively well - in their own way, of course - and then philosophy basically begins with Kant. And the modern philosophers do not know much of what lies between Greek philosophy and Kant. Kant himself knew little more about the period between Greek philosophy and himself than what he had read in Aume and Berkeley; he knew nothing of the development of medieval philosophy. Kant was completely ignorant of what is called the scholasticism of the Middle Ages. And those who, in their complacency, exaggerate everything in their own way, find just that much cause, because Kant knew nothing of scholasticism, to regard scholasticism as a bundle of pedantic follies and not to study it further. The fact that Kant knew nothing of scholasticism does not prevent him from also knowing nothing of Greek philosophy. Others knew more than he did in this area. Brentano, on the other hand, was a profound expert on scholasticism, a profound expert on medieval philosophy and, in addition, a profound expert on Aristotle. As for those who see the world of philosophy as beginning with Kant, they are not scholars, not genuine scholars of Aristotle, for Aristotle, the great Greek, was most grievously mistreated in the developmental history of the newer intellectual life. Brentano was a profound scholar of Aristotle and scholasticism, but not in the merely historical sense, not in the sense of someone who knew what Aristotle wrote and what the scholastics wrote, for with regard to such knowledge one can . make one's own thoughts when going through the history of philosophy! Brentano was a man who had become familiar with the philosophy of Aristotle and with scholastic philosophy, with the solitary thinking that went on for centuries in the cells of monasteries, with the thinking that worked with a thorough technique of the conceptual world, with that thorough technique of the conceptual world that has been completely lost to more recent thinking. Those who therefore heard psychology in the seventies and eighties from Brentano, basically heard a completely different tone of human thinking than has been or is heard from other philosophers of modern times. Something really did live in Brentano as an undertone of what spoke from the soul of the scholastics. And that is significant because he made this different classification out of this different thinking. So that we can say: there is the peculiar fact that all the newer thinkers, for whom scholasticism was and is merely a web of concepts, present the human soul and its relationship to wisdom, beauty and goodness in this way:

Wisdom: Imagining
Beauty: Feeling
Goodness: Wanting.

In Brentano, all the feelings and inner impulses that were in a scholastic heart lived, as far as something like that is possible in the present. He had to think in this way, had to structure the human soul differently in its powers and relate it to the great ideals of humanity. Where does that come from?

If you had been able to ask the angels on the stage – and in particular the three archangels – how they organize the soul and how they relate it to the great ideals, they would have answered you, albeit in a much more perfect way than Brentano could, with an answer similar to the one Brentano gave. Raphael, Gabriel and Michael would not understand this classification, but they would easily find their way into it, only to transform it more completely into the classification that Brentano gave. We are touching here on a significant fact in the spiritual development of mankind. However far we may be today from the thinking of the scholastic Middle Ages, there was something underlying this way of thinking that can be presented in the following way. The scholastic did not try to stop when speaking of the highest things, with what is happening directly on the physical plane, but the scholastic first tried to prepare his soul so that the spiritual entities of the higher world could speak out of it. In many respects this will be a stammering of the human soul, because it is self-evident that the human soul will only ever be able to imperfectly express the language of the higher spirits that are superior to man. But that is how the scholastics wanted to speak to a certain extent about the spiritual affairs of man, as a soul must speak that surrenders to what supersensible spirits have to say.

We are getting used to forming our agreement or disagreement with what makes an idea a valid one, a wise one, according to the external physical world, here on the physical plane, since the time of materialism is the actual time of humanity. We say that a winged horse is not a valid concept because we have never seen a winged horse. Materialism regards a concept as a wise concept if it agrees with what the external world dictates.

Brentano, so to speak, provided the last abstract imitation of the language of angels. Angels would say: That which is in accordance with the context of the messages of the beings that are beyond the threshold of the spiritual worlds is full of wisdom. It is not enough to form a concept; rather, this concept must be in harmony with what the spiritual beings reveal beyond the threshold. So mere imagining cannot serve wisdom beyond the threshold. What then can it serve? It can serve appearance, in which beauty lives. If one applies imagination to reality without further ado, then one does not arrive at the right imagination. But one may apply it to the appearance in which beauty lives and works. Brentano was quite right when he related imagination to beauty. For the angels, when they want to imagine, will always ask themselves: What kind of images may we form? Never ugly ones, but always beautiful images. But these images, which they form and which they form according to the ideal of beauty, will not correspond to reality if they do not correspond to the revelations of other entities that they encounter in the spiritual world. Imagining is really only to be assigned to beauty. Angels have the ideal of imagining in such a way that their entire world of imagination is permeated and illuminated by the ideal of beauty. And you need only read the chapter of my Theosophy that deals with the soul world, and there study the two forces in the form in which they are found beyond the threshold to the spiritual world, the two forces of sympathy and antipathy, and you will find that the relationship between sympathy and antipathy underlies the impulses of will. So that coincides again to a certain extent. But it must be related to the life of the soul, as this life, from the subconscious, still arises from the soul world in today's human soul. There you see how a modern philosopher, because he has, so to speak, atavistically preserved the scholasticism of the Middle Ages in his heart, tries to speak in the terminology of angels, albeit in the imperfect language of modern materialism. It is an extraordinarily interesting fact. Otherwise, one cannot understand how Brentano opposed the whole of modern psychology in such a way that he distinguished the powers of the soul quite differently from other psychologists and assigned them to the highest ideals of humanity in a different way.

But take what is said in this way in all its consequences. Note all the consequences. When we cross the threshold to the spiritual world, then we live in a world of beings, I said, insofar as we speak of the real. So we cannot form abstract concepts in the same sense as we do here in the physical world when we speak of the real. We have to have entities. So when we speak of the real, we have to say: It cannot be that wisdom, beauty and goodness have the same meaning in the spiritual world over there as they do here in the physical world. There they would be abstract concepts again, as we can apply them here in the physical world. There must be entities over there. — So, as soon as we speak in terms of wisdom itself, that is, seek a reality, entities must exist over there, not just what is designated in abstracto by wisdom, beauty, goodness. When one speaks of beauty in the spiritual world, one cannot say: Beauty is there as maya, as appearance in the spiritual world. Just as beauty and wisdom are imprinted in the physical world, for example, when we depict wisdom-filled beauty in drama or in other works of art, or when we depict goodness in beauty in drama or in other works of art, and how all this is interrelated, so wisdom, beauty and goodness are at work in the realm of beauty beyond the threshold. But we must not speak of them as concepts; we must not apply what is over there as we apply it here. So let us assume that someone wants to speak from over there, and he wants to speak from over there with the power of the soul, which corresponds to our imagination, so he should not say: wisdom, beauty, strength, because these are abstract ideas, he would have to cite entities. Wisdom would have to appear as an entity on the other side.

In the language of the ancient mysteries, what I am now explaining was well known, and therefore terms were introduced that could express this, that did not point to mere abstract ideas, but to entities. On the other side, beyond the threshold, there must be a Being, which here is Wisdom, a Being. If you reflect a little, you will easily find that a Being, which we call God-vision, the God-visionary, could be such a Being, corresponding to Wisdom on the other side: God-vision.

A being that corresponds to beauty, our abstract idea of beauty for the physical plane, would have to reveal itself. Beauty reveals itself, it is the appearance, the appearing, that which appears. At the moment one crosses the threshold, that which is much more alive than here on the physical plane emerges. When the beautiful is spoken of, the essentially beautiful, something so mute or merely living in human, physical hearing or speech abstractions, it is not spoken of as it is here on the physical plane. It is all revelation, living revelation. And if you combine what I am saying now with what I said earlier, you will understand that the ancient mysteries coined a word for what corresponds to it on the other side, beyond the threshold of Beauty, which can be described as the proclamation of God. God's Word, God-proclaimer, for example. You could also say the Word of God.

Likewise, there must be a being for the volition: the God-willing. Not the abstract, as we have it in our soul as volition, but a being must be on the other side of the threshold for the will. God-willer - if we may form the word. Why should we only form words that are already in use, since we are entering realms for which words have not been coined at all! God's volition, as it were. If we take God as a collective name for the spiritual beings of the higher hierarchies, then God has within Himself not only a volition, as we have in our souls, but a volitioner: this is essential. What in us are only the three soul powers: imagination, feeling, volition, are in God's being: the God-breather, the God-proclaimer, the God-willing. And if one takes the old Hebrew expressions, they correspond completely to the words that I have tried to coin here. Of course, you will not find the translation of these words in any Hebrew dictionary, but if you immerse yourself in what was meant, you would actually translate the old Hebrew words with these words today, and in such a way that Gottschauer means exactly the same in our language as Michael; Gottverkünder means exactly the same as Gabriel; Gottwoller means exactly the same as Raphael. While we work in the physical world through our three soul powers, the beings of the higher hierarchies work through their own entities. Just as we work through imagination, feeling and will, so a God works through Michael, Gabriel and Raphael. And that means the same for a God: I work through Michael, Gabriel, Raphael – which for our soul means: I work through thinking, feeling and willing. This translation: I work through thinking, feeling and willing - into: I work through Michael, Gabriel, Raphael, is simply the translation from the language of men into the language that should be spoken - if one speaks the real language that prevails there - beyond the threshold to the spiritual world. If you open yourself to some of the descriptions in the Bible, you will be able to feel everywhere – if you feel appropriately and not in a way that corresponds to today's interpretation of the Bible, which is a misinterpretation in many respects – you will be able to feel how this really must be intended for Michael, Gabriel and Raphael.

Wisdom: power of judgment – Godshower; Michael
Revelation of Essence

Beauty: imagination – God-announcer: Gabriel
Power of Judgment

Goodness: sympathy, affirmation / antipathy, negation –
God-willing: Raphael

Now, bearing this in mind, think back to the way Gabriel, Michael and Raphael speak in Goethe's “Prologue to Heaven”. One can only say that one is deeply shaken by the instinctive certainty with which this “Prologue in Heaven” suggests how the willing essence of the Godhead, through Raphael, the seeing essence of the Godhead, through Michael, and the beautifully revealing essence of the Godhead, the revealing, proclaiming essence of the Godhead, through Gabriel, is manifested. The volition of the Godhead lies in the harmony of the spheres, in that which expresses itself in the great movements of the heavenly bodies and in that which happens while the heavenly bodies move:

The sun sounds in the ancient manner
In the singing contest of the spheres,
And its prescribed journey
It completes with a thunderclap.
The sight of it gives strength to the angels,

— one could also say: goodness, the strength of the super-moral life beyond the threshold. Therefore, some also refer to the three soul powers of wisdom, beauty, goodness as wisdom, beauty, strength.

When none can fathom them;

— you will bite your teeth out if you try to hold on to the Faust commentators on this line: “If no one can fathom it.” Most say: Oh yes, Goethe just meant, even though, or although, or although no one can fathom it. But that is not how a truly great poet speaks – I have often mentioned this to Goethe – that is not how a great poet speaks. Fathoming belongs to wisdom as it lives within the human physical world. Beyond the threshold, everything is a becoming acquainted with spiritual beings, whom one approaches as one approaches people here, who must also keep an inner being, who cannot be completely fathomed. This fathoming in the sense in which it occurs here on earth does not exist for the angels at all. They have the spiritual reality before them; they do not fathom; they look, because something of the power of Michael's vision has also been given to each one. Each has something of the other power, just as each soul power has something of the other, for example, imagining has something of wanting, because if we could not want when imagining, we would only dream and so on. So Raphael also has something of Michael and Gabriel in himself, of course.

The incomprehensibly high works

Are glorious as on the first day.

Try to feel these two lines with all the sensations that you can have from spiritual science!

The incomprehensibly high works

— which are described there

Are glorious as on the first day.

What does that mean? They are not glorious as on that day, glorious as on the first day. Just as they appeared glorious to the angels at that time, that is, expressing themselves, revealing themselves, they are still - luciferic. Because what has remained behind is, after all, luciferic. One must really apply the perceptions that one acquires through spiritual science. The stars shine as luciferically as on the first day. They have not progressed; they retain their original character – again a reason why the angels do not fathom them, but behold them. For angels, the luciferic is visible. It does not make the angels bad. I have often described the luciferic as a necessity in the evolution of the world. Here it is presented to you as something that the angels behold: Lucifer – not as he reigns for people – but as he gloriously maintains the indescribably high works as they were on the first day. And we are led to it in exalted language, so that we are shown how the Luciferic lives out in the universe, and the angels may look at it as on the first day. There it is justified. It should not descend into the physical world to man in the ordinary way, but live above in the world that is beyond the threshold. And the world that is pervaded and thundered through by the will of the world is first proclaimed on earth. Up there it should remain unfathomable, it should not be fathomed. Here on earth, with the powers that are given to man, it is there so that what is unfathomable for angels

be fathomed through human wisdom. But Gabriel, the proclaimer of God, the Word of God, can only hint at this as he sees it from outside the earth. Do you remember the profound Bible verse: “Before the mystery of the Incarnation they veiled their faces.” In this profound Bible verse lies the whole of the unfathomable for the angels of the worlds that are accessible to man through the wisdom that is developed on earth. And here angelic language is spoken in the 'Prologue to Heaven', which is why Gabriel, the proclaimer of God, characterizes from the outside that which reveals itself on earth as wisdom.

And fast and incomprehensibly fast
The earth's splendor revolves;
Paradise's brightness changes
With deep, shudder-filled night;

This is how it appears from the outside: the world in which we live here, which we try to unravel, and which affects us in the sphere of our senses. Out there it is the wonderful change of day and night.

The sea foams in broad rivers

Human weal and woe depend on it; out there it reveals itself only as that which, in its foaming, composes the spherical earth.

At the deep bottom of the rocks,
And rock and sea are torn away
In an eternally fast spherical course.

In which our whole earthly destiny, bound to our sensory life, is bound. The God-announcer draws it from outside the earth.

And how is the meaning of the earth revealed? By looking not only at that which is valid for the human sense realm, but also at that which sends its effect out into the universe. Gabriel describes the earth as it appears from the outside, but he describes what is significant for man in the sense realm. Michael, the God-shower, describes that which radiates out into the universe and also has its significance for the earth's surroundings, for the entire celestial sphere. Therefore, he begins with the surroundings, not below, where the sea flows, where the rivers flow, but with

the surroundings. He looks at the surroundings.

And storms roar in competition,

A deep word!

From sea to land, from land to sea,
And furiously form a chain
Of the deepest impact all around.

Just imagine, seen from the outside, let's say, the trade winds that blow out there in regular currents. Our limited natural science describes all this, what goes on in these atmospheric phenomena, but it is limited, this natural science. When one examines the regularities in atmospheric phenomena, one comes across a deep connection between these regular atmospheric phenomena and the phases of the moon, the phenomena of the moon, but not because the moon causes what happens in the atmosphere, but because, in the same measure, in parallel, the old lunar laws still govern the moon today, and the atmospheric phenomena also still remain from the old lunar laws. Not that the moon rules the atmospheric phenomena and the tides, but both are ruled by causes that go back much further, ruled in parallel. What happens in the atmosphere is therefore not only significant for that which affects people in the sphere of the senses, but it also has significance for that which happens out there in the universe. We look up at the lightning, we hear the thunder. But the Gods also see the lightning and hear the thunder from the other side. And for them it means something quite different - of which we can speak another time - than for us human beings here, who do not understand lightning and thunder. But the God-shower Michael understands from the earth precisely that which is lived out on the other side in lightning and thunder, which has been described here by me — remember the first lecture I gave here this summer — as the subterranean of the human soul, as the thunderstorms of the human soul, which I have described to you in terms of the character of Weininger, who died young. What corresponds to these thunderstorms in the human soul, in the atmosphere, has an effect. And just as the soul storms in us are harmonized and mitigated when we pour our higher soul forces over them, so for the world outside, what is stormy and thundering here in our atmosphere and is irregular in meteorology becomes regular and harmonious in the universe. Just as we, as we develop, do not remain in the storms, but progress to the harmony of the soul life. Down there, lightning and thunder

But your messengers,

- the angels -

Lord,
we honor the gentle walking of your day.

Everything falls into place, gently and harmoniously, as seen from the sphere of the angels outside.

The sight gives the angels strength,

- that is, it strengthens their volition

Since no one can fathom you,

– it is not a matter of fathoming, but of beholding!

And all your lofty works
Are glorious as on the first day.

That means: they are Luciferian, they are there for angels, they should only not have the same effect on people. Lucifer is the unjustified in the world of man, insofar as he transfers his justified sphere outside into the world of man for the spiritual world and applies the same laws there that he should only apply outside in the spiritual world.

And do you remember how I dealt with it in other lectures, based on Goethe's “Faust”, the ambiguity that still remained in Goethe when he wrote “Faust”. I told you at the time that Goethe did not yet properly distinguish between Lucifer and Ahriman. Mephistopheles is actually Ahriman, who has only been left behind in a different way than Lucifer. But this distinction is only given by the newer spiritual science. Goethe constantly confuses Lucifer and Ahriman, throws them together, so that his Mephistopheles is really a confused figure in this respect, has Luciferic and Ahrimanic traits. If Goethe had already had spiritual science, this terrible confusion with regard to the character of Mephistopheles would certainly not occur. I have already said at the time: I ask not to be accused of not sufficiently venerating Goethe or of criticizing him in a mean, philistine way because of what I say. By telling the truth, one's veneration of some genius is truly no less than if one merely praises it. I believe that no one can accuse me of having a low opinion of Goethe after what I have written and said about him. But I must always emphasize that his Mephistopheles is a confused spiritual character when I speak from the impulse of spiritual science. If Goethe had known exactly the right thing to say after the verse:

And all your lofty works
Are glorious as on the first day

first appeared Lucifer, the one who works through the appearance of the world of the spheres, through the beauty of the world of the spheres. Lucifer would stand there. And because Lucifer has as his companion Ahriman, Mephistopheles – which is the same as Ahriman – Mephistopheles would then step in, or Lucifer would step down and Mephistopheles would step up. That is what Goethe would have done if he had had spiritual science in its present form. We would have seen a red Lucifer first, and only then the gray-black Ahriman, the gray-black Mephistopheles. But Goethe did not get that far. Therefore, he only lets Mephistopheles appear, who in his own way also combines the retarded qualities that should work in the spiritual world and not work in a human way into human life. Goethe felt that, felt it correctly. That is why not everything about this Mephistopheles is quite right, although it is right. The feeling here seems much more certain than Goethe's intuition has already worked. Much of what Faust encounters as temptation really comes from Mephistopheles, but other things cannot properly be attributed to Mephistopheles. That Faust should be tempted by base passions cannot really come from Ahriman, it can only come from Lucifer. And when Ahriman-Mephistopheles says this, Goethe remembers, subconsciously, that it is not quite right. Mephistopheles should actually have Lucifer at his side. That is why Mephistopheles says: “Dust shall he eat,” that is, he shall live in lower passions, “like my aunt, the famous snake.” That is Lucifer. Then he reminds us of his aunt, the good Aunt Lucifer!' There you have the reminiscence of Lucifer, who is actually supposed to be there.

You see, there are tremendously deep secrets of the world in this “Prologue in Heaven”, by which I do not mean to say that Goethe wanted to present them as we feel them today in spiritual science. But instinctive wisdom is often much deeper than the apparent one. And in ancient times there was only instinctive wisdom, and that was truly a higher wisdom than that which is produced today by limited natural science.

Thus Mephistopheles-Ahriman entered the physical world, where he should not be. There is also a poor fit between what he has to say and the physical world and the intentions of the Deity in the physical world. He wants to rule in the world, but he finds everything “very bad”. He must be different from the others, from the genuine sons of the gods, for he is to be here in the physical world, where works are to be fathomed. Since Mephistopheles enters the physical world at all, the saying that he should not fathom the world does not apply to him; he must fathom it. He is only a half-nature on earth; as a spiritual being he does not really belong. He would have to fathom it, but cannot fathom it. That is why he finds everything “very bad”. We will talk about the extent to which he is here for creation tomorrow in connection with other teachings of spiritual science. Today we just want to say this.

So this Ahriman-Mephistopheles is different here in the physical world from the true sons of the gods. He really must be used for something else here. He must work on what is real in the physical world, unlike the true sons of the gods. They do not need to have the earthly real in their imaginations. They must delight in the “vividly rich beauty”, the beauty in their imaginations. There is a discrepancy between the angels, the true sons of the gods, and Ahriman, the Mephistopheles. For them, the angels cannot do it like Mephistopheles, they delight in the lively, rich beauty.

That which is becoming, that which is eternally working and living,
embraces you with the sweet barriers of love.

This is about as profound as the prologue gets. Remember what we said about the cosmos of wisdom and the cosmos of love? And remember the words: They veiled their faces from the mystery of the Incarnation. — Love does not live the same way for the Sons of God of Wisdom as it does for humans: they are beings within wisdom; there are limits for the true Sons of God. And by living in the great Maja, in the glory of the Luciferic world, they weave the “permanent thoughts” that are in turn beings, not abstract ideas, that are forces, not mere thoughts.

It is truly remarkable how this “Prologue in Heaven” was written in 1797, one might say, not in the language of men, but in the language of the gods, and how humanity will take a long time to fathom all the depths of this prologue. I think it is possible to get a sense of the feelings that lived in Goethe when, spurred on by Schiller, he set about continuing Faust in 1797, which he had started years ago. It began there: “Have now, alas, studied philosophy, law” and so on. Then the three parts are missing: “Dedication”, “Prelude to the Theater”, “Prologue in Heaven”. Then the whole Easter walk was missing. Some scenes were then written during the Italian journey in 1787, and under Schiller's encouragement, Goethe went back to it. He may well have thought back to the time when he had not taken Faust so deeply, when he had only taken it, albeit very deeply, as one who strives out of the world of physical reality, over the threshold, into the spiritual world, to the earth spirit and so on. But he could not take it then, he, the twenty-year-old Goethe, as he took it now at the end of the century, in 1797, when he himself felt that he really did not understand in an abstract way much of what he had to express in the “Prologue in Heaven”. For there the language of angels prevails. Those who heard the first songs of Faust would have had to develop with Goethe in the way that Goethe himself developed if they had wanted to understand what had become of the whole rich world of Faust in Goethe's soul by 1797. Something different had become of it. What he had created as a young man appeared to him in a higher sphere. He must have had some sense of the view from the spiritual sphere beyond the threshold down to the earthly world in which Faust also walked, who says: “Have now, alas, philosophy, jurisprudence...” and so on. “... studied with hot endeavor.” Goethe could say that he and his companions enjoyed something different back then than what has now become his. And he might have sensed something of how little he would be understood. For Goethe sensed already, from the end of the 1790s, that something must come like a spiritual science if what he instinctively sensed and felt as world-wisdom and world-beauty and world-strength was to be fully understood.

They will not hear the following songs,
The souls to whom I sang the first;
The friendly throng has been scattered,
Alas! the first echo has faded.

Echo from the souls to whom he read the first scenes of “Faust,” which he wrote when he was twenty years old: the first echo. But understanding at that time – for even that time is now already gone in the time of materialism – understanding, however, for crossing the threshold with a character like Faust, understanding for appealing to the earth spirit, which “weaves and lives in the tides of life, in the storm of deeds”. But a stopping at this understanding, an inability to ascend to what Goethe had to struggle to achieve. Therefore - now that the language of angels prevails and the whole is viewed from a different point of view - no longer the old resonance. Faded away, alas! - that old resonance! Scattered the souls for whom he sang the first songs. That suffering that everyone goes through who really wants to look at the spiritual world, Goethe knew it and knew that he was alone with this suffering in his time.

My suffering is heard by the unknown multitude.

This is not much different today, when one could be frightened by the applause that people give to “Faust”. For what do people today still hear of the deep wisdom that prevails in “Faust”, much more than external appearances!?

But Goethe might say, if he now felt that he had to lift up his song, the song of his suffering, into the realm of the spirit: What used to be reality to me floats far into the distance, and what used to disappear becomes reality — the silent, earnest spiritual kingdom, which one approaches with that awe that one feels when one has a presentiment of the completely different form that the world takes on the other side of the threshold and on this side of the threshold. This 'dedication' also arose from Goethe's deep sense of the possibilities of the future. If spiritual science could also deepen human hearts in such cases, so that they are really able to take what must be taken deeply, then spiritual science would fulfill one of its tasks. For the saying that I quoted here only recently is true, deeply true: “The world is deep, and deeper than the day conceived,” that is, than the day that shows us only the physical, sensual world. The world is deep as it is revealed to us by that night which, compared to physical day, is indeed night and darkness, but into which we carry that light which we kindle in our own soul as a lamp and which we then have to illuminate ourselves. The world is deep and must be fathomed by a light that we first kindle through our spiritual striving so that it may shine in the spiritual world. Then it will shine as the light does in the eternal becoming, which works and lives and in which the beings of the higher world have to dwell, so that it may be revealed to them what they need to fortify with lasting thoughts that which floats in fluctuating appearance.

From this point we will then continue our meditation tomorrow.

I would just like to ask our friends from Basel not to bring any children with them tomorrow. We have to make this exception because the presence of the personality from hell presented to you today makes this scene unsuitable for children's fantasies and dreams. So, as an exception, we ask that anyone under fifteen or sixteen years of age not be brought tomorrow.

after eurythmy-dramatic presentations: “Dedication”, “Prelude to the Theater”, “Prologue in Heaven”

Yesterday and on other occasions, I have spoken about the fact that Goethe's Mephistopheles is fundamentally a contradictory figure. We also already know why he is a contradictory figure. One could say that Mephistophelean, that is, Ahrimanic and Luciferic character traits are combined in him in a colorful jumble. Goethe, one might say, was not yet able to distinguish these character traits. If, on the one hand, one values a work of art as highly as you have seen me do with 'Faust', then one may also draw attention to such factual things. It remains strange, however, that so little has been noted about the contradictions in the poetry itself, although it has been done in individual cases. This is also a sign of the way in which things are often received today: one does not approach them with sufficient inner participation, so as to notice the inner life and activity. For if one did, one would soon have to notice, for example, the inner contradictions in the figure of Mephistopheles.

Let us take, first of all, a contradiction that may not be complete, but is nevertheless very strong, and which might be noticed immediately when one hears Mephistopheles speak in the scene that has just passed before our soul.

I see only how people toil.
The little god of the world always remains of the same ilk,
And is as whimsical as on the first day.
He would live a little better
If you had not given him the glow of heavenly light;
He calls it reason and uses it alone,

Only to be more animalistic than any animal. What must one feel when Mephistopheles criticizes the fact that man does it this way? Now, no one would credit Mephistopheles with very deep, selfless goals. He can't, even after this first scene in “Prologue in Heaven.” For what does Mephistopheles actually want? He wants Faust, doesn't he? He wants him for himself and so basically has to approve of everything Faust does in order to get together with him, to grasp him, to take hold of him. In this case, to take hold means to seize, not to understand; it is not meant conceptually, abstractly. “Can you grasp him?” – can you seize him? Mephistopheles will want to do everything to do so. It would suit him very well if Faust had all the qualities that would bring him into the very claws of Mephistopheles!

Let us turn to a later verse, where Mephistopheles confronts Faust himself in the study, where Faust speaks of his attitude towards reason and science. Faust leaves; Mephistopheles remains in his long robe. One can imagine that he will now be honest with himself, this Mephistopheles. So he says:

Despise reason and science,
Man's highest power,
Let only in Blend- and Zauberwerken
You from the lying spirit strengthen,
So I have you already unconditional.

So that could suit him just fine, when man does not apply reason and science in the right sense, but uses them to be more animalistic than any animal. Then he will just talk the Lord into it, won't he:

If thou hadst not given him the semblance of heavenly light;
He calls it reason and uses it alone,
Only to be more animal than any animal.

I say it is not a complete contradiction, but it is a strong contradiction for the senses.

In the scene I just quoted, where Mephistopheles stands opposite Faust in the study, it is clear that he is speaking sincerely as Ahriman-Mephistopheles. But in the passage you heard today:

He calls it reason and needs it alone,
Only to be more beastly than any beast,

a Luciferian trait comes into it. Lucifer cannot approve of Faust using reason to incite the animal passions. But Ahriman would have to approve if Faust behaved as Mephisto criticizes him for doing. In this case, we have not a half-contradiction, but a three-quarters contradiction!

But what are we to make of another passage?

As long as he lives on earth,
so long do not forbid it.
Man errs, so long as he strives.

I thank you for that; for with the dead
I have never been willing to associate myself.
Most of all I love my own full, fresh cheeks.
I am not at home with a corpse;
I feel like a cat with a mouse.

If you compare that with the scene that we might also be able to perform one day, where Mephisto finally tries so hard to get the soul, in the second part, when the corpse is lying there, how are we supposed to cope at all? The devil is after souls, and here he is talking about the opposite! There are many such contradictions. I only wanted to give two examples; the first is a three-quarter contradiction that is found in the poetry itself. Such contradictions can certainly be attributed to the fact that the two character traits, the Luciferian and the Ahrimanic-Mephistophelian, get mixed up.

Now the question may arise for us: how is it that Goethe actually places Ahriman-Mephistopheles at Faust's side, directing all attention to Ahriman-Mephistopheles and, as it were, still suppressing Lucifer altogether? — That must surely be a question. For the fact that Goethe, under the influence of his time, was tempted to place Mephistopheles at Faust's side means that he has also taken on Luciferian traits and thus, so to speak, blamed Mephistopheles-Ahriman for everything that should be divided between the two. Thus there must be reasons in the time to turn more attention to Mephistopheles than to Lucifer. By treating the Faust saga, Goethe goes back to the time when the Middle Ages collided with the modern era. And he has essentially absorbed the impulses of the time that arose from this clash between the Middle Ages and the modern era. If we consider somewhat more ancient poetry, poetry that follows more ancient impulses, we find an opposite confusion. We can also talk about this some other time. But today I just want to hint at it. In Milton's 'Paradise Lost', you will find the opposite mistake made. Everything that should have been attributed to Ahriman-Mephistopheles is dumped on Lucifer, although not in such a crude way as it is done in “Faust”. As I said, we will talk about this some other time. It was more of a mistake that the Middle Ages made, to focus more on Lucifer. And the mistake that the modern era makes is to focus more on Ahriman-Mephistopheles. Now we live in a time in which the correct relationship between the two world powers, Mephistopheles and Lucifer, must be more and more recognized by people. Hence our group, our sculptural group, which is intended for the building here and which is to show the Ahrimanic and the Luciferic – Mephistopheles and Lucifer – in the right relationship to each other in pictorial form.

If you want to understand what it is actually about, you have to consider something that still seems quite paradoxical to people today, but which will one day, when people do not really reject spiritual science from their earthly existence, be deeply understood. We live in modern times under very special impulses, under which we have to live. It is right that we live under these impulses. We must only recognize these impulses. We must not mistake them. I have often explained how the Copernican world view had to arise at the beginning of modern times, how it is justified, deeply justified. We have somewhat different feelings about this Copernican world view than the external world has. For if one considers the feelings with which the external world faces the Copernican world view, one can hardly come to any other conclusion than that people say: Well, the Middle Ages and antiquity were stupid, and we have become clever, and when the Middle Ages and antiquity were stupid, they thought that the sun moved and constructed all kinds of cycles and epicycles — the Ptolemaic worldview — and then believed that, assumed the movements of the heavenly bodies according to appearances. In a certain sense, this is even true for the Middle Ages, especially for the later Middle Ages, because confusion had already crept into what had emerged as the Ptolemaic worldview. But the original Ptolemaic world view was not like that; it was part of the original ancient revelation, had come into human souls through the ancient mysteries and by no means through mere external observation, and was therefore based on revelation. With this revelation, modern times broke, and modern times asked the question: How should one look at the sky in order to get to know it and its movements? — Copernicus first did the calculations, tried to make a simple calculation of the movements of the heavenly bodies, and then showed how the positions that were calculated actually corresponded to the positions of the heavenly bodies. And so, by way of calculation, he invented his Copernican system, formulated three theorems that can be found in Copernicus' works themselves, about the movements of the heavenly bodies in relation to our Earth. Of these three propositions, however, one was left out, and that is how the present-day confused Copernican view of the world came about, which is not that of Copernicus himself. The third was inconvenient – so it was left out! Therefore, anyone who merely learns the Copernican view of the world from the usual books does not know the view of Copernicus at all. But that was bound to happen. First, Copernicus had to establish a far more correct doctrine with his three propositions. Then our teaching had to come, which is based on two of Copernicus's propositions. Only when the whole matter is thoroughly penetrated in spiritual-scientific terms will the right thing emerge.

Then came those who sought to understand the movements of the heavenly bodies and their laws in a more external way, not through calculation. The telescope came. People learned to examine the sky as they examined things on earth. And in this way modern astronomy and modern astrophysics arose, a science that arises entirely from the fact that what is observed is expressed in laws; that is, one wants to explain the sky by observing the sky. And what could be more natural than this? Modern man must think that anyone who wanted to know anything other than the heavens by observing the heavens must be a completely crazy fellow. That is quite obvious, isn't it. And yet it is not correct, but it is one of the great deceptions. It is something that will be quite different in the future. In the future, too, people will consult the heavens even more than they do now, wanting to learn about the movements that live and breathe in the heavenly bodies. They will study the heavens carefully and intently, but they will know one thing that we do not know today, that seems completely paradoxical to us when we say it out loud: You learn nothing about the heavens by observing them. The most false method of getting to know the sky and its movements is to observe it as one does today. — No, I am saying something completely twisted. But one must relate to the distortions differently than the good Christian von Ehrenfels, to whom I referred eight days ago, related to them. One will observe the sky, observe it more and more thoroughly and let it tell one its secrets. But what will these secrets reveal in the distant future? They will reveal what is happening here on earth. That is what they will reveal. People will observe the sky, but they will explain from what they recognize in the sky how plants grow on earth, how animals come into being on earth, everything that forms on earth, everything that lives and weaves on earth. The information that heaven reveals will provide enlightenment about this. It will no longer occur to anyone to ask heaven about heaven, but rather they will ask heaven in order to find enlightenment about the earth. And the most significant laws that one will learn about from heaven will be used to reveal the secrets of earthly existence. Old astrology, which is little recognized today in its original meaning and which has largely become amateurish, even charlatanistic, will be revived in a completely new form. Not only will earthly destinies be sought in the movements of the stars and in the laws of the heavens, but the laws of earthly life, that which lives and moves, will be explained in terms of the laws of the heavenly bodies. One will not know why salt crystallizes in cubes, why diamond crystallizes in octahedrons, and so on, before one explains that which has forms here on earth from the positions of the heavenly bodies. And the secret of the life of animals, plants and human beings will not be known as the secret of life until the movements of the heavenly bodies, whose effect is life, can be used to explain what lives and moves here on earth. The earth is explained from the heavens. Admittedly, what is known about heaven will take on a somewhat different form from what is claimed to be known today. The laws of the positions and movements of the heavenly bodies will be investigated. But then one will let oneself be inspired meditatively by what one investigates in order to enter into a relationship, so to speak, with the beings that live in the stars. One will let oneself be told by the beings that live there what one will need to know for life on earth.

That is a future prospect. You now know that in a similar way to how Copernicus, Galileo and Kepler, who, incidentally, still had old ideas flowing in their minds, tried to discover the laws of celestial motion by observing the heavens, and how this was continued in their spirit in more recent times, so Darwin, Lamarck and Haeckel tried to find the laws of earthly life. And what would be more natural here than to get to know the earth through the earth! You travel around, as Darwin did, you use a microscope, as Haeckel did, you rationalize, as Lamarck did, about the creatures of the earth and try to recognize the laws by which life on earth is governed. On the other hand, you can be considered a crank if you don't see it as a matter of course. The future will not see it as a matter of course at all! If you consider the straight, beautiful course of development that modern biology has taken from Darwin to Haeckel and to Haeckel's students, you will find that it has led to the formation of certain laws, especially about embryonic life. The so-called biogenetic law plays an important role, that in embryonic life, man follows the individual animal species. You know that I have often drawn attention to the biogenetic law. In order to find this, such observations were made in the hope of finding something about the life of living beings. We may say that the present time is again occupied with the dissection of these views, only that it is little noticed in lay circles. Copernican astronomy is already strongly doubted by individual more insightful people. And Haeckel's student, Oscar Hertwig, has expressed things in his last writings that are likely to call into question everything that the Darwin-Haeckel theory has brought to the surface. If you educate yourself from what is happening within the field of science, you get a different view than if you educate yourself only according to what is offered to the public in popular lectures by the usual lecturers – well, I dare not say Mauthner, how should I put it? Much is already happening in the actual specialized science, and what is given here as a future perspective is already being prepared. Only one will have to come to spiritual science, so that what is going on does not become confused, but really appropriate.

Now I must again say something that is paradoxical. By observing what is happening on earth, you do not learn anything about the earth; you will learn that one day when you read from the stars what is happening on earth. But what actually happens out there in space, that is learned through the observation of, for example, embryology and so on. One can treat this observation in turn as I have indicated before, that one observes the movements of the sky; one can enter into a relationship with the elementary beings that regulate these movements within the events on earth. Just as one will ask the heavens to explain the earth, so one will ask the earth to explain the heavens. As I said, it is still paradoxical today, but it will come, in some way it will come over this earth, that this correct view will take hold. Astronomers will establish biology by the means of their science, and biologists will establish astronomy by the means of their science. And a biology truly founded on the data of astrology will be spiritual science, and an astrology founded on the data of true embryology will be spiritual astronomy. When you consider this, you must say to yourself: Humanity does not follow a straight line of development, but moves forward, as it were, in waves, in a wavy line, up and down. And in order to prepare the right spiritual view that had to come, error had to arise, which consists in wanting to explain heaven by heaven and earth by earth in modern times. People lived under this impression.

But Goethe did not live entirely under this impression, not entirely. In a sense, Goethe had pre-Darwinized Darwinism, but his was a much more spiritual Darwinism. He did not just focus on the external sensory sequence of phenomena, but on the primal plant and the primal animal. And I have often referred to the well-known conversation between Goethe and Schiller, where Goethe, after they had seen how plants were viewed side by side at the botanist Batsch's in Jena, and Schiller found this unsatisfactory, sketched out the so-called primal plant with a few strokes. This picture by Goethe does not exist. In the introduction to Goethe's morphological writings in Kürschner's National-Literatur, which I wrote in the 1880s, I tried to trace this Goethean primal plant. You can find it there as I have traced it. Schiller, however, said: That is not reality, that is an idea. — Goethe said: Then I see my idea with eyes. He was clear about the fact that this was an intuition for him, an experience, not something thought up, something rationalized. And if you get to know Goethe that way, get to know him quite intimately, whether it is through his poetic endeavors in connection with his scientific ones, or whether it is the other way around, in his scientific endeavors in connection with his poetic ones – I have just interpretation of Goethe, one sees how Goethe does not feel quite comfortable explaining heaven by heaven and earth by earth, and how this principle of modern times is continually being broken through in his ideas. That is why it is so difficult to understand Goethe's theory of colors today, because what Goethe actually wants is an astronomical explanation of the secret of colors. And if you read Goethe's Morphology very carefully, you will see how certain things come into play that originate from the very beginnings of astronomy. This is particularly evident when you consider Goethe's essays on the spiral tendency of plants. Now, that would lead to details, which I can only draw attention to today; I just want to point them out.

Let us now raise the question: how is it that this more recent period, which we have been calculating since the clash of the Middle Ages with the modern age, since the advent of Copernicanism, Galileism, Keplerism, and which we have been following up to Darwinism, to Haeckelism, to Lamarckism, how is it that this time considers explaining the heavens by the heavens, the earth by the earth, instead of the earth by the heavens and the heavens by the earth? How is that? — It is due to a twofold seduction, in that Ahriman as well as Lucifer seduce people. In the Middle Ages, when things were being prepared, when people were heading towards Copernicanism, Darwinism, it was more of a Luciferic activity, it was Luciferic impulses that prepared that. And when Copernicanism had emerged, it was more of an Ahrimanic seduction. It is Ahriman who essentially lives in people by carrying out this reversal of people that I have spoken of. For ultimately, modern science is entirely under Ahrimanic influence. And Goethe sensed correctly when he felt that Ahriman was close to the person, to Mephistopheles, in modern times. For him it was less important to consider the relationship of Lucifer to man than that of Ahriman to man. His particular attention had to be directed towards this. The Luciferic influence was of less importance to him. For Faust is presented from the very beginning of the story as the man of modern times. The various aberrations of theology at the end of the Middle Ages stemmed from Lucifer. But Faust appears on the scene by placing the Bible under the bench and declaring himself to be a man of the world and a physician, that is, he wants to explain the earth by means of the earth and heaven by means of heaven, not as was the case with the old theologians of the late Middle Ages, who still tried, as a last atavism, to explain the wonders of the earth from the revelations of theology, that is, to explain them from heaven. In more recent times, Ahriman appeared at man's side. Those who felt this, but who were not imbued with the necessity, but only permeated with the fear of the devil, therefore blasphemed the Faust, who only followed the necessary impulse of modern times. And so the sixteenth-century Faust legend came into being, which has Faust burnt and consigned to hell because he falls prey to Ahriman. Those who still lived under the atavism of the Middle Ages gave this form to the legend, as it were. Goethe was no longer under the influence of the Middle Ages. Therefore he did not have his Faust burnt and consigned to hell. But he did pose the big question: What should actually be done?

Let us look at the matter quite specifically. What do we actually do when we explain the earth through the earth? Let us grasp it with an example that is perhaps a little removed from ordinary science and therefore perhaps closer to us. Let us take a myth or a piece of fiction and think of a commentator or an interpreter of the kind I have often criticized – you remember! Let us assume that such a commentator, an interpreter of a myth, a saga or a piece of fiction, steps before us and explains, as he says, the piece of fiction from the piece of fiction; he seeks the laws of the piece of fiction in the piece of fiction or in the myth. He can be very ingenious. There are indeed very ingenious interpreters of myths and poetry. But they all err, for one can never explain a myth or a poem by applying one's intellect to it. Oh, the things the interpreters of Hamlet have written in order to interpret “Hamlet”! And what have the interpreters of Faust written in order to interpret Faust! What have the theosophists done in order to interpret all kinds of myths! One can only get to the bottom of myths and the bottom of poetry if one knows how to direct one's gaze to where myths and poetry come from — from heaven. This again points to that future perspective. This is closer to us than to point this out in science. Myths are cited by illustrating through them, so to speak, when one has come to understand the great connections in the heavenly universe; one then allows them to be reflected through the myths, at least. And when one has insight into the cosmic laws that prevail, then one will not come to intellectual commentary skills in the face of poetry; because when one peels out of the myth and the poetry that what such intellectual commentators usually get, what actually occurs there? Yes, you can always have a certain image in front of you when a myth explainer or a poetry commentator appears in the way they do today. Something emerges, like the one who emerged in his bat form, really something bat-like and gray, in contrast to the living life that is in poetry and myth. There one also makes the acquaintance of Ahriman-Mephistopheles.

What I have just mentioned as an example could be extended to cover all the goings-on in science, although I am not criticizing science. I want to show you the necessity for it. Ahriman had to intervene for a certain length of time, otherwise the way people worked in the Middle Ages would have become one that would have allowed people to become lethargic all too easily. People like to have absolute peace, so the world admits the devil, who works and entices and, as a devil, must create - he tempts and entices and works. This intervention of Ahriman is necessary. And it is utter nonsense to have heard something about Ahriman and Lucifer and then ask: “Is this perhaps an ahrimanic influence? Is this a luciferic influence?” One must guard against this!

Goethe understood the role of Ahriman! But why did Ahriman have to play such a role in modern times? Why did Ahriman-Mephistopheles have to enter the sphere of man at all? We know that evolution proceeds in such a way that we have the so-called Lemurian time, the Atlantic time, our post-Atlantic time. We know that in the Lemurian time, the human I, that is, consciousness, was still quite inactive, still quite inactive; it is only just beginning here.

But only gradually does man become enlightened about the I-impulse that lives and moves in him. Only gradually do people become clear about their position when the I dwells in their soul, about Lucifer and Ahriman. Only gradually do they become clear, people. If we visualize the principle that must guide the future era, it presents itself, schematically indicated, as pointing towards the earth to discover the secrets of heaven, and towards heaven to discover the secrets of the earth. If one does things the wrong way, if one does things in the sense of our time, then one does not find the secrets of the earth, but out of the earth comes, instead of the laws of heaven, instead of the secrets of heaven, which should come out, comes the Ahrimanic, which approaches man, which tries to approach man. It must be rejected, because what the earth gives must not be sought intellectually in the earth, but what it reveals for heaven. Lucifer comes from the cosmic space; he must go away. If he were to approach man, it would be that what is not found in him would be sought in the cosmic space outside: the secrets of heaven itself. This relationship must be understood.

Once upon a time, people had to understand how close Lucifer is to man. It has been made possible for people to understand this in a symbol that is much more than a symbol, in a symbol that points deep into the secrets of the spiritual world. If one wants to characterize what Lucifer means for humanity as a whole, one cannot make this more intimate than by presenting the matter in such a way that Lucifer approaches the powers of woman and, with the help of specifically female powers, influences the world, and man is then seduced by woman with the help of Lucifer. This symbol had to be presented to humanity, and it had to be there when the fourth post-Atlantean period began, when people should first understand the relationship between Lucifer and man, when they should feel it, sense it, become aware of it. There is no better way to become aware of the relationship between Lucifer and man than to study the beginning of the Bible, how the serpent approaches the woman, how the woman seizes her powers and thus begins the seduction, the temptation of the world. This significant symbol was the most effective for this fourth post-Atlantean cultural period, even though it had existed earlier. The mystery of Lucifer is contained in this symbol.

The fifth post-Atlantean period had to consciously enlighten man about the Ahrimanic-Mephistophelian mystery. Another symbol had to take its place. Just as the symbol of the Luciferic tempter of woman stands at the head of the religious book, which deals with the spiritual world, and man is thereby also seduced by the arts that Lucifer performs with the help of woman, so the counter-image had to arise in the fifth post-Atlantean period: Ahriman, who approaches man, initially seduces man, and with man's help, woman. Even if it was not so brilliantly achieved in the first part of the Faust epic, the deeply moving nature of the Gretchen tragedy is often based on the fact that just as Adam is seduced by Lucifer in a roundabout way through Eve, so Gretchen is seduced by Ahriman-Mephistopheles in a roundabout way through Faust. Necessity dictated that the World Book should be contrasted with the Book of Theology: the seduced and the seducer; the seduced and the seducer; Lucifer, Ahriman. The relation of Lucifer to woman on the one hand, and of Ahriman to man on the other. This is a deeply significant spiritual connection.

And therefore this world book of Faust, in contrast to the theology book, was really created out of an inner spiritual impulse. And the newer time is called upon to find the paths between Ahriman and Lucifer. For all the forces through which Lucifer works in the world are not the same as, but similar to, the forces through which he succeeded in seducing woman. All the forces through which Ahriman works in the world are similar to the forces with which he seduces man. And just as we correctly imagine the luciferic seduction that the Bible presents to us in the Lemurian period, so we must seek Ahriman in a place in the Bible that is no longer clear because the Ahrimanic secret in the Bible is not yet revealed in the same way as the luciferic secret. While we are placing the Luciferic mystery in the Lemurian time, we must, as I have often explained, place the Ahrimanic mystery in the Atlantean time. The Bible only hints at this, not with such a clear and radiant image as that of the temptation in Paradise. The Bible only says that the impulses that came into earthly existence caused the sons of the gods to take pleasure in the daughters of men. This is only a hint at what comes in as an Ahrimanic impulse.

Goethe's “Faust” already has a certain historical significance. And this historical significance lies in what I have tried to sketch out for you today. If we want to draw attention to what spiritual science wants to become and should become for humanity, we often have to express paradoxes today, express things that seem strange to many people. But it is true. When human beings will one day arrive at a state where their science will recall the original revelation by explaining earthly life from the secrets of heaven, when earthly science will be such that the deepest secrets of heaven can be recognized in the formation of embryonic development, then mankind will have found the right relationship to Ahriman and Lucifer, and then, in a certain way, that in humanity will be realized which is to be represented in our main group in the structure, in which the representative of humanity is placed between Ahriman and Lucifer in the right gesture.

We shall have to understand more and more deeply what is contained in Goethe's Faust. But we shall need an interpretation that is not dependent on authority. Those people who want to arrive at knowledge only by making, as a lady in our society once said, “a face all the way to their stomachs” in order to express their inner soul mood will not reach their goal. It was a lady who was not accustomed to speaking German and therefore made this linguistic error. But that is not the point; it was a correct description. She wanted to point out those people who lack any possibility of developing humor in their perception of the world. If one cannot develop humor, then under certain circumstances it can become quite dire. So it will have to be that one has to find one's way in the world in the way I have characterized it. Those people who only want to approach the things of the world in a sentimental mood will naturally prefer to be able to understand a work of art such as Goethe's 'Faust' in such a way that they can make 'a face up to their stomachs' at every line. But people who want to understand Faust will have to grasp it without authority. Then they will have to work their way through the contradictions, but working through the contradictions will offer the possibility of understanding. Something like the Prologue on High is no child's play! If one is too afraid of a certain irony and a certain humor towards the world, then one easily falls prey to the greatest humorist, who is a comrade of the one who confronts us in Goethe's Mephistopheles, who is more of a burden to the Lord than a prankster, who is a somewhat more dangerous spirit of the kind that can deny.

I would like to suggest that such things, which already occupy an exceptional position in the spiritual development of mankind, be grasped more deeply. For they are also a way of penetrating into the secrets beyond the threshold, where everything is different from this side of the threshold, where everything is such that one must already become familiar with it, that some things sound paradoxical, which are spoken out of the consciousness of those facts that lie beyond the threshold to the spiritual world. The present time does not want to know much about the secrets that lie beyond the threshold to the spiritual world. Most people today are indeed always convinced that we have come so gloriously far. Well, I don't know how far people will be able to maintain this conviction through our immediate time, which has come so gloriously far and yet only lives in the consequences of what it has believed through the centuries. But even if what is proclaimed from the other side of the threshold sounds paradoxical to many people today, more and more understanding must be formed for these mysteries of existence. And much of the beneficial development of humanity into the future depends on people finding understanding for what still sounds so paradoxical in so many ways.

It may still seem foolish to the world to say that the earth must be explained through heaven, heaven through the earth. He who looks into the compelling destiny of man, which reveals itself from beyond the threshold, knows that what appears so foolish and paradoxical to people is nevertheless wisdom in the sight of the spiritual and the world. And today it may be said without becoming immodest, because when one says it out of the consciousness of the spiritual world, one already has the necessary humility to be allowed to say it, because this humility already exists in the heart , although one may have to use strength to express what one would most like to express in a gesture of humility, in a gesture of the necessary strength, which might give the appearance of a gesture of arrogance. But only an Ahrimanic view could find fault with that, confusing humility and arrogance in this case. More about that another time.

We will soon depict the scene of the second part of Goethe's “Faust”, which precedes the final scene, which, as you know, has already been depicted. The scene begins with the holy anchorites:

Woods, they sway in,
rocks, they weigh on them,

Goethe calls it “Faust's Ascension” and the scene that now follows is usually called the “Entombment”. But we will begin where, in the broader sense, this entombment of Faust is depicted.

When one comes to the various parts of Goethe's “Faust”, one must repeatedly and repeatedly fall into a certain astonishment at the infinite depth that lies in the second part of Goethe's “Faust”, in particular, deep in that one is dealing with an objectivity in the representation of the spiritual world that can be justified by spiritual science. And it is remarkable that Goethe presented the spiritual world with such objectivity at a time when spiritual science as such did not yet exist. I do not need to dwell at length on the question that was once put to me when I gave a lecture many years ago on Goethe's “Fairytale of the Green Snake and the Beautiful Lily”, and a theosophical authority of the old school asked me whether I thought that Goethe knew everything that was said from the spiritual science to justify the deeper secret of the poem of the green snake and the beautiful lily. I could only reply whether the person in question believed that the plant also knows exactly what the botanist makes about it in order to be able to grow in the right way according to the botanical laws. When one hears such a question, one is usually aware of how clever the questioner feels. But if one thinks such a question through to its conclusion, then one realizes how endlessly foolish people often are, who think of themselves as being so clever. So we need not concern ourselves further with the question of whether Goethe, for instance, also studied spiritual science somewhere in the way we can study it today, even if objections can very easily be made from a point of view that considers this question. We want to go straight to the matter itself.

We are presented with three types of figures in addition to those familiar to us from the rest of the Faust legend. We are presented with three types of figures that have to do with the period of time that elapses between the death of Faust and the ascent of his soul into the spiritual regions. The first type of figures presented to us are the lemurs; the second type of figures presented to us are the thick devils with short, straight horns, and the third are the scrawny devils with long, crooked horns; both types of devils are “of the old devil's grist and grain”.

Now we can ask: What spiritual instinct, what deeper wisdom, would lead us to present these three figures in the Entombment and before the Ascension of Faust? This “Entombment” is introduced in such a way that Faust has grown old in his evolution, and, as Goethe himself stated, has become a hundred years old. So, at the beginning of this scene, we are dealing with the old, hundred-year-old Faust, who is still chained to Mephistopheles, but in such a way that Faust can now believe that Mephistopheles has become his servant. Faust has made the decision to wrest a piece of land from the sea, to cultivate this piece of land, and thereby create the basis for an area that will be beneficial to humanity, where this humanity, part of humanity, can develop in peace and freedom. This land is, so to speak, because it was wrested from the sea by Faust's labor, Faust's creation. It is to be made complete by draining a swamp that is there through a ditch, so that the air will also be purified, so that the health of the people who are to develop in peace and freedom will not be endangered by the polluting vapors of the swamp. Faust now believes that Mephisto has become his overseer in this beneficial work and commands the host that is to perform the last work. Faust has already gone blind, as was shown in the previous scene. So he does not see what Mephistopheles is doing on the external physical plane, and it is understandable that he later confuses the words “digging” and “grave”. While Faust is of the opinion that a ditch should be dug to drain the swamp water into the sea in order to purify the air, Mephistopheles has the grave of Faust dug by his lemurs. As a centenarian, Faust thus still experiences the deception, becomes entangled in the web of lies of Mephistopheles, who has the grave dug and, through the similarity of names, deceives Faust into imagining that a ditch is being dug.

There are already many secrets in it. I do not want to get involved in these things today, perhaps it can be discussed another time. But I would prefer us to make ourselves clear about the nature of these three beings. Right at the beginning of the scene, which takes place in the forecourt of the palace that Faust has built for himself, Mephistopheles appears, as already mentioned, as the overseer of the workers, whom Faust believes he has assembled, while Mephistopheles calls his lemurs. Mephistopheles characterizes the lemurs not in a particular scenic remark, but in the scene itself:

Come, come! Enter, enter!
You shivering lemurs,
Made of ligaments, tendons and bones
Half-natures patched together!

So they are described to us as creatures that are held together only by the ligaments that hold the limbs of the human body together, anatomical tendons and bones. So what is not even present in the human organism in the form of muscles holds these figures together, they are patched together out of it. They are not full-natured, not whole-natured, they are half-natured, since they only have what is not blood, not muscle, not nerve, but what tendons, ligaments and bones are. They are patched together out of it. Furthermore, they are characterized by the fact that they later express themselves in chorus. And what they express indicates two things to us. First, how they actually come to do a job there under the supervision of Mephistopheles; but at the same time, this also tells us something about their nature. The lemurs express themselves in such a way that one hears in their quivering tones:

We will help you immediately,
And, as we have half heard,
There is even a wide land,
We shall get it.

So the lemurs are also deceived at first: they have half heard that they are to be given a wide country. They are to dig the grave according to Mephistopheles' plan. But they have half heard and not fully heard that they are to receive a wide country. To this end, they bring sharpened stakes to work with.

Sharpened stakes, they are there,
The long chain for measuring;
Why we were called upon,
we have forgotten.

It sounds in their half-nature, which is patched together from tendons, ligaments and bones, there is still something that sounds and rattles from a call. But what the content of the call is, what they are actually supposed to do there, they have forgotten. They are truly characterized by this. One can say that they are there, but they do not know why they are there. They know half of it, why they are there, they have heard something, but they do not know what they have heard. They have heard a call, but they have forgotten it again. So there they are in front of us, these lemurs, and Mephistopheles immediately reprimands them. He says: “This has nothing to do with the wide land you wanted; only act according to your own dimensions, according to such dimensions as are appropriate for one who consists only of legs and tendons:

The longest one lies down lengthwise.

So the one lemur has to lie down lengthwise, and now he instructs them how to dig the grave.

In the next chorus of lemurs, we are told that there is still something in them of a half-remembered memory that they were once something like human beings, that they come from something like human beings:

How young I was and live and love,
Methought it was quite sweet;
Where there was cheerful sound and merry mirth,
There moved my feet.

— That is behind them, and only half conscious.

Now the treacherous age has struck me
With his crutch;
I stumbled over the door of the grave,

Why was it open just then!

So they half-remember that they come from dead people. Mephisto first tried to come to terms with them, he needs them first.

Now I ask you to remember that I have indeed said many times that we do not carry our physical bodies with us without further ado, and that we only discard them like an empty shell. It is not only our shell, I often said, it is our tool. It contains the forces through which we are connected to the mineral earth. Now I ask you to consider the following: we are, with our physical body, formed on Saturn, Sun, Moon and Earth, with what we now have between birth and death. Let us imagine all that has been implanted in us by Saturn, Sun, Moon and Earth, I would say, summed up and suggested by everything I am drawing here, and let us imagine that which is incorporated into the earth in that we receive an ego as a tool in the earth, that this ego is incorporated as a physical tool. Let us imagine that within.

During the time on earth, our physical body again receives what was demanded of it on Saturn, what was formed during the time of the sun and moon. But because the I works in it, what the human being has not through Saturn, Sun and Moon, but only through the development of the Earth, is incorporated. This is the external physical expression of the I. From this, the I emerges in death. What remains of Saturn, Sun and Moon has no place in earthly life; it has nothing to do with the forces of earthly development. The physical forces of the evolution of the earth would never have produced our muscles; they had to be produced by the physical forces of the evolution of the moon. But during the evolution of the earth, the impulses of the ego did indeed produce the bones, and the bones only during the Atlantean evolution, through the salt deposits in the Atlantic Ocean, the ligaments, the tendons. All this is integrated only through the forces of the earth. In this way we carry the earth within us, in our bones, tendons and ligaments. The spirit of the earth lives in them. The same forces live in them that are present in all the mineral, natural or technical domains of the earth. In the composition of our bones, tendons and ligaments, everything that can arise from the mineral-physical natural and technical effects of the earth lives. When we now go through the gate of death, we leave behind our Saturn, Sun and Moon parts. These are destroyed by the fact that they cannot exist in the earth. Bones, tendons and ligaments must destroy the forces of the earth itself, regardless of whether the person is buried or cremated; this makes no difference, the special forces of the earth must destroy them.

Thus, because Faust has died, that which is subject to the special forces of the earth is handed over to the earth, to that earth to which all dead people are also handed over, insofar as they are made of bones, tendons and ligaments. A deep spiritual insight into nature is expressed in this formulation that Goethe gave to this scene, an infinitely deep knowledge of nature! For one should not believe that one has exhausted what remains of us when one says: Well, the physical body falls away from us, and our soul — as we have always described it — continues into the spiritual worlds. — No, there are secret spiritual forces in the whole physical body that remain on the earth. The earth can only retain that which it has produced itself, but it retains only the forces from bones, tendons and ligaments. Bury the human being and let him decay, burn him - in the earthly body itself, despite decay or burning, what remains for all future is always present in the forces in bones, tendons and ligaments! We hand over our skeleton, so to speak, to the earth, and it remains there until the earth itself has reached the goal of its evolution. Our skeleton is taken up by the skeletons of all those who have died before us, and enters into the community of those who have died before us. It would be a superficial view to say: “Everything is transitory here.” Only the form is transitory. The forces that prevail in them are contained in the earth's activity. And if you take the physical forces at work on earth today, if you look straight into the earth, the forces in it that have come about because people have been buried in the earth, or because they have somehow been destroyed, their bodies have somehow been destroyed. The forces that formed the human being are now in the earth, working in the interior of the earth, they are there, they are preserved.

So we can say: Mephisto is initially faced with the task of dealing with the path of the physical body, with the path, with the paths that the physical body wants to take. - That's where he needs the lemurs, I would say, who are not ghostly, but under ghostly beings, phantom beings that are always united with the earthly body as the remains of dead people. He needs them.

Do you know what would happen if what has been ours since Atlantean times were to disappear in our bones, tendons and ligaments? Even today the earth would be close to it, and it would soon be more likely that all people would be born with so-called “English limbs,” with weak and powerless limbs. People would be born rickety, because the earth only has a certain amount of the strength that lies in our bone movements and tendon development. And what we give back in death always goes into later human bodies in a mysterious way. Otherwise, people would be born rickety. And if one is born rickety, it is a sign that one has not entered into a right relationship in one's total karma with those forces that the earth gives again and again and again, and receives back again and again from the bones, tendons and ligaments of humanity.

Thus an infinitely deep, spiritual thought of nature is expressed in the fact that Mephisto has summoned these underworldly spectres, these pure phantom beings, in whose ranks Faust's phantom also enters. We must, of course, grasp the scene quite spiritually. The interpreters of Faust always believed that there were bone men walking around. But they are only the forces that lie in the bones, tendons and ligaments, the supersensible forces. The scene is to be grasped entirely spiritually, only through spiritual vision, in the manner of spiritual vision. These lemurs have what is in man in that he has an I. But the I is outside. But the I is outside. So all the qualities that only came in through the I are gone, are only half present, only echoes. Therefore they are there and also not there. We human beings are only there when we send our I into our bones, tendons and ligaments. They no longer have that. We only understand what we have heard when we send our ego through our bones, tendons and ligaments. They only have the echo; they hear and do not know what they hear; they have heard a call and have only half heard it, have forgotten it because the memory lies in the system that is put together by bones, tendons and ligaments. So, because Mephistopheles first has to deal with the paths that Faust's physical body takes, he, who is a spirit but wants to assert his rights on earth, naturally comes into the necessity of having to deal with the lemurs, as they are meant here, because from them he could snatch the spiritual part of Faust's physical body. After all, the physical body is also based on a spiritual one. He could grasp this spiritual.

Now, to understand the whole, let us recall something we can find in the chapter of the book 'How to Know Higher Worlds?' where the Dweller of the Threshold is mentioned. There you will find that when a person undergoes higher spiritual development, the individual powers that are otherwise united in him in ordinary human knowledge, diverge. I characterized them there according to their abilities. Will, feeling and thinking go their separate ways, each becoming something in itself. Mephisto, who remained behind on the lunar evolution with his own nature, was still familiar with the lunar evolution. That is how you have to understand him. He, Mephisto, is familiar with the lunar development in his practical view of life. But even in the atavistic view of the moon, the limbs of the human being were still separate and not yet united by the ego. So if Mephisto, in his way, wants to grasp the spiritual essence of Faust, he must actually grasp it in its threefold nature. He must grasp it as the spiritual essence of the physical body; there he must deal with the lemurs. Then he must want to grasp it as the second link in the etheric body, which separates soon after death. He is familiar with that, so he must want to grasp it. And then he must want to grasp it in what passes over into the spiritual world and has detached itself from the etheric body. What has been united through the ego does not yet correspond to his realm; he is not yet at home there, Mephisto; the separateness still exists. So he must instinctively attach importance to achieving what the spiritual is of the physical body; there he must let the lemurs work. Now, because he only knows the soul in separation, he wants to catch for himself - he does not know what - the etheric body, which leaves the human being through the lower limbs. So he puts the Dickteufel there to catch the etheric body for him. Then - he does not know how it should be. Perhaps he can grasp Faust's spiritual essence at the third link, at that which wants to ascend into the spiritual world? That is where he places the Dürrteufel. And so he wants to grasp Faust's spiritual essence. But he must, I would say, with devilish instinct, bring together the threefoldness that can convey to him the physical body directly in its spirituality – etheric body, soul-spiritual –.

Etheric body - you see, physics cannot quite cope with the ether that is present because the ether has a strange property that distinguishes it from ordinary materiality. It is not heavy, it has no weight. The usual gravity of the earth cannot hold the ether. Mephisto wants to hold it. He wants to hold it through spiritual beings. Because the ether has already become spiritual, it should also be held by spiritual beings. To do this, he needs the thick devils, who, as spiritual beings, have a certain heaviness. They must therefore be thick-bellied creatures with huge, thick bodies – small, of course, because if they were towering, they would reach too far into the upper regions. They must be designed to be small and stout, their spiritual nature must be earthly, their spiritual nature must be such that it can sustain on earth that which seeks to fly spiritually.

They must therefore be small and stout, and everything in them that is the physiognomic expression of humanity must be clumsy. They must have enormous strength in their somewhat stocky bodies. Therefore, the limbs that are more spiritualized are small; in reality they would have to have small hands, stumps, arm stumps. It is difficult to portray, can only be portrayed if the actors make every effort to move only the lower part of the arms; of course, this must be practiced and learned. But the nose, too, is difficult. It is developed, the nose that has become a horn in the devils, it is difficult; so it is, together with the forehead, the heavy organ that does not connect man with the air, but that works and is formed by its own weight.

Mephisto needs such creatures to be able to hold back the etheric body, which we know takes a different path because it is not weighed down by the earth, in the rest of the earth. He must therefore hire them so that when the etheric body appears from the lower regions of Faust's body, they can grasp it. Therefore he hires them:

Fresh meat! Double your step,
You gentlemen from the straight, crooked horn,
From the old devil's grist and grain
You bring the hellish maw at the same time.
Hell has many a maw! many!
According to rank and dignity, she devours;
But in this last game, too, one will

Canines gape; from the gorge's vault
The fire stream wells up in rage,
And in the boiling smoke of the background
I see the flame city in eternal glow!

This is, of course, the same flame city that appears in Dante!

The red surf... and so on.

Here they come, the fat devils with short, straight horns! He now describes them:

Now, bloated villains with fire cheeks!

So they are in the state in which the lunar creatures still breathed fire. They are “pot-bellied villains with fire-cheeks” who “are really fat from the brimstone of hell”.

Block-like, short, never moving necks!

So everything is immobile; mobility is already semi-spiritual. They are all clumsy and awkward, all so that they force the spirit into heaviness, because they are supposed to hold the light ether. And there he posts them:

Here below lurks, whether it glistens like phosphorus:

- whether the etheric body comes out, which they are supposed to catch —

That is the little soul, Psyche with the wings,

- he sees it as the soul! —

You pluck it out, and there is a nasty worm;

So he wants the etheric body in the form of a dragon, doesn't he.

With my stamp I will seal her,
Then away with her in a fiery whirlwind!

He says very aptly now, by placing the devil's advocate there:

Pay attention to the lower regions,
you windbags, that is your duty;
Whether she likes to live there,

You can't really know.

How should he know, since he has the three members of the soul; he does not really know what to start with!

She likes to be at home in the navel,

That is the region where the etheric body must leave the person first.

Take care, for she will wipe you out there.

So there we have the fat devils with short, straight horns who want to try to shape the spiritual so that it develops earthly heaviness.

Mephisto wants to conquer the third part through the Dürrteufel. They must be very thin guys, again difficult to represent! Very thin, and all spiritual, so nose and forehead together to a horn united, which overcomes the matter as possible, in devilish way overcomes, so crooked and long, because they should achieve it, to become quite spiritual, to overcome the earth heaviness completely. Therefore, they are “Firlefanze”, as spinning tops, move quickly like spinning tops. They must now be employed to catch that which goes into the spiritual world - the third. So they are supposed to chase after the forces that develop precisely out of heaviness, so to speak. That which they are not supposed to get into the heaviness of the earth, they are supposed to develop, like a spinning top, counter to the heaviness, through their long, flexible limbs, which should actually grow out of them. That is how they should develop. That is how Mephisto sets them up:

You winged giants of Firlefanze!
Reach into the air, try without rest;
Arms straight,

— straight means long in this case, that they become thin and long.

The arms are stretched, the claws are sharply pointed,

– so long claws instead of fingers come out –

so that you can catch the fluttering, the fleeting.

– the soul that goes to the spiritual worlds –

She must feel ill at ease in the old house,
And the genius

- in contrast to the etheric body: the genius, which is always soul-spiritual -

And the genius, it wants to get out right at the top.

There you can see how, according to the way man is constituted, the function of the lemurs on the physical body, the thick devil on the etheric body, the dry devil for the spiritual-soul is sharply, clearly outlined!

Now the heavenly host is approaching, the heavenly host, that is, the beings who belong to the spiritual worlds. And the matter is presented in such a way that none of those who can serve Mephisto – the lemures, the thick- and scrawny devils – achieve anything. The heavenly host is coming:

Follow the messengers,
heavenly relatives,
slow flight;
forgiving dust,
animating dust;
to all natures
friendly traces
work in floating
its dwelling train.

These are beings that have not experienced the earthly either, but do not claim to have an effect on the earthly sphere, but only on the spiritual and mental aspects of the human being. Mephistopheles is out of place, he has remained a ghost, a moon ghost, and has an effect on the earth. They have remained in their own sphere. They must therefore appear to him as beings who have not even become human, but are still pre-human, immature, less than children.

I hear discordant notes, nasty strumming,
From above it comes with unwelcome day;
It is the mischievous, girlish banging,
As sanctimonious taste may love it.

And so on. Of course, Mephisto is well aware of the close kinship between him and the angels as spiritual beings. They have both remained spiritual beings. That is why he calls them devils in his own way, but devils in disguise.

They are devils, but in disguise.

Now the battle begins between the host of angels and the demons and goblins down there who are striving for Faust's soul. Mephisto is standing there and must take part in this battle. He instructs his devils because he senses something. What does he actually sense? Yes, he knows the trinity as a soul quality. But that is not capable of grasping the I-unity. He does not believe that in Faust the I-unity is so strong that it holds the trinity together. That is his great error. While he is actually always talking about the trinity of the soul, the unity of the soul is asserted at this moment from the spiritual world, holding everything together. If this unity, this unity of the ego, were not there, the lemures would be able to draw the soul of the physical body to themselves, without it having remained connected to the whole world, to the whole cosmos. The Dürrteufel would be able to grasp the soul, the genius. But because they are held together by the ego in the human being between birth and death, each one goes its way: the body to the earth, the etheric body to the etheric region, that which is soul to the spiritual region, but they remain destined for each other. There remains a connection. And as soon as the connection, which is brought about by the character of the ego, is there, the devil can do nothing. But he is positioning himself quite correctly.

Why do you cower and flinch? Is this the custom of hell?

— the thick-skinned and scrawny devils sense that a different element is coming.

So stand firm and let them scatter.

They scatter roses, namely, as a symbol of spiritual love coming from above.

To his place, every Gauch!
They think, with such flowerbedecking
They can snow in the hot devils;
That melts and shrivels at your breath.

Now they begin, because he commands them:

Now blow, Püstriche! —

Now they blow away the love torment that surrounds them. This is a hot glow for them, which they cannot endure. Now they blow, but they blow too hard because they cannot find the right measure. They have not been taught about what is formed through the evolution of the earth.

— Enough, enough!....

That you never know the right measure!

He also only knows them insofar as he observes them on earth; he does not know them from his own nature, the right measures. But because he was with Faust for so long and saw what Faust needed, he recognizes the measures of men again for a while.

— Enough, enough!
Before your breath the whole flight pales. —
Not so violently! Shut your mouths and nostrils!
Truly, you have blown too strongly.
That you never know the right measure!
That not only shrinks, it browns, dries, burns!
It is already floating along with poisonous clear flames;
Brace yourselves against it, press close together! The strength goes out! All courage is gone! The devils scent the flattery of strangers.

To him, love is only flattery, he turns everything into something purely selfish. And so we see how, through this struggle that unfolds here, how in the imagination – for the whole thing takes place in the imagination of Mephisto, who for a while transports himself back to his old time on the moon – how, for the imagination of Mephisto, the possibility presents itself that he could have the soul in its trinity, while it was actually snatched from him by the unity.

The interesting thing is that in this scene in particular we also find an awareness of the inner spiritual evolution of humanity. Think of what I have often said, that only a certain narrow-mindedness can believe that as far back as people go, they have always looked the same; so spiritually, one imagines the Romans, Greeks, Egyptians, all more or less the same as present-day people, while great developments have been undergone. People who only think about the last few centuries know nothing about what human beings have gone through in the course of the centuries in evolution. But spiritual beings notice this because they look at things spiritually. And so it is so wonderful that we can see from Mephisto's words here to Faust precisely what he, Mephisto, who is of course an old fellow, has gone through the whole evolution of the earth — you know how he says at one point that he once found “crystallized human race”! — yes, Mephisto sees how it has changed:

The body lies, and the spirit seeks to flee;
I quickly show it the blood-written title.

So, what does he actually want? Faust has died. He wants the soul, of which he only recognizes the trinity. We remember that Faust made a contract with Mephisto, even written in blood, a contract. What does Mephisto actually want, MephistoAhriman? What does he want? He wants to invoke his contract. If he shows the contract at the moment when the soul comes out, he believes that the soul cannot escape him. Well, I would rather not speak further on this point in view of some contemptuous words that have been spoken in this troubled time. Since our friends are already being accused of not thinking clearly about contracts, I do not want to develop a contract theory now that could be exploited in turn. Perhaps it could even be said, if I do not take the side of Mephisto in this scene, but rather the side of Faust: Faust would be a real Pan-Germanist in terms of his view of contracts! I do not want to talk further about the plight one could get into, because either one would have to take sides for Mephisto-Ahriman, or one would expose oneself to danger because Faust does not go into the blood-written title, to chalk this up to us as a pan-Germanistic view. So we prefer to remain silent about all the deeper wisdom that would have to be developed if one were to talk about Faust and Mephisto's contract. Let's leave it!

But evolution with its inner meaning comes to us in the words of Mephisto, who points out that times change and with them the impulses that are in the development of humanity. In the past, when the old times were there, he still understood quite well how to catch souls – today we call it superstition, but we know that they were somewhat clairvoyant times. Then the souls were still easily accessible in their trinity; then he could still catch the souls if the matter was well prepared – and after all, he prepared them quite well in Faust. But now, as the fifth post-Atlantic period approaches and the unity of the soul is being established through the ego, he has not yet undergone his full training.

But unfortunately we now have so many means
to withdraw souls from the devil
we come up against the old ways,
we are not recommended

The little people never sense the devil,
even when he has them by the collar.

There he is, but he is not recommended. And so he gets the helpers he needs, who he believes can help him get what he wants: the soul in its trinity. But the fact that it no longer exists in its trinity, in its original form, allows it to slip through his fingers.

It is a curious thing with this Mephisto-Ahriman. The beings that belong to the spiritual world come down into his spheres, and - yes, he actually falls in love with these beings. Goethe quite rightly describes a love scene between Mephisto and the angels. The devil has understanding. And a love affair between Mephisto and the angels is truly an absurd love affair, that is what Mephisto also calls it, it is truly an absurd love affair. But how is it that this absurd love affair can still affect him? That feelings of love arise in him at all? If he had not lived at Faust's side for so long and wanted to beguile Faust by stimulating such feelings in Faust in a particularly enticing way, they would not have crossed over to him. And so here again you have a deep wisdom, a wonderful wisdom. The devil actually has no erotic or other love in the earthly sense. He doesn't have it. Love affair is of course absurd for him, because we know that the earth is the cosmos of love. He is from the cosmos of wisdom. But he is out of place, he wanders around on earth and always wants to incorporate the earth into his realm. This means that he repeatedly finds himself in a position to incorporate into himself qualities that are developed on earth and that no longer fit his nature. In order to gain a soul, he must prepare this soul for the devil, that is, make it suitable for the qualities that Lucifer implanted at the beginning. But in doing so, he himself becomes infected by these qualities and once again makes himself incapable of keeping this soul. You see here in the big picture what happens on a small scale. Imagine that man is also capable of arousing passions, but if he develops them to a certain point, they destroy his organism at the same time. So you can only do it to a certain point. The devil must, as it were, vampirically absorb human qualities into himself so that he can arouse the passions in Faust. But in doing so, he destroys his own true devilish nature. This is how the absurd affair with the angels comes about, and he becomes inattentive and does not even realize that the angels are snatching his soul away. This darkening of consciousness, this transition of consciousness into the subconscious, had to occur in him.

Since we will have the performance today, I cannot say more. I think that enough has been said for the time being to convey a little of the understanding of the trinity inherent in this scene. I think we see, especially when we devote ourselves to such a contemplation, how infinitely deep that is of which Goethe says that he has secretly incorporated it into the second part of 'Faust'.

Those people who were able to evoke in themselves the idea that spiritual wisdom is at work through the evolution of humanity, that it has only receded somewhat in our time, that this spiritual wisdom often only a shadow in all kinds of legitimate or illegitimate occult societies, such people, as isolated individuals, always knew what profound wisdom is contained in Goethe's “Faust,” real wisdom, concrete world wisdom. That is why they have expressed themselves in this sense. And one such man dedicated a short poem to the memory of Goethe at the Feast of St. John in 1880, a poem in which he wanted to express how much he felt at one with him in spiritual wisdom, a man who, due to the erudition of the materialistic age, actually had very little of Goethe in him, very little of substance. And since spiritual science had not yet been born when this man wrote, he only had a vague feeling that this spiritual science lives in Goethe like an instinct. The Faust commentary that he wrote as a result, Oswald Marbach, did not become significant. But in the poem that he dedicated to the great mason's wisdom festival, the Manenfest, to the manes of Goethe — as one used to say in the past when speaking of the immortal part of man, the Manen, the same spirit lives that lives in the Manas – it shows that, as it were half-consciously only in lonely souls, there was always the connection with the great that lived in Goethe's poetry. And so he, who felt connected with the Manes of Goethe, with the individuality of Goethe, says at the Feast of St. John, the masonic feast in 1880:

To you, brother, father, exalted master!
To you, to whom we now, for over a century,
As a sign of our most loyal love in the alliance of free spirits,
We extend our tightly entwined hands; —
To you, the greatest of spirits and the freest of the free!
To whom we aspire to be like; —
We consecrate ourselves to you! We consecrate our sons to you,
That our building may one day be crowned with perfection!

You have striven as we have; but your striving
For self-knowledge, which leads to wisdom,
Was always inspired by the most vital life,
By strength of the creator, which proceeds to action,
To works that lift themselves up to the light,
Around which the splendor of beauty spreads eternally:
You wrestled with God like Israel,
Until you, as victor, conquered yourself!

What mysteriously unites us with you
Will not be revealed to the uninitiated by a single word;
But let it be proclaimed loudly before all the people
Through the purest love, tireless deeds,
Through clear light that ignites spirit in spirit,
Through eternal life's evergreen seeds. —
Onward, O Master! Wherever You have gone,
We follow You with the most ardent longing.

May there come a time again when such words may and can be truth!

after a eurythmic presentation of the scenes “Midnight” and “Entombment”

Once again we have allowed a piece of Goethe's 'Faust' to pass before our minds. In the last lecture here, I tried to develop some of the spiritual-scientific principles that can help us understand it when I spoke about the nature of the lemurs, the fat and scrawny devils. On such occasions, we always try not just to seek out something for the understanding of this poetry, but to gain something from the poetry in terms of general spiritual significance, to look into those true realities that Goethe tried to reach with his “Faust”.

Today I would like to tie in a few observations with what has just passed before our soul. It may seem significant to us that this scene, which we have just seen come to an end, is not the last scene of Goethe's “Faust”, but that, as we know, it is followed by that other scene that we performed here some time ago. You remember: mountain gorges, forest, rock, solitude, holy anchorites, chorus, echo, forest that staggers along and so on, where we are led through the devout meditation of the Pater ecstaticus, Pater profundus, Pater Seraphicus, through the chorus of the blessed boys , where we meet the angels again, who in the scene we saw today carry Faust's immortal into the upper regions, where we also meet the trinity of the penitent women, Doctor Marianus, and Mater gloriosa as Gretchen's guide until the final chorus, the actual mystical chorus:

All that is transitory
is but a parable.

All this follows on from the scene we have seen today, which depicts the battle of the spirits of light with the spirits of darkness for the soul of Faust.

When attempting to explain Faust, one often proceeds from scene to scene, sometimes even from sentence to sentence, without asking the questions that could be asked and that would actually shed light on this great, powerful work of literature. Today we have seen how Faust's burial took place, how Mephistopheles-Ahriman has lost his game, how the soul has been carried up into the spiritual regions. From a certain point of view, one might ask: Could the Faust epic not actually end here? Do we not now basically know everything that it is about? Do we not know that Mephistopheles has lost his wager, that all the efforts he has made throughout the lifetime of Faust, which he has been able to accompany, are lost, that Faust's soul has been accepted into the region of light, that thus the words spoken by Lessing with regard to a Faust epic vis-à-vis the spirits of darkness: “You shall not win” have been fulfilled? Could we not believe that with this everything is actually over, that the Faust epic has found its end? — The question presents itself to our soul: Why then does the conclusion known to us now follow on from what we have seen today? — And by raising this question and then dealing with its answer, one touches on significant secrets of human life in its connection with the whole world. The fact that Goethe shaped this conclusion of Faust as he did shows precisely how deeply he penetrated into the foundations of his life in an age when spiritual science had not yet come into being, and into the secrets of human existence. Much, much lies in the scene that was presented today, and even more lies in the fact that this scene is followed by other final scenes. Much of it proves that Goethe knew the deepest secrets of existence, but that he was also compelled to present the secrets of existence in such a way that they are only accessible to those who want to delve deeper into spiritual life, into its essence. Quite deliberately, Goethe expressed much of it in veiled terms, as he himself said, enwrapped in the poetry of Faust. Much of what is said in veiled terms, so to speak, triggers hatred and opposition in dull-witted people who, out of fear and laziness, do not want to approach the knowledge of the spiritual world. However, as a result, Goethe's Faust poetry has remained more or less misunderstood for eighty-four years and will only gradually, when we can live towards the future, reveal itself to humanity in its depths. Yes, it can be said that spiritual scientific knowledge will only be able to trigger those artistic perceptions that can convey an understanding of the Faust poetry.

Let us first look back at the hauntingly impressive scene in which Faust beholds the four gray women: Want, Guilt, Hardship, and Worry. Let us be clear about the fact that Faust has this experience with the four gray women at a moment when he has gone through many, many spiritual life experiences, or rather, life experiences that have evoked spiritual understanding in him. Goethe imagines his Faust in the time that is presented for Faust through this final scene, having reached the age of one hundred. Today, Faust first stood before us with all the spiritualized experiences in his soul, as he stands on the balcony of his home, which he created at a workplace from which he wanted to do work for the human future. We look at his soul in such a way that all his feelings of satisfaction, all that he has been able to achieve for humanity by wresting a free country from the sea for free men, are summarized in his soul.

The stars hide their gaze and glow,
The fire sinks and burns low;
A chilling wind fans it,
Bringing smoke and haze to me.
Offered quickly, too quickly done!

Now, seemingly before his eyes, but in reality in an inner vision, what the appearance of the four gray women forms:

What floats in the shadows?

We have to imagine that through the deepening that Faust's soul has experienced, this soul has become capable of having the vision of the four figures — of lack, of need, of worry, of guilt — from the deep inner source itself. This “scene at midnight” is an inward experience in the truest sense of the word, an inward experience as it is evoked in Faust by the soul slowly beginning to detach itself from the body. For that is the strange mystery that Goethe quite evidently intended, that from the moment the three gray women speak the words:

The clouds roll by, the stars fade away!
Back there, back there! From afar, from afar,
Here comes he, the brother, here comes he, the - death,

— that from this moment on, death already really spreads over Faust's life. And we only understand this scene correctly if we think of Faust from then on as a dying man, as one in whom the soul is slowly detaching itself from the body. And it would be wrong to think that what follows is meant to be merely realistic in terms of the external senses. It is not. As we see Faust in the room of his palace, where worry has entered, we find, as he sits there, that the soul has already loosened itself to a certain extent from the body, that the experiences of physical life merge with the experiences that the soul has when it has already loosened itself from the body. And only then do we understand the strangely interwoven sentences when we consider this interplay of the spiritual world, in which Faust is already empathizing through his loosening soul, this interplay of the spiritual world with the physical-sensual world, in which Faust is still, because the soul is loosening, has not yet detached itself. Lack, guilt, and need were powerless; they were only the heralds of death. But the consuming worry remains where the vision is transformed in such a way that it is already the vision of the soul released from the body:

Four I saw coming, three only going;
I could not understand the meaning of the speech.
It sounded as if it said - distress,
A gloomy rhyming word followed - death.
It sounded hollow, ghostly muffled.

If one knows what Goethe felt when he heard the word gespensterhaft (ghostly), he who felt much more concretely than today's dull materialists, then one does not take such a word

It sounded hollow, ghostly muffled

not light, but important and essential, and seeks the feeling that Goethe had when he put these words into the mouth of Faust. Among other things, Goethe uses a beautiful word in which he expresses the following. He says: “Sometimes life seems to me as if distant past events were entering into the present consciousness, and then everything that is distant in the past appears like a ghost that has entered the present.” Goethe had a very concrete concept of what he called ghostly. Visionarily, millennia-old times of his own life stood before him, which he often believed he saw moving into his present life like ghosts. These are not assertions that I make out of arbitrariness; this can be strictly proven from what Goethe himself expressed when he spoke intimately about the experiences of his inner life.

Now the views and thoughts that Faust has, half in the spiritual world and half still living on the physical plane, flow together. If you could imagine the interplay between these two worlds, that is what it is like for Faust. He is now experiencing something that can actually only be experienced in this interplay between the two worlds, which would not have developed if he had distanced himself more from his physical body. He still feels bound by the events of the beyond to the events of physical life:

I have not yet fought my way into the open.

And now for the remarkable speech, which to many will seem like a mere contradiction, but which becomes understandable if one understands the experience to take place between physical life and spiritual life. The spiritual world sought to reach Faust throughout his life. Spiritual science in the true sense did not exist at that time. He tried to recognize the spiritual world by means of magic inherited from the Middle Ages, the same magic that brought him into contact with Ahriman-Mephistopheles in the way we have often discussed, and also in the last lecture. This magic, by which he entered the spiritual world, cannot be separated from Mephistopheles. If you look back at what happened around Faust, you will see everywhere that Mephistopheles has set the magical actions in scene. We cannot hope that Faust wants to hold on to this magic now that he is already halfway into the spiritual world:

Could I remove magic from my path,
Unlearn spells altogether.

Those spells that he has drawn from old books and that have already become Luciferian and Ahrimanic because they have been preserved from ancient times. In this way, he now finds, when he really enters the spiritual world, that what he has achieved was not what he was looking for after all. And now he looks back. He begins to look back, as one does when one's soul is relaxed. Now he begins to look back at the life that has just passed. The moment stands vividly before him, the moment before he reached for the medieval books, before he uttered the fateful word:

That is why I devoted myself to magic.

He has been protected by good powers that have guided him mercifully in the sense of the “Prologue to Heaven” from the fruits of that magic that he would have had to pluck if these merciful workings of special powers had not passed through his path through life. Now he already sees into the spiritual world, now he knows differently. This plays a role. With the present knowledge, he would make the path different:

If I, nature! were a man alone before you,
it would be worth the effort to be a human being.

He could not say this earlier, before he had loosened his soul from his body, not in this way. Then he had to go the whole way of error. Now he looks back and sees that it was indeed the path through the darkness of Mephistopheles. He looks back first to the time in his life when Mephistopheles had not yet crossed his path:

That was I otherwise,

— a man alone

eh' I's in the dark sought,
With sacrilegious word me and the world cursed.
Now the air is so full of such spooks,
that no one knows how to avoid it.

The full weight of what has happened now weighs on his soul.

Even when a day smiles at us with clear reason,
the night entangles us in dream images;
we return joyfully from the young meadow,

— so he has spent his life, half naked in the physical world, half already - albeit in the physical body -— transferred by Mephistopheles to the spiritual world, looking into the spiritual world, but always having to return to the physical world, because Mephistopheles cannot find it, nor can he convey it, the access, because he cannot properly find the connection.

A bird caws; what does it caw? Misfortune.

Only superstition can be found on this path.

Entwined by superstition morning, noon, and night –
It lends itself, it shows itself, it warns –
And so, intimidated, we stand alone.

But the path of superstition has always mixed with the strong path that Faust was able to walk through his own strong nature. And now he has the vision that could remain with him as his soul loosens more and more: the vision of worry. And try to feel how Goethe also lets the highest in language resonate in his words here. One would like to say that the whole of world history lies on our soul when we feel the weight of these words. Worry creeps in. Is anyone there? Faust asks.

Is anyone here?

The answer sounds:

The question demands yes!

Not a simple answer: Yes! The question demands Yes! I said: The whole of world history forces its way into our soul through the arrangement of the words. For how could one think of those magnificent scenes, where before the court Christ Jesus is asked: “Is it you, the Son of God?” He does not answer simply: Yes – but: “You say it!”

Now it is not expressed in an abstract word whom Faust is now experiencing:

I am here.

But it is in him. It is basically a soliloquy. And it is a deep soliloquy. Only gradually will humanity learn, through inner experiences, the full weight of this soliloquy. With what is to be given to humanity as spiritual science, insights will also come to humanity that will be linked to deep, deep feelings and sensations about life, feelings and sensations that the dull, dull materialism dreams of, nor does the easily acquired worldview that believes that everything has been gained with sentences that characterize the physical or spiritual-real. We have such sentences. We know that they have been achieved through difficult inner experiences. We keep them in our souls, we carry them with us through life. But they are not what they can and must truly be for the human soul if they are not accompanied by all possible moods, by those moods that often make our soul life appear as if it were living over an abyss. And when we have attained spiritual knowledge, we can never lose the concern that comes over us about the relationship of spiritual knowledge to the whole reality of life. Man must feel, especially when he enters the spiritual world, that it is a platitude to speak of it in false asceticism, that this earthly life is only a low one that one would most like to cast off. Man feels the whole deep meaning of this earth-life for eternity precisely through spiritual realizations: that this earth-life must be gone through in order that that which exists can be incorporated into the impulses which we carry through death into the sphere of eternity. But how could it be otherwise than that at the end of a life of trial, just at such a moment, when the soul is loosened, man becomes aware, in serious, grave concern, of what may become of his life just experienced, when he now has to go through the spiritual world with his soul, what the fruits of this life just lived may be. Faust has struggled through much, much. But he is great because now, when he has just entered the spiritual world and is half in it and half still feeling back to his physical existence on earth, he knows in the very significant comparison that arises between the physical and the spiritual in such a life-and-death situation:

I have only run through the world;
I seized every desire by the hair,
What was not enough, I let go,
What escaped me, I let go.
I only desired and only accomplished
And wished again, and so with might
stormed through my life; first great and mighty,
but now it goes wisely, goes deliberately.

Feel the harmony that now arises in his soul: how he has passed through the small and the great world, as it says in “Faust”, and with an overall view that is just opening up, as in the moment he feels a flood of spiritual illumination in his vision, he can survey with wisdom and deliberation all that he has gone through in the rush of the floods of life. And now: what does he see? What does he begin to see? —- He begins to see what he has experienced in the circle of the earth. Think back to what we have discussed about the review that overtakes the soul, which is now slowly overtaking Faust, at the beginning of the life after death. Think of this review. He sees his life on earth. He sees it in such a way that he has to say to himself:

The circle of the earth is well enough known to me.

What he had experienced on earth, he now sees. He is already halfway into the spiritual world. You can feel the words in this mood:

The view to the other side has vanished.

That is what one can say when looking back on earthly life. This is not a philosophical confession of materialism, but an immediate experience after death has already taken hold of the soul. Dopes who have become Faust commentators have interpreted this passage as if Faust, in his old age, were once again reverting to a materialistic creed. But now, in this situation, Faust would truly be a fool if he wanted to look back on life and now, with a blink, see that spiritual world, which is often described here by those fools who build this spiritual world in such a way that they simply write about their own kind, as is done in many confessions. He wants to stand firm on the result of his life. And now words of deep significance are actually falling, before which every semblance of materialism must fade, must fade completely. The vague mystics, those dreadful mystics who always speak of wanting to merge with the universe, of wanting to grasp eternity mystically in the chaotic darkness of the universe, which they call universal light, want to wander into eternity. The one who wants to grasp the spiritual life in a concrete way grasps it where it can be grasped in its concreteness. He does not become a fool, losing himself in vague distances that actually contain nothing but emptiness and empty space, and into which the soul dreams itself away. He will not be seduced into roaming into such eternities, but will grasp knowledge concretely. That which he recognizes can be grasped:

Thus he walks along the day on earth.

Consider how wonderful this sentence becomes when one considers that it marks the beginning of the retrospective view of earthly life: the vision walks along the day on earth. Now he has arrived at the point where he can find the right relationship to those haunting ghosts to which Mephistopheles has seduced him here.

When ghosts haunt,

– now in retrospect

he goes his way;
In walking on, he finds torment and happiness,
He! unsatisfied every moment.

We have to imagine the not yet fully completed, but now incipient review, that review, which is still full of the concern, through which fruits from the experienced earth day can be carried into the spiritual world. And always like this: over, over. Spiritual experience, but because he still clings to the body, also physical experience, so we find Faust. Care still holds him to the physical body. He is meant to enter consciously into the spiritual world, made conscious precisely by the burden of care. That is why he grows into the spiritual world in such a way that, while already bearing the spiritual world in his soul, he still believes that he can command the physical world. Those people who hold the banal contemporary view that man has always been essentially as he is now, do not know that many Greeks died as Faust dies, or rather, as Goethe had Faust die. We can prove from Greek literature that this death was almost a desirable one for the Greeks, like reliving some of the physical existence, while the soul has already been released. In Sophocles you can find words that suggest how the Greeks saw something special in such a death, not a sudden death, but a slow dying, in which consciousness is already dimming for the physical world, but what enters physical consciousness as twilight is gradually illuminated to see fully into the spiritual world. And Goethe did indeed try to incorporate much of the Greek element into the second part of his Faust. We may well imagine that he wanted something of what could be characterized as if he had wanted to depict Faust as a dying Greek. Thus, what he puts into the words in terms of feeling flows over from the spiritual world, even when he is still commanding here. And we can follow this further, follow how Goethe consciously presents what I have been talking about.

You saw Faust arrive at the scene where his grave is already being dug. Again, one can say that those commentators who accuse Goethe of bad taste by having the grave dug while Faust is still alive are not very tasteful themselves! That would, of course, be mere bad taste. We see the dying Faust. Then it is not bad taste, but a wonderful imagination, when we see the grave dug not only by the dying Faust but also by those half-spiritual creatures, the lemurs, of whose nature I spoke recently. But how does Faust speak? Well, I will first pass over the words that he speaks as he gropes his way out of the palace and toward the doorpost. I will draw your attention to the words that Faust speaks when he gives the order, so to speak, to dig the ditch that will divert the polluting swamp. At first, one might think that everything is meant physically. But Goethe was well aware that Faust speaks half out of spiritual consciousness, and that is how he wants these words to be understood. And what is revealed from this physical-spiritual, spiritual-physical consciousness? First of all, a wonderful sense of well-being in Faust. Consider what Faust says:

A swamp extends along the mountains,
Polluting everything already achieved;
To strip the foul pool too,
The last would be the highest achievement.
I open spaces for many millions,
Not to dwell securely, but actively and freely.

Beautiful, but now other words follow:

Green the field, fruitful; man and herd

At once at ease on the newest earth,

Immediately settled on the strength of the hill,

Which the bustling, industrious people have rolled up.

— these words are consciously set down, consciously out of the physical-spiritual, spiritual-physical. The paradisiacal land is the play of the spiritual into physical consciousness, then back into the physical again:

There is a raging flood right up to the edge.

Of course, it also means the external situation, but the fact that the words are chosen is something that Goethe was fully aware of when he did it.

Community pride rushes to close the gap.

And now some strange words:

Yes! I am completely devoted to this idea,
That is the ultimate wisdom:
Only he deserves freedom and life
Who must conquer it daily.
And so, surrounded by danger,
Spends childhood, manhood and old age his active years.
I would see such a teeming mass, standing on free ground with a free people. For a moment I would dare to say: Stay, for thou art so fair! The trace of my days on earth cannot perish in the eons of time.

One must hear this word repeated over and over again as a beautiful word that Faust utters because he feels: You have done something for the common good, you have worked. — And now he is overcome by the tremendous feeling of how this will continue to work through eons, how he has, as it were, founded his fame in his deeds, and he surrenders to his sense of well-being. It is often quoted. I have even heard it quoted by people who wanted to say something nice to someone else and quoted these words. You can also say: “The trace of my days on earth – that is, of your days on earth – will not perish in aeons.” And yet, however much this is understood as a beautiful saying, let us be clear about it: it is a purely Luciferic saying, a feeling of well-being in fame. We feel once more how Faust's soul is completely seduced by Lucifer, not only contemplating his deeds, but also feeling his glory through the aeons in a wildly spiritual and selfish way. This egotism grows to gigantic proportions and is still sealed:

In the anticipation of such sublime bliss
I now enjoy the highest moment.

Truly, the devil is no drip. After such a Luciferian outburst, one might well think that the devil had him, for it is once again a completely Luciferian blissful feeling, a supreme eternal desire. And we must not think of the stupid devil, but of the clever Mephistopheles-Ahriman, when he now says, which is quite appropriate:

No desire satisfies him, no luck is enough for him,
So he continues to court after changing forms;
The poor man wishes to hold on to it.

The soul has completely loosened itself, but has separated from the body with a Luciferian quality. It connects quite well with the no less inwardly voluptuous words that Faust utters as he steps out of the palace and gropes his way along the doorjamb:

How the clatter of spades disgusts me!
It is the crowd that indulges me.

One should not think that it is not tempting to think again in this last moment that the crowd indulges you! The Luciferic temptation is there once more, clearly there. And Mephistopheles is not stupid if he believes that now is the moment to follow up on that conversation in which Faust signed over his soul to him. They have conversed with each other: we recall the first part, where Faust, not yet out of the half-won spiritual consciousness, but out of the physical consciousness, said the words:

First thou dost smash to ruin this world,
The other may arise thereafter.
From this earth my joys gush forth,
And this sun shines upon my sorrows;
When I can part myself from them,
Then may what will and can come to pass.
I will hear no more about it,

I have only been running around the world.

Mephistopheles says:

In this sense you can dare.
Connect yourself; you shall in these days
With joy my arts see,
I give you what no man has seen.

Faust:

What do you want, poor devil?
Was a human spirit, in its lofty striving,
Ever grasped by your kind?
But you have food that does not satisfy,
You have red gold that, without rest,
Like mercury, melts in your hand,
A game in which one never wins,
A girl who, at my breast,
With eyes already bound for the neighbor,
The beautiful gods of honor
That, like a meteor, disappear?
Show me the fruit that rots before it's broken,
And trees that turn green every day!
I'm not deterred by such a task,

Mephistopheles replies,

I can serve you with such treasures.
But, my good friend, the time is also coming
When we may feast on something good in peace.

And now the weighty words that Faust speaks:

If I can ever rest content on a lazy bed,
then let it be now around me!
If you can ever flatter me,
so that I may please myself,
you can betray me with pleasure;
that shall be the last day for me!
I offer the wager!"

Well, how is that not fulfilled? Fullest enjoyment, even in the anticipation of eternal fame, is there now.

Mephistopheles:

Top!

Faust:

And blow upon blow!
I shall say to the moment:
Stay, yet! Thou art so fair!

— Does he not say it? —

Then you may bind me in fetters,
Then I will gladly perish!
Then may the death knell toll,
Then you are free of your service,
The clock may stand still, the hands fall,
Let the time be past for me!

Mephistopheles:

Consider it well, we will not forget it.

And he does not forget it. He says it now, Mephistopheles, after Faust has enjoyed the highest moment:

No pleasure satisfies him, no luck pleases him,
So he continues to court changing forms;
The poor man wishes to hold on to the last, poor, empty moment.
He who so vigorously resisted me
Time becomes master, the old man lies here in the sand.
The clock stands still.

The situation has been completely fulfilled; for Faust says:

The clock may stand still, the hand may fall.

Mephisto:

The clock stands still –

The chorus of lemurs:

Stand still! She is silent as midnight.
The hand falls.

What was predicted when the bet was made has come to pass. Mephistopheles can accept that his work is done:

He falls, it is done.

From the mouth of Mephistopheles the words of the cross: “It is finished!” But immediately the chorus of the lemures, who give the voice of the earth:

It is past.

This fits dreadfully into the soul of Mephistopheles. He has said, “It is finished.” The chorus of lemurs answers him, “It is over.” That is the tremendous difference. Over – he does not want the word:

Over! A stupid word.
Why over?
Gone and pure nothingness, complete monotony!

These words are the key to what it is all about. Initially, Mephistopheles is talking to his lemurs; he believes it is done, but it is only over. And now he turns his attention to himself. He wants to understand the contradiction: done, over – he wants to understand it.

Gone and pure nothingness, perfect sameness!
What is the point of eternal creation!
To sweep away the created to nothing!
“There it is over!” What can be read in it?
It is as good as if it had not been,
And yet it goes in circles as if it were.
I would have loved the eternal emptiness for it.

As I said, these words contain what we are looking for. That Goethe chose such words, that he built the scene from the enjoyment of the highest moment, as it is presented, that he lets Mephistopheles converse with the lemurs in this way, testifies that Goethe was able to express something very profound, something so profound that even today it can only be touched upon, because it is this that determines why the last scene must follow. If the matter were as many commentators on Faust have supposed, that Mephisto has simply misunderstood, been tricked, then the last scene would truly be superfluous. Then the matter would be simple enough, then it would be that Faust had not thought that there could be such a high enjoyment as that which is expressed in the words:

Not in the aeons can the trace of my days on earth

Mephisto had not thought of that either; neither of them had thought of that. Neither of them had thought that Faust would ever say to the moment: “Stay, you are so beautiful.” But because it is something higher to feel the moment in this way, the stupid devil is cheated out of his wager: that is more or less how the interpreters of Faust explain it all together. — Well, then the devil would have lost the soul, the angels would have captured it — everything would be in order. We didn't need the last scene. And Goethe certainly wouldn't have written it, because he was a man of poetic economy. But you don't understand Faust if you take it so superficially. You only understand it if you fully realize: Yes, here Goethe wants to allow a Luciferian seduction, even when Death is already fully present, to approach Faust once more, a genuine Luciferian seduction. — And Lucifer is there again in the moment when Faust speaks:

In the anticipation of such supreme bliss
I now enjoy the highest moment.

Now follows the actual entombment and Mephisto's preparation to capture the soul with the demons. The angels arrive and triumph over the demons. The soul seems to be delivered and is carried away, but the poem is not over. What is actually going on? Yes, Goethe could not say what was going on there offhand. But there are many words in the poem through which he has made himself clear enough for those who want to understand. But the idea that is so easily formed of that choir of angels that is advancing to take the soul is not correct. It is not entirely incorrect that the angels who arrive are all too proud and now consider themselves the fullest spirits of light, and the devils – the fat and the scrawny devils – only despise, and now only consider themselves quite pious, so very good, so very pious. Goethe already indicated that he did not want to have the presentation just like that, by having Mephisto, who he truly does not depict as a completely stupid devil, say the words that are interspersed at one point:

The priestly mien will not dress you at all,

and especially the significant word:

They are devils, too, but in disguise.

They are also of Lucifer's race. This is not there for fun! As far as can be said at all, to what extent it is serious, we will continue to consider the matter tomorrow.

Today and tomorrow, I will attempt to say something about certain relationships between human beings and the spiritual worlds, proceeding from the Faust poem. It may be assumed by anyone who really delves into the Faust poem with the tools of spiritual science that Goethe actually wanted to say something of the deepest that he had gained through his long life on earth as his world view in these last scenes in particular. In this case, world view is also meant to imply that Goethe, as if instinctively, as if as a matter of course, wrote these scenes in such a way that one can really feel his position in them, also in relation to the development of humanity, to the impulses of the development of humanity, as far as they were accessible to his knowledge. When spiritual scientific ideas are applied to the figures that Goethe created in his Faust poem, then this must naturally be understood in a very definite way. It would be quite wrong to think that Goethe first took these ideas as a basis and then, as one hangs up clothes on a coat rack, hung up the speeches of the characters and their characteristics. That is not the case. When we speak as we now wish to speak about these figures from Goethe's Faust, we must bear in mind that Goethe knew these figures face to face, so to speak, and characterized them as he was able to, but that spiritual science can justifiably go into the matter in even greater depth. If you meet a person whom you are seeing for the first time, you will not immediately be able to discern everything that is in his soul. Nevertheless, this is in his soul. If you now describe the person after the first encounter with this person, it may be that you only describe a few sides of the person, perhaps something that is purely external. But it is still this person whom perhaps you yourself, if you have seen him often, or someone else who is able to see deeper into the soul, would then have to characterize with much deeper ideas. If I therefore begin by posing the question: What is this Mephistopheles in Goethe? — so that I may be able to express what is significant in connection with the Faust legend today and tomorrow, this is not to be imagined as if Goethe had had in his consciousness the ideas that I must develop for you when I speak of Mephistopheles. Goethe simply characterized the Mephistopheles as he knew him, but that is why the Mephistopheles remains as he really is, a definite figure, who can also be characterized by spiritual-scientific ideas; and it is precisely the significant thing that one can look deeper into the individuality of Mephistopheles or other figures in the Faustian legend through these spiritual-scientific characteristics.

In the sense of spiritual science, one must in any case imagine such a figure as Mephistopheles as, in a sense, having remained on the old moon development. That is the prerequisite, so to speak, the spiritual-scientific prerequisite, that Mephistopheles is a being that has not undergone the corresponding form of development, which it could have undergone from the moon, or perhaps from the sun to the earth, or through the moon to the earth. But even if he confronts us – admittedly in a spiritual and visionary way – even if he confronts us, this Mephistopheles, in the earthly form of a human being, we would still be mistaken if we were to interpret him as saying, for example, that he is more developed than human beings on the moon. He stands quite decidedly higher on earth, Mephistopheles, than man stands on earth, with regard, of course, to his development, not with regard to the talent for evil. You can, if you want, call it lower that Mephistopheles has this genius for evil. But he is a being, so to speak, of a higher hierarchical order than man is, that is, after all, self-evident. If we were to go back to the old moon development, we would find that man, in his moon development, is clearly below the development of Mephistopheles, the being from which Mephistopheles on earth has become. Thus we must seek a higher being in Mephistopheles, a being that has simply been left behind with higher abilities on the lunar evolution than man has ever had. How could we, I would like to say, still make it clear through an analogy how such a being is actually constituted?

Let us assume that we look at our present development on earth. We also find during our present development on earth that some people are further along in their development than others. There are people who are decidedly further along in their development than others. Indeed, during earthly development we speak of certain people who have undergone initiation, who, while this is not yet the case for the general public in the present earthly cycle, already look into the world that lies beyond the threshold. Of course, there is also a corresponding progressive development for such advanced people. But even these people can, in a sense, lag behind on the stages of their earthly development and live their lives in such a way that, when the Jupiter development becomes acute, they say: “If everything followed the path of regular world development, we would now be going through this or that on Jupiter, but we don't want that, we remain at the point we reached during our earthly development.” The point of view is perhaps a higher one than could have been attained by people during the development of the earth; the point of view is such that the Jupiter development is perhaps already anticipated during the development of the earth. But these beings – in this case they are human beings – still lag behind in terms of the stage they had reached on Earth, and so they enter the Jupiter evolution with a Jupiter evolution that they had already undergone during their time on Earth. Thus they are behind in relation to their own measurements, but not behind in relation to the general evolution. They just do not go through the evolution as people on Jupiter will go through it; they remain earthly beings, earthly people, but they already carry the Jupiter evolution within them from the Earth.

You must be quite clear about the fact that the various evolutionary processes are really quite complicated, and that such evolutionary processes as I have just characterized actually exist. And if you now transfer what I have said from Jupiter-Earth to Earth-Moon, you will get a rough idea of what Mephistopheles, who appears in Goethe's “Faust,” is like. He can be counted among the Ahrimanic hierarchies because he had already anticipated human evolution on earth during the old lunar period, but now he adjusts himself to the earth in such a way that he does not bring earthly reason, earthly understanding, earthly individuality into the earthly evolution as they are given by the earth, but as he had anticipated them on the old moon and accepted them. This is why he feels so extraordinarily superior to the man Faust in 'Prologue in Heaven'. He is superior to the man Faust, because in Goethe's sense, the man Faust is supposed to be a real earthly human being who is not only retarded in the region of the dull-witted, but who relies entirely on earthly forces, on earthly impulses, for what he has to develop in his soul. Faust is an earthly human being, an earthly fighter. Mephistopheles appears to him as a lunar man, who naturally feels vastly superior to him because he has already adopted reason and science in the spiritual regions of the moon, which otherwise only people on earth have. Therefore, of course, Mephistopheles can only be a spiritual being. If he were to take on human form like any other human being, then he would also have to adapt to the evolution of the earth. But he does not. Thus we see in Mephistopheles a being who can feel himself to be extraordinarily superior to man on earth. But since the possibility of having moral impulses only arises during earthly development - remember the lectures we have just given in these weeks -; since human-moral impulses only arise during the earthly period, namely everything that arises from the impulse of love, Mephistopheles, who has retained his lunar development, does not have these impulses of love without further ado. He simply does not have them. He is therefore a spiritual being that belongs to a hierarchy, which, because it has held back and also rose very high in earlier developmental epochs, has a certain height out of its entire being.

Let us contrast this Mephistopheles with the higher angels. Let us assume that a present-day angel were to stand beside Mephistopheles, that is to say, a being that is now an angel. What kind of being is this, that is now an angel? It is a being that has to descend during the Jupiter evolution in order to perform services for Jupiter humanity during the Jupiter evolution, which other beings - let us say, for example, archangelic beings - perform for present-day earthly humanity. So this is a being, such an angelic being, which, by its very nature, because it is spiritual, is, when it simply stands next to Mephistopheles, less advanced in evolution than Mephistopheles himself, or rather the hierarchy to which he belongs. In terms of intellectuality, the angelic beings will only be able to achieve during the Jupiter development what Mephistopheles has already achieved through his hierarchy – albeit not through himself, if we regard him as a moon man, as a moon initiate – on the moon. One could say that Mephistopheles' immediate superior is even an extraordinarily high-ranking being, albeit one that is lagging behind in evolution. This being is so highly developed that a being of the rank of, say, the archangel Michael feels himself to be beneath the immediate superior of Mephistopheles. These evolutionary processes complicate the ranking of spiritual beings. A being like Mephistopheles has developed very far during the lunar evolution. This puts it ahead of the usual angelic evolution, the normal angelic evolution. But a being like Mephistopheles has remained a spirit. Because it is a spirit, it has something in common with the usual angelic evolution. After all, angels are spirits too. So we can say: From the Mephistophelian point of view, Mephistopheles is quite right when he speaks of the angels as “immature people”. They really are immature in relation to him, a people who, in the development he values most highly, have not progressed as far as he has.

Now, of course, there are also all possible stages of evolution in the hierarchy of the angeloi. Here, too, we can assume a normal stage of evolution for the development of the angels. But we must assume - this is a fact - that certain angels have also remained behind, that they have, if I may use the expression, lost themselves in Lucifer. Certain angels fall behind in their normal development and become Luciferized. These are the ones that do not go along, but remain at earlier stages. The angels that became Luciferized in this way, or had already become Luciferized before the Lemurian Earth period, now occupy a very special position. After all, how did they achieve this, that they were able to become Luciferized back then? It was about to happen – if I am to express myself popularly, even if only approximately, because it cannot be otherwise – that the group of beings that was human was about to undergo its moon development. Now what is called the Luciferic seduction occurred through spiritual entities that had become Luciferized. This Luciferization led certain beings during the Lemurian evolution to bring about that which you know from Occult Science. Then again, the Ahrimanic evolution during the Atlantean time led to that which you also know from Occult Science and from lectures that have been given recently. So we have to say: During the ancient Lemurian period, a certain impulse emanated from the Luciferic side, in which all beings that had previously Luciferized were involved for humanity. This impulse consists in the fact that man descended further into the material during the development of the earth than he should have done in the progressive development, that his desires, instincts and passions became, one might say, entangled in the material development. A counterweight had to be provided. And this counterweight was provided by the Ahrimanic development, so that man hovers in balance between the Luciferic and the Ahrimanic development. But all this, that man thus hovers in balance between the Luciferic and the Ahrimanic development, is in a certain higher style, in a certain higher sense again the plan of progressive evolution, lies in the plan of progressive evolution.

Having recapitulated this for you, you can say to yourself: Faust, the right man for the earth, will face Luciferic and Ahrimanic forces. And the Ahrimanic forces that confront him are shown to you by Goethe particularly in the Mephistopheles whom he places at Faust's side as the representative of the Ahrimanic force. We have already discussed why Goethe refrained from clearly emphasizing how the Luciferic impulses approach Faust. But everywhere – as I have indicated – it shines through that Goethe actually placed Faust in the middle between the Mephistophelian and the Luciferic forces. I have repeatedly emphasized that Goethe, in his time, could not yet be completely clear about the relationship of the human Faust to Ahriman-Mephistopheles and to Lucifer, because spiritual science did not yet exist as it does today. But he had a certain instinctive recognition that Faust is confronted with these two types of impulse.

Now we ask ourselves: What is it that Mephistopheles himself or his relatives wanted with people? What Mephistopheles wanted with people is really nothing more than something that would have made people on earth impossible, really impossible. For what has only occurred on earth is reproduction through the sexes of man, through the male-female. Mephistopheles, as a true initiate of the moon, who is only retarded, cannot stand this at all, and that is what he actually regards as his task: to eliminate the possibility of having humanity on earth through sexual reproduction. It should not exist on earth. So let us summarize this precisely: the normal development of man on earth consists in the human race reproducing itself on earth through the sexes. But Mephistopheles wanted to remain on the lunar development. He therefore did not want love to lead to the love of the sexes on earth. Mephistopheles is the enemy of the love of the sexes on earth. He is the most determined enemy. He therefore feels – and Goethe characterizes this quite correctly – extraordinarily called upon to reduce to absurdity everything that somehow leads to sexual love. What he wants to bring about in the relationship between Faust and Gretchen — just read the Gretchen scenes carefully and you will see that he wants to prevent all sorts of things that are the duty of Ahriman-Mepbistopheles. But he does not want the love between Faust and Gretchen, the real human love on earth, to arise; he does not really want to tolerate it in either Faust or Gretchen. On the other hand, he is really present in the play when the homunculus is created in the laboratory. And you know from earlier presentations that I have given from 'Faust' that the homunculus is created in order to become a creator of a human being — Helen — out of nature, without sexual love. Mephistopheles sets himself the task, not of creating a humanity in the sense of progressive development, which on earth comes about through sexual love, but of creating a different kind of being through the powers assigned to Ahriman, a being that is not in the sense of the human race destined for the earth. Because if you think of anything other than this homunculus, think of Euphorion, think of the whole way that Helen comes up again, Mephistopheles is at play everywhere. But nowhere should anything of regular sex love come into consideration. So the role that Mephistopheles is assigned is already very well done and can be fully justified from the point of view of spiritual science. There is tremendous depth in it.

And now take the strange word that immediately follows the heavenly host:

I hear discordant notes, nasty strumming,
From above it comes with unwelcome day;
It is the mischievous, girlish bumbling,
As sanctimonious taste may love it.
You know how we, in deeply wicked hours,
Conspired to destroy the human race:

He accuses the angels of knowing that they were watching when Mephistopheles and his companions plotted the destruction of the human race. Now he says something else, adopting the language of earthly man, as it were:

The most shameful thing we have invented,

— the most shameful thing is precisely this destruction of the human race. It is called the most shameful.

In order to make progress with our understanding – it is of course extremely difficult to approach these things, because Goethe wanted to express his deepest human, spiritual feeling and perception in them – in order to make progress, we need to consider the following. You are aware, are you not, that there is — for us at least — a spiritual science, even if it is only at the beginning of its development today. You also know that there has always been something like this, even if in earlier times it was attained in a different way, as true knowledge of the world that goes beyond appearances and penetrates to reality. Now you also know that in a certain way, especially in older times, the spiritual knowledge that was preserved in the mysteries was carefully guarded and that it was based on real knowledge of the world. This spiritual knowledge was only imparted to those who showed their maturity for it. If we now ask ourselves what kind of special kind of knowledge this actually was, this special kind of spiritual knowledge that was imparted in the mysteries, it is best to compare our fifth post-Atlantic period with previous periods, the Greco-Latin, Egyptian-Chaldean and so on. And if, on the basis of this comparison, we ask ourselves how the whole conception of the world has changed through man from earlier epochs, from earlier cultural epochs into our cultural epoch, It is truly the case that something important and significant has taken place in the evolution of humanity, that it is a fable convenante if one believes that one only needs to know about the development of humanity what the trivial story, what is today called history, tells. The earlier cultural ages were quite different from how they were imagined according to ordinary history, which is a fable convenante. Just consider the depth of such a saying as I have quoted:

Oh Sun, a king of this world,
Luna receives your gender;
Mercury copulates you quickly.
Without Venus' favor, you achieve nothing,

Whatever Martian is chosen as a husband.
Jovis G'nad is not lost on you;
So that Saturnus, old and decrepit,
Proves to be many-colored.

There is an enormous depth of malapropism in such a saying, but this depth was once there. People once saw into these realities, even if only through the results of atavistic clairvoyance, which were also pointed to in such sayings, for example. The fifth post-Atlantic period emerged from this knowledge of the basis of existence. It has strayed in two directions. I have characterized one of these, so to speak, through the initiation of the fifth post-Atlantic period, which I have described through Baco von Verulam, through Lord Bacon. There we have the longing to treat everything that goes beyond the perceptible as mere idols. You know, Bacon assumed four types of idols. We have listed them: Idola tribus, Idola specus, Idola fori, Idola theatri, four types. This tendency, to base everything on knowledge gained through sensual observation and through concepts that in turn arise from sensual observation, is expressed through Bacon's spirit at the beginning of the fifth post-Atlantic period. Everything that goes beyond sensory perception is an idol, the content of which is actually exhausted in words. And we have already characterized that, so to speak, that is one current.

Now take, schematically expressed, the current that expresses itself through something like: “O Sun, a king of this world,” which still goes into the deep foundations of existence. If it only wanted to develop from the fourth into the fifth post-Atlantic period, we can say that it would go like this (see drawing). The development that leads to the idols goes down below this evolution (blue line); it does not recognize that in reality one finds a spiritual immediately, just as one finds a sensual; it excludes the spiritual and regards it only as contained in the word idols. This development is inaugurated with Bacon.

What would be the counter-image to this? The counter-image would be an evolution that would only recognize the existence of the spiritual, of the soul-spiritual, which the physical-material does not recognize. That would be the counter-image to this. We could therefore ask: Does this development also exist? Is it also the case, as Bacon says, that only sensual reality is reality, and that everything else is mere word-idols, an expression for the fact that there is only a spiritual reality and no material-physical reality that enters into the senses? This too actually exists. George Berkeley lived a little later than Bacon, and he represents this line of development (red line). Let us take a few moments to clarify the essence of Berkeley's world view.

Berkeley's view, which essentially resulted from his theological world view – he was a bishop at the end – is that everything outside of man that is perceived by the senses is only there as long as it is perceived by the senses. So Berkeley's view is this – isn't it, perhaps the contrast is the best way to characterize it – you assume, now from a, I would say, view that is naive towards Berkeleyanism, you assume the following: When you enter, you see, let us say, Mr. Brown sitting here, but you assume that he was already sitting here before, and you see him afterwards. — As I said, there is not the slightest proof that what you see sitting in this chair was also there before you saw it. And when you go out again, you believe that the Lord remains seated here and sits there while you turn your back on him and go out. Berkeley is of the opinion that there is no proof that, let us say, what you have seen here is still sitting there. It sits there as long as you look, because that is alive, the forming in the eye, and how should the forming in the eye be there if you do not look? One can prove Bacon's view of the world to be logically complete. One can also prove Berkeley's view of the world to be logically complete, because there is no contradiction in Berkeleyanism that could arise logically. It is perfectly possible to prove it logically, even if it does not correspond to naive consciousness. Berkeley does not believe that when you go in you create the farmer and when you go out you magically make him disappear again, he certainly does not believe that, but that what you see comes only with your looking and goes away again with your looking. Esse est percipi: to be is to be perceived. And there is no being other than being perceived in the surrounding world. Therefore, as you can imagine, for Berkeley everything that is the sensory world is only in the process of becoming. You look, there it is; you look away, there it is gone, no longer there. So all this is only there in your perceptions. As I said: esse est percipi, there is nothing but perception, except the process of perception. But behind this process of perception, which is nothing but the process of perception, there is the divine spiritual being. Apart from your perception, Mr. Bauer also has to do with the God who sets him up as he wants him. And this God, when you enter, creates the image of Mr. Bauer in you from what is only in you. Then, when you leave, he lets it disappear again. So this world of the senses does not exist, only the spiritual and soul-like. All of you, as you stand here before me, are only the creature of my eyes. Besides what is the creature of my eyes, there is also the divine-spiritual, soul-spiritual world, but it receives and sustains you quite differently than you exist as the creature of my eyes.

I have only characterized this view. It is really strictly provable philosophically. But it is the one that gives, one might say, the other half of the world to Baconism. And all world views of the fifth post-Atlantic period oscillate between these two directions, between the red and the blue. Either this world view becomes entangled in the mere recognition of the sensual-real and thereby declares itself powerless to see a real spiritual in the sensual-real, or it exhausts itself in the mere recognition of the spiritual-soul, seeing only God and divine thoughts everywhere and declaring itself powerless to descend from the life in God and divine thoughts to the sensual reality. These two aberrations are very much present in the fifth post-Atlantean period. And anyone who observes spiritual life as it develops outside of esotericism will constantly find it either on one or the other, on the red or the blue line. The outer esotericism does not lie on what I have drawn here as the white line.

It can be said that in the fifth post-Atlantean period, man enters into a certain tension between these two views of the world. And Goethe felt this tension intensely. I have presented here, I would say, the theoretical, the more philosophical impulses, but it did not stay that way. All life also errs between the merely spiritual-soul and the merely sensual-material. Goethe felt this tension in the most eminent way. That he felt everything that lives in the outer world, I would like to say under the influence of the current of the blue line, you will not find wonderful, because that is how our essential development goes in the fifth post-Atlantic period, as far as possible towards the material and towards the mere recognition of the material.

But Goethe also felt the other line. He felt it deeply, only in Goethe's time it really was not yet so, I would say, precarious, to call materialism materialistic as it is today. At that time it was not as precarious to point out the aberrations of the blue line as it is today. Today spiritual science must point out the aberrations of the blue line, and it will therefore have to endure all the terrible impacts that must come, because one always only opposes with prejudice, yes, with hatred, what wants to go out into the world as knowledge. And more and more, materialism will be canonized, albeit in a worldly way. But one can still say that materialism will be canonized. How close is materialistic medicine today to declaring itself sacrosanct, how many other endeavors today are declaring themselves sacrosanct in the sense of materialism, in the sense of the aberration indicated by the blue line, the deviation from the spiritual and soul, which at the same time, however, contains as its manifestation the sensual and material, which then belongs to it, which is one with it, and which must be asserted by that which we call spiritual science. Those persecutions, which one might call inquisitorial persecutions, which have already occurred in other fields, will only come in the field of materialism, are actually only just beginning, are now beginning, are only just beginning to assert themselves, even if the forms will be different. The rebellion against the materialistic coloring of knowledge will no less fall prey to the inquisition, the inquisition of the future, which will appear in somewhat different forms than the inquisition of the past, when earlier endeavors fell prey to the corresponding inquisitions. One should not believe that everything that strays according to the blue line will not become just as intolerant as endeavors in other fields became intolerant.

The red line was not so clearly visible in the past. It only separated itself in the fifth post-Atlantic period, and even somewhat later than the blue line, but it was already included in earlier endeavors. It only really emerged in a particular form and has its most important, its greatest philosophical representative in Berkeley. But it has enough other representatives. It emerged in the fifth post-Atlantic period, but certain things remained out of the forms it already had, and that is why it was that in Goethe's time it was already difficult to talk properly about the red line, while Goethe could still talk about the blue line without difficulty. It was difficult to talk about the red line. For what is it that actually strives on the path of this red line? All those world-views strive towards it that avoid extending their view over the whole breadth of the world, and that would revel in a general spiritual-soul life, in a spiritual-soul life that wants to be powerless in the face of the manifestation of the senses. It is a world-view that wants to speak about the supersensible, but that really does not want to recognize anything. Here we have a broad field to which almost all religious denominations and all sects have gradually turned, for it is characteristic of these world views that they actually refrain from trying to understand the world and just talk about something supersensory in general and want to indulge in words. They do not want to acquire the positive, concrete power of knowledge, to really delve into the world of reality with what they attain, with what they talk about.

You will perhaps understand me better if I try to express myself in the following way. Think about how life can unfold for an average person today. He works, let us say, six days a week in a factory or in an office or wherever. He is part of a purely material mechanism that is absorbed in mere sensory observation; today, nothing spiritual is mixed into it, and less and less spiritual is mixed into it. On the contrary, anyone who wants to mix something spiritual into it is considered a real character. But in this sphere all the forces which present-day science seeks to recognize are at work. All the human interconnections which knowledge seeks to fathom are at work here. In short, all the thoughts and concepts which express themselves through the reality unfolding before our eyes are developed here. And then we assume, for his own good, that this person, who has spent the week in the office or in the factory dealing with the purely material or teaching the purely material - after all, nothing but the material is taught in ordinary schools - materially cognizable. Let us assume, out of a sense of honesty, that the person goes to church on Sunday for his own good. There he hears talk about the things that are talked about in church today, based on the evolution that has taken place over the centuries. Try, if you can, I mean, if you have been to church often enough and listened to sermons with an open mind, if you have seen with open eyes what is going on, ask yourself whether there is something in what is being said that is suitable for educating the world that is spreading around us. It is admitted that the God of whom they speak is the author of the world's ruin, but there is no mention, not a single one, of the way in which He intervenes in the world through His forces, through His impulses. There is a special Weltanschhauung for weekdays: blue line; a special Weltanschhauung for Sundays: red line. Nowhere, absolutely nowhere do we see a connection between the two, if we really look at things with insight. Just ask yourself: what does what is taught from the pulpit have to do with chemistry, physics, biology? No relationship is sought, it is even condemned.

Take, on the other hand, the humanities, and you will immediately see what is important. The humanities do not speak of the sensual-material world in the same way as ordinary physics or ordinary chemistry, but they speak of the physical-sensual world in such a way that what they say about the physical-sensual world can flow into every detail of what they say about the spiritual world. It does not have a weekday view and a Sunday view, but a view that extends over the spiritual world and flows down into the details of the physical-sensual world. It does not declare itself powerless, like Berkeleyan idealism, to grasp the world of the senses from the spiritual; it does not declare itself powerless, like Baconian materialism, to find the spirit in the world of the senses, but only to find idols. Where does that come from? Well, we have already grasped that. It is natural to the fifth post-Atlantic period that evolution, schematized by the blue line, came into being. We could, so to speak, call Bacon the inaugurator. Man had to submerge into matter at some point. I have often discussed and discussed the fact that spiritual science is by no means opposed to materialism, but understands why material development is recognized in the fifth post-Atlantic period. But it cannot be recognized without allowing oneself to be inspired by a spirit like Ahriman. And however long this materialism of the fifth post-Atlantic period continues to develop in its Ahrimanic sense, it will have to believe in turn – you can be assured of this, and you will not be because I am telling you, but because you will understand it from the whole spirit of spiritual science, he will have to hold on to this materialistic Ahrimanic sense, to which Ahriman-Mephistopheles, in his deepest hours of wickedness, had resolved to have nothing to do with the regular progress of the human race on earth. Therefore, this science, which has grown out of this materialism, will never come to a thorough understanding of the mystery of the human becoming, of the riddle of embryology and so on - never! It would be able to come to an understanding of the origin of such entities that can form on the way of the homunculus. But this science will never come to that. Now this is only one current of evolution. But much, much depends on this Ahrimanism. Knowledge is only one part of it. But this Ahrimanism runs through the whole of culture.

Goethe also felt the other current, schematized by the red line, deeply, but it was not possible for him, I would say, to present the figures for this red line as clearly, as distinctly as he presented them for the blue line. For the blue line, he created Mephistopheles and his stout and lanky demons and the lemurs. There they stand before us. He dared to do that. For those who speak of the lemurs and the stout and lanky demons will only be slandered from the present age onwards, and will be slandered more and more if they speak in the sense of spiritual science. In Goethe's time, this was still less worrying to some extent. But what was worrying was the other thing, which Goethe also saw through and saw through quite well. It was that he knew that when this red line enters our present time, when there really is a view that declares itself powerless and will declare itself more and more powerless, to come from the recognition of the spiritual and soul to the penetration of the real world, it is due to the fact that certain Luciferic spirits prevent currents that were justified in the past from progressing. Luciferic nature hinders certain trends, religious and sectarian trends, from progressing. And so they cannot penetrate the world, remain stuck in mere recognition of the spiritual-mental. Berkeleyism is just a particular expression of this. This is based on a Luciferic restraint. How does it express itself for Goethe, for example? Mephistopheles remembers himself and his brothers and sisters, those who once, in the depths of their depravity — which means something different in the language of Mephistopheles — swore destruction to the human race, that is, not wanting to know about the way humanity populates the earth. Mephistopheles remembers that it was actually part of his essence that, in the Ahrimanic period, figuratively speaking, he was in the momentous meeting of his spirits, who then decided that no human being should ever be born naturally on earth, but that the powers that exist on earth as sexual beings should be used for something completely different. These Ahrimanic entities decided in ancient times not to allow the love of the sexes to arise. But now Goethe says, not identifying himself, of course, but thinking as Mephistopheles: There are others who are not inspired by Mephistopheles, but are also inspired, well, they don't say anything about the human race on earth not reproducing in the usual human way, but they begin to pray, and find that those who do nothing in the sense of the ordinary reproduction of the human race, who refrain from it, who want nothing to do with it, those are the ascetics, the saints, who make the familiar long faces at the love of the sexes, of which we have spoken several times before. — Mephistopheles sees, looks, beholds such on the other side in the host of angels. There he sees the inspirers of these others, who, in essence, worship what Mephistopheles and his brothers and sisters have decided:

... how, in our most wicked hours,
we devised destruction for the human race.
The most shameful thing we have invented
is just right for their devotion.

That is what devotion is focused on. The Luciferian inspirers of the backward church communities, monastic communities, and sectarian movements are standing among the other crowds inside it. It is not for nothing that Mephistopheles says to the one tall fellow whom he particularly likes:

The priestly mien does not suit you at all.

Goethe has here intuitively grasped much of what he had on his mind regarding the world view that goes hand in hand with the priestly mien, regarding the Sunday world view, which he conceived as Luciferic as opposed to the Ahrimanic. Mephistopheles feels a kinship with those who have taken up into their devotions what Mephistopheles has taken up into his science and into his will.

We can talk about how we think about all these things in purely spiritual terms. But now we want to talk about these things in the Goethean sense. And what I have just said is already, if I may say so, a primeval Goethean intuition. Thus, the Ahrimanic world of lemures, dickteufel and dürrteufel is juxtaposed with something that is initially touched by Lucifer. Goethe expresses this very clearly. The Luciferic is contrasted with the Mephistophelian, as I said, in as veiled a way as possible for a personality to express it, well, a personality to whom many things are allowed: the devil. He is allowed to speak of the 'cleric's expression', of the 'dearest' boys and so on. So in the facts, these two stand in contrast to each other. On the one hand, Mephistopheles, who has, as it were, pledged Faust's soul. How is it pledged? By having driven Faust through everything earthly that goes down below the sphere that has entered into earthly becoming, and goes down below the sphere of human becoming through sexual love. He has a claim on Faust's soul because he has introduced him to everything Ahrimanic. Mephistopheles is truly not to blame for what has entered Gretchen's love through Faust, and he has sufficiently transformed it into its opposite. And afterwards things go quite Ahrimanically. Only Ahrimanic arts are used to evoke certain external phenomena of the Greek world. What can be achieved by Ahrimanic arts is first achieved in the context of the state – let us say it very softly. Then it is sought in the development of the human being, in the context of evolution, but in the context of subhuman and subanimal evolution, in the context of the mechanized homunculus, historically mechanized homunculus. Helen is brought up in a way that is not in the earthly existence of humanity. Then some earthly actions are produced, well, after all, these are not earthly figures either, who help as elves and goblins. All this is already very much mortgaged under the influence of Ahrimanic arts, and mortgaged through the only thing he can have of man's actual earthly blessing. Thus, by leading him through the shallow insignificance - for earthly existence it is only shallow insignificance, but it is therefore not something to which immense reason and science do not belong, even if it is shallow insignificance - the soul is pledged to him. Then pledged by the other, that he has of the actual earthly blessing - well, what then? Man has received his ego on earth, so first his blood. Bones, tendons, ligaments, what the patched half-nature does, Mephistopheles can have, but the actual earthly blessing, the blood, the representative, the physical-material representative of the earthly man, he would like to have that, but he cannot have that, he is left standing on the moon. From him he can only obtain the title written in blood, only that which can be brought into the abstract contract, so to speak, that which is not connected with the impulses that are in reality, but which remains in the abstract, in conformity with the contract. He can only extract that from the blood, not the impulse itself, only that can Mephistopheles extract.

The soul is pledged to him. Now, in his language, it looks as if the other host has simply smuggled it away, cunningly taken it away. But it's not that easy. Up to the point of the death we described yesterday, Mephisto still has Faust pretty much in his claws. But if you recognize death as we showed it yesterday, not just when Faust falls down, but as death gradually sets in, then what Faust experiences, and in particular experiences as the blissful feeling that I described at the end yesterday, after the soul has detached itself from the body, is something that has already been experienced in the spiritual world. There Faust's soul, or, as Goethe first wrote, Faust's entelechy (we will speak of this entelechy tomorrow), glides over into the luciferic sphere and would dissolve in the luciferic sphere. Faust would have just as little benefit from this as if he were to fall prey to Mephistopheles. Just think of what is threatening him there!

Turn to me, loving flames!
The truth will heal
those who condemn themselves;
so that they may joyfully release themselves
from evil
to be blissfully united with the All.

But this beatitude would lead to dissolution in the All, to transition into the eighth sphere! This is precisely what Faust would have: dissolution into the All, which would be identical with annihilation. And now turn to the last scene, of which I have said that it is necessarily connected with the preceding scene, that it belongs to it, that it must be there. There we see the action continuing in a completely different area. There the angels come again and bring Faust's entelechy, Faust's immortality. But in bringing this entelechy, this immortality, they say how they can bring this entelechy here. The younger angels, so it says in the last scene:

Those roses, from the hands
of loving, holy penitents,
helped us to win the victory
and to complete the great work,
capturing this treasure of the soul.

Thus the angels do not raise the entelechy, the soul of Faust, through their own nature, but by receiving the roses from the loving and holy penitents, they raise it out of the human sphere, or rather out of the sphere of people who have gone through human life on earth, who have truly developed out of earthly life. Goethe derives the whole evolution from Mephisto, from the angels, to the human evolution, in that the angels do not only save the entelechy through their own power, but they save it by having received the roses from the hands of loving, holy penitent women. That is the infinitely profound thought. Goethe brings into it his conviction of the significance of continuous human development, of the significance of earthly evolution. And so he must find something in the human being that overcomes the mere Ahrimanic-Mephistophelian. Mephistopheles stands there, commanding the lemurs, half-natures patched together out of bones, tendons and ligaments, commanding the devilish thicks and scrawnies. I have come to terms with what this means: the subhuman nature that could never produce the human being lies in all this only, nature in a basis from which man cannot grow out of, lies in there. Everything lies in there that the world view can grasp, which runs on the blue line, but what surrounds us must not be grasped in this way. From his time on the moon, Mephistopheles has only the powers at his disposal that command lemurs, thick and scrawny devils, but what they draw from nature, from the earth, is only the Mephistophelean, and something else can be drawn from it that Mephistopheles cannot know because he has not gone through the evolution of the earth in his own way. This is drawn out by seeking out the relationship with earthly powers and elements from the now real sanctification of physical nature, the ennoblement of physical nature.

Eternal bliss,
glowing bond of love,
boiling pain of the chest,
foaming divine joy.
Arrows, pierce me,
Lances, conquer me,
Maces, crush me,
Lightning, batter me;

- and so on. There you have the effervescence of nature, which belongs to the human being, which is also connected with the Luciferic, with the devilish, but goes higher. There you have this nature. And the angels have the task on earth or for the earth to take with them the care of the human race. The angels who do not stay behind, but progress to the point of caring for the human race as it should be on earth, Goethe regards as the true redeemers. Do you remember what commission the Lord gives to the actual angels:

But you, the true sons of the gods,
Rejoice in the living, rich beauty!
That which is becoming, that which is eternally working and living,
Embrace you with the sweet barriers of love.

- there they are to provide help, there they are to intervene, and they do so. Those angels truly advance in the angelic host who occupy themselves with the loving-holy penitents and take the roses from them. Just as man absorbs what is allotted to him in earthly evolution, so these angels, who do not remain on the level of lunar evolution but go along with earthly evolution, receive the forces that come from natures such as those portrayed in the last act in the loving, holy penitent women. That is what will help them to progress. Goethe is convinced that the angels develop beyond the Luciferic. As I said, I wanted to hint at Goethe's thought, at how Goethe was connected with all the great evolutionary thoughts of his kind.

We will continue our discussion tomorrow. I hope that from what we have discussed today you have seen how Goethe delves into the depths of becoming and the secrets of the world in order to create his “Faust” and how he wanted to give his verdict on the evolving currents of world view. Truly, there is much in this “Faust”, very, very much in this Faust! And it must be said: humanity could gain infinitely if it tried to find its way through all that is contained in Goethe's “Faust”, to use Goethe's own expression. But we will talk more about all this tomorrow, and about some of the connections between these Faust ideas and the ideas of spiritual science.

after a eurythmic presentation of the scenes “Midnight” and “Entombment”

Much could be said if one wanted to exhaust everything that lies in these final scenes of Goethe's “Faust”, if one wanted to point out all the perspectives that naturally arise for spiritual science from the thoughts that flow from these final scenes. Today I want to bring out a few things from the abundance of what could be said. But I certainly do not want to create the impression that these things could be completely exhausted.

We must take as our starting point two facts of the evolution of the earth if we want to understand these final scenes, two of the most important facts of the evolution of the earth. We have already referred to them. The first fact lies in the Lemurian period, the second in the Atlantean period. Today we will only characterize them insofar as we need to. The fact of the Lemurian period, characterized from a certain point of view, is that through all the events that can be read about in “Occult Science in Outline” or in our cycles, human beings have, to a certain extent, organized themselves more deeply into matter than was predetermined. This has come about through the Luciferic impulse. This impulse has, as it were, fulfilled one of the intentions to which Mephistopheles refers when he says that he undertook it together with the others in deeply wicked hours when destruction was devised for the human race. Through the fact that humanity organized itself more deeply into matter than was actually predetermined for it, human consciousness connected with all that human existence means in the evolution of the earth in a different way than it should have been. We have often pointed out that, as a result of this Luciferic impulse having been given, man connects a completely different consciousness with generation, with sexual reproduction. In those days, so to speak, sexual reproduction was brought into consciousness, and in this way it was made, in a certain sense, one might say, from a supersensible fact, into a sensual fact. That is the first.

The fact that then exists in the Atlantean period is that, since man was now already more deeply organized in sensuality than was predetermined for him, he developed his whole organism in such a way that the Verahrimanization, one could say, could take place as we have often described it, that man connected his spiritual powers with the sensual-physical natural powers and natural facts. You know that in the Bible the first fact is expressed through the image that is given of the Luciferic seduction, which is mainly characterized in the words that Lucifer speaks with regard to the human race: Your eyes will be opened, and you will distinguish good and evil. Your eyes will be opened – in this taking in of the sensual into consciousness with the opening of the eyes lies precisely the fall of mankind into matter. So now mankind had fallen deeper into matter than was predetermined for it. It was predetermined for mankind to see the material world from outside the material world. Through Luciferic seduction, humanity sank into the material world, and through the Ahrimanic of the Atlantean period, a relationship between man and the material world arose within the material world, which should only have taken place in the spiritual counter-image above. What should have taken place above, as it were floating above the material, took place in the material.

The first is expressed by the words spoken over the human being: Your eyes will be opened, and you will distinguish – outwardly – good and evil in sensual perception. – The second is expressed in the Bible, as you know, by saying: And the sons of the gods found that the daughters of men were beautiful, and they united with them in matter. — That is the biblical word, which, I would say, with reference to the human being and that which dwells in the human being, expresses a broad fact. For in this broad fact, all Ahrimanic activity in the human race is included at the same time. Through the same power with which heavenly love has sunk and been drawn into matter and become earthly love, through the power that underlies the fact of the transformation of heavenly love into earthly love, through these impulses, this fact was at the same time brought about, that in an earthly way the intellect of man connects with matter and creates the materialistic form of science. If the Ahrimanic impulses had not taken hold in man, which are expressed through their most human fact: And the sons of the gods found that the daughters of men were beautiful, and they joined with them in the flesh, without the impulses having entered the human race, had the impulses not been drawn upon to use the human intellect to create all kinds of instruments that are only combinations of material forces, and that consist of merely creating everything possible in a machine-like way for any purpose, even if that purpose is the destruction of the human race. If this Ahrimanic temptation had not occurred, it would not have been possible for instruments of murder and the like to have been devised on earth, because if people had retained the relationship between intellect and creation up there, not down in matter, they would not have poured intellect into matter to create the kinds of things that are created in our purely demonic machines, which play an ever greater role in the materialization of human culture. Just as everything that is confusion and aberration in human affectivity, human passion, human emotional life, is expressed by the fact: “And your eyes will be opened and you will distinguish - outwardly, sensually distinguish - good and evil - so all the facts that, as it were, arise from the pride and out of the Ahrimanic nature of man, such as great advances of humanity are marvelled at, the purely mechanical culture, is out of the same principle as that which is hinted at in the Bible: And the sons of the gods found that the daughters of men were beautiful, and they joined with them in the flesh. The records express these things in their own way. In a certain field they shine where these impulses lie, but these impulses are effective in a wide periphery. In the present age, when humanity is to overcome that which is Luciferic and Ahrimanic – and this must be fully recognized – in our time, a clear insight must increasingly prevail regarding what has come about through the opening of the eyes, through the union of the Sons of God with the daughters of men, that is, through the descent of heavenly love to earthly love. A clear understanding must spread.

And Goethe's intuitive perception came close to grasping the necessity for this clear understanding. Precisely when he was writing the last scenes of Faust, his intuitive perception, which was based on instinct, came close. This is of infinite significance. What, then, is it all about? You know, it achieves nothing to say: Oh, I avoid the Luciferic, I avoid the Ahrimanic. That is foolish talk, for one cannot do that; one can only establish the balance between the two. Thus, the Luciferic must gradually be paralyzed by the Ahrimanic as human evolution progresses, and, conversely, the Ahrimanic must be paralyzed by the Luciferic. This is what Goethe sensed and what he incorporated into the last scenes of his “Faust”.

Let us recall once more the deeply moving scene with Sorge. Do you recall how it was explained in an earlier cycle that the rightful realm of Ahriman-Mephistopheles is the realm of death? Thus, in a certain sense, destruction and dying already belong to the realm of Ahriman; he must only not apply his impulses in a misplaced way. When he applies them to places where they do not belong, then the

bad arises. Now, Goethe has lack, need, guilt depart at the moment when the physical body begins to separate from the spiritual soul. In this way he indicates that he is aware of the connections that exist between man and lack, need and guilt, especially for the physical life on earth spent in the body. But when the soul is already loosened, when it is already said of the three that death is approaching, then there still remains worry, but it is still related to the others. It remains, so to speak, in the time in which death is already at work. It is sent from the legitimate realm of Ahriman, worry. Ahriman could do nothing worse for Faust than prevent worry from remaining with Faust through the beginning of Faust's death, for in this lies the intervention of very mysterious forces. A deep mystery is touched here. What does worry do? Sorrow, which is also brought by Mephistopheles-Ahriman, like all gray-haired women, for the magic of Mephistopheles still lasts until then, what does sorrow do? It undoes in Faust what Lucifer has achieved; it closes his eyes again. Do you realize the depth of the world view here! That which came to man through Lucifer's impulse is now paralyzed by an impulse of Ahriman through the detour of worry. Man has become sighted in the physical realm through Lucifer. Now he is being blinded again by the form brought in from the realm of Ahriman, that is, made to see inwardly.

But within there is a bright light.

There is an enormous depth to this matter. And so, in this dying Faust, Goethe is really not trying to undo anything in a human being, but to shape the Luciferic in such a way that it enters life in balance with the Ahrimanic. And now, in a sense, care speaks a profound word to interpret what it does. Lucifer once said: You humans will see by having your eyes opened. What does care say? Care counters the Luciferic with the Ahrimanic. People have indeed become able to see outwardly, physically, but they are blind in spiritual terms, and this continues throughout their lives. How can this blindness be overcome? By consciously immersing oneself in it, by grasping it, by recognizing it, and thus spiritual seeing, spiritual looking, occurs. Now Sorrow utters a word that one could already say, with a certain justification, sounds equally mysterious to the clever and the foolish:

People are blind throughout their lives,
Now, Faust, you will become blind at the end!

Thus, Sorrow seems to say:

People are blind throughout their lives,
Now, Faust, you will become blind at the end!

One cannot make much sense out of these two sentences. One wonders: What is it actually supposed to mean? — So, physically, people see all their lives, but worry calls this blind.

Well, Faust, you will become blind in the end!

He is now really going blind. She applies the words in a completely different way, but she actually means that he becomes inwardly sighted. It is important to learn how to read these sentences in the right way. And that consists of:

People are blind throughout their lives,
Now, Faust, you will become blind at the end!

The experience lies in the becoming. For people, it is a given fact: they are blind. But Faust should not be blind, but should experience the process of entering into blindness. Become blind, experience this connection between being-seeing and being-blind. Take this word and link it to another:

But you, the true sons of the gods,
Rejoice in the livingly rich beauties!
The becoming

- attention is drawn to this! —

That which is becoming, that which is eternally active and alive,
embraces you with the sweet barriers of love.

The Becoming, which is eternally active and alive, is conceived as the spiritual, as the reflection of the spiritual in the “Prologue in Heaven”; this Becoming is now poured out upon Faust through the concern:

Men are blind in their whole life,
Now, Fauste, become blind in the end!

It is something different to experience the connection between seeing and blindness in the process of becoming than not to experience it, but to be only in the blindness of seeing,

If one is well acquainted with Goethe, one can well understand his peculiar feelings towards being and becoming, and then one has a deep, deep understanding of Goethe in this interpretation of this saying. So we see how Goethe penetrates to the deepest human secrets. This going blind through worry is really the counterpart to man becoming blind through Lucifer in paradise.

And now let us move on. Let us look at Mephistopheles as he stands there, facing the sons of the gods, who have received, so that they can truly have the treasure of the soul, the roses from the hands of loving, holy penitents. What has happened here? These penitents were once on earth, they went through earthly love, through that which had become of Ahrimanic seduction in the Atlantean period. But what have these penitents achieved through their human experiences? Earthly love has become heavenly again! We see at the end that Gretchen herself has carried the earthly love she experienced here up into the spiritual regions. And what took place here on earth has been transformed into the spiritual and heavenly. Gretchen is up there among the penitents, she is among the penitents scattering roses. Love that has become earthly comes to us again in a heavenly form. She has been led back to the heavenly realm through the process of humanity, through what human beings can experience. And

if the Bible expresses it at the point where it means heavenly seduction, that heavenly love has become earthly, then Goethe points to the process of humanity, where earthly love becomes heavenly again, and Mephistopheles stands below as a son of the gods too, but now unites with the daughters of men, who in turn have become spiritual, through the roses they have strewn. It is the reverse process of the one the Bible suggests to us: And the sons of the gods united with the daughters of men. And again, Mephistopheles, who had strayed with the daughters of men, united with the daughters of men, who had been taken up by the gods. So it is the reverse process. Both the process in Paradise of the Luciferic temptation and the later process, which was indicated by the words: “The sons of the gods united with the daughters of men in the flesh” —, are applied in the opposite direction. The son of the gods, Ahriman-Mephistopheles, unites with the daughters of men, who in turn have been taken up into the nature of the gods, but now in heavenly love, not in earthly love, in spirit, in soul, not in the flesh. The reverse process. Once again, a wonderful mystery through which the events of “Faust” are directly linked to the highest traditions of humanity.

And only now, taking things this way, do we understand what Goethe actually means, for only now are we able to grasp the process that is taking place. It is most interesting to follow how Goethe was led, I might say, by the necessity of the matter, to shape the conclusion of his “Faust” exactly as he did. He really allowed himself to be led by the matter, not by some mere inner arbitrariness, he allowed himself to be led by the matter. Just consider, he once wrote down, when the matter was not yet finished, when it was so ripe that he could write it, in a scheme of how he wanted to shape this scene. There he writes down:

“Four gray women.” — Well, he carried that out.
“Faust and sorrow“ — carried out.
“Mephistopheles and lemurs” — carried out.
“Faust satisfaction“ — carried out.
“Gone. Corpse. Lemurs burying. Removed. Satans and hellish rachen” — good.
“Decay awaiting“ - he formed that. “Because the soul escapes later than usual” - that is again executed. “Satanic postures to catch it” - well, that is what we have tried to depict here today! “Angels, heavenly glory, float by. Mephistopheles. Resist. Angels scatter roses. They wither at the breath of the satans. Transformed into flames of love. Satans flee. Mephistopheles's love torment. Angels float away. Mephistopheles to the appeal."

Goethe originally wanted to tie in with this appeal, where Mephistopheles, as it were, appeals to heaven for the soul of Faust. So he wrote this down: Mephistopheles off to appeal. -— Then he writes: “Heaven, Christ, Mother” — that is, the Mater dolorosa — “Evangelists and all saints. Judgment on Faust”. So not long before Goethe completed his “Faust,” he wanted to end it with Mephistopheles appealing to heaven on behalf of Faust's soul, and he thought of having a kind of judgment held, where one should have seen a kind of heavenly scene, in which Christ, the Mother of God, the Evangelists and all the saints were gathered. Goethe had thought of presenting this scene in a way similar to the way we find the upper part in the well-known Raphael painting, where the sacrament is in the middle. We know this picture. A judgment should have been held over Faust. Goethe did not carry this out because at the time he wrote it down, he wanted to follow his inner arbitrariness even more. He was driven by the desire to do it differently. The first could have been quite beautiful, but, one might say, it could have been written in earlier times. It no longer fits into Goethe's time. Only those who understand nothing about the developmental history of humanity believe that everything can be written at all times and that the same things can be written about in the same way in every age. Those who are alive in the process of human development

So that is not what Goethe did. Instead, he did what we now know and what was presented here some time ago, the scene where it goes up through the holy anchorites, where we are then led into the realm where the angels come, into the realm of the blessed children, where the penitent women appear, where Gretchen herself appears. That is to say, Goethe humanized the last scene, in keeping with the challenge of the times that was set for him, and included the human element in its significance for spiritual reality. Goethe himself once said that, to a certain extent, the most important thing for solving his Faust problem lies in the words contained in the final scene:

Whoever strives and labors,
We can redeem him;
And if his soul has been touched
By love from above,
The blessed host will meet him
With a warm and loving welcome.

One should not take such a word of Goethe lightly. The commentators on Faust took it very lightly. By pointing this out, Goethe wanted to show how deeply he was able to grasp the secret of the gracious working of the divine spiritual principle in relation to man. And he proceeded with deep significance. But he took it in a lively way. Through the fact that Gretchen had certain experiences at Faust's side during her time on earth and was then transported into the spiritual worlds, a bond is created between Faust and Gretchen, and Goethe wants to show that something like this is a reality to him, that when death passes over these things, they remain a reality. Man is placed in the connections that are formed during his physical existence, only when death has passed over them, they take on a spiritual form.

And if love has shared in him
from above,

– that is, he has entered into an elective affinity with the spiritual that has become of the sensual – then what has become spiritual meets him with a warm welcome, then he is not only a free human being, then he is a human being enveloped in the effects of grace. Goethe points out how deeply significant everything becomes for the human being that he enters into by way of elective affinity, and how real it is for the human being who is interwoven in some way, having been taken up from the physical into the spiritual. And how real are the things that people do in the moral and spiritual realms, how these are not just, as materialism believes, something temporary, but something that continues to have an effect, something that has significance for developing humanity. This is what Goethe shows in this final scene. That is what makes this final scene so magnificent.

What can materialism say other than: Well, the Pater ecstaticus, he imagines things; but when the Pater ecstaticus is dead, then it is all over. Likewise the Pater profundus, likewise the Pater Seraphicus, and so on. — For Goethe, what these anchorites experience is just as real as the rising and setting of the sun is real to him. And just as the rising and setting of the sun has an effect on the physical world, so in Faust's soul a real process is effected in Goethe through what flows through the world from the raptures and prayers and mystical hoverings of the anchorites. Goethe presents the reality of the spiritual world, insofar as this spiritual world is rooted in human feeling and in human inner experience. Not just the supermundane conceptions that are to some extent detached from the human being, but the supermundane conceptions that are deeply connected with the human being, are presented by Goethe. And that is why his Faust has become the real poem about the origin, about the first time of the fifth post-Atlantic period.

But one thing must strike those who follow the various notes that Goethe made before writing the individual scenes. I have already spoken of some notes in another context. For example, at the end of the 18th century, when Goethe was once again approaching the task of editing his “Faust”, he wrote down a few sentences of this sketch of how he wanted to work, how he wanted to transition from what had already been edited to what followed. He wrote down:

“Ideal striving for influence and empathy in all of nature.
Appearance of the spirit as a world and deed genius.”

- That's all there.

"Conflict between form and formlessness.
Preference for formless content
over empty form.
Content brings form with it.
Form is never without content.
These contradictions, instead of unifying them, make them more disparate.
Bright, cold scientific striving. Wagner.
Dull, warm scientific striving. Pupil.
Enjoyment of life of the person seen from the outside, Part I.
In dullness, passion.
Enjoyment of action outwards, Part II, and enjoyment with consciousness.
Beauty.
Enjoyment of creation from within.

There he already indicates the direction he wants to take towards the end. And then he writes down what was not carried out: “Epilogue in Chaos on the Way to Hell”.

I have already said how it was misunderstood that this epilogue should have been held in chaos on the way to hell. People racked their brains over how Faust should have ended with an epilogue in chaos, on the way to hell. So, in a relatively advanced stage, Goethe would not have wanted Faust to be redeemed, but would have wanted him to go to hell. People have not thought about the fact that this epilogue should be spoken by Mephistopheles and not by Faust. Faust goes off to hell after having lost the bet and speaks his epilogue. But Goethe could not carry this out, it is really not there. Why is it not there? Because at that time it could not yet be written, arising out of the profound mystery and at the same time out of the mystery of his time. For what would be contained in this epilogue in the chaos on the way to hell? Let us imagine what would be contained there. What has happened? We have considered the various interactions that have occurred between the Ahrimanic and the Luciferic, which are depicted at the end of Goethe's 'Faust'. As a result, Faust's soul has not really been captured by Ahriman-Mephistopheles, but enters the spiritual world in the appropriate way, to join the forces that come from the blessed host in the way we have depicted. It is due to the fact that the Luciferic element has gained a little ascendancy, that a kind of spiritualization has occurred for Faust, that the materialization, which should have occurred through Ahriman, whereby Faust's soul would have remained united with matter, as it were, through earthly heaviness, and Faust would have sunk into an abyss — the ruler over matter is Ahriman-Mephistopheles! That this did not happen. It did not happen. In a sense, the scales tipped more towards the Luciferic side. This made it possible for Faust's soul to enter the region where it then enters, where, with the overcoming of the Ahrimanic in the appropriate way, the human effects of penitents and Gretchen themselves are in the spiritual sphere.

Now Mephistopheles is standing there. He wanted to capture this soul, but could not. He did not succeed in connecting it with the heaviness of the earth, otherwise it would either have remained with the corpse and been caught by the circle of lemurs, or it would have been captured by the thick devils or the thin devils. None of this has succeeded. Such a state of equilibrium between the Ahrimanic and the Luciferic has arisen that Faust has risen to heavenward. But Mephistopheles has now come to a standstill. The soul has escaped him. But he could now say to himself: Yes, here I stand; this soul has escaped me, but it will again move into my realm, it will return to earth. Then I will recognize it, then I will be able to come close to it again, because then it will have to undergo new ahrimanic trials. — Having explained this, there would be the 'epilogue in chaos on the way to hell'. For that is the peculiar thing about Mephistopheles-Ahriman, that he always believes he will win in every incarnation. And in every incarnation, when the corresponding state of equilibrium with Lucifer occurs, he can again lose his victory. That is the peculiar thing. But this to and fro of man between Ahriman and Lucifer must take place, otherwise the human personality could not develop. If man did not have the spirit that works and creates through resistance, the human personality would not be able to develop. It is only through resistance that the human personality develops. Even in our body, our personality develops through resistance. Think, if we did not have two eyes and could direct them at things so that their axes intersect, if we did not have two hands that touch each other, and one of which washes the other, our personality consciousness would not be able to develop physically. The lord of obstacles, the lord of hindrances, is also Ahriman-Mephistopheles. Therefore Ahriman had to gain great influence in the fifth post-Atlantean period, because personality is to be developed precisely in this fifth post-Atlantean period. In earlier periods, the human being had far less personality; in the Egyptian-Chaldean period, almost none at all, since the human being was still almost completely enclosed in a sense of community. I have often discussed this. Personality only really begins to emerge in the Greco-Latin period, and even then slowly, there is still a lot of sense of community. Then in our fifth post-Atlantic period is the time when the personality must become fully aware of itself, so that it can fully create out of itself what is to be achieved for this fifth post-Atlantic period. The strongest demands on the creative and life impulses of the personality are the hallmark of the fifth post-Atlantic period. In this fifth post-Atlantic period, spiritual science must enter into human development. But this spiritual science demands, in order to be understood, grasped and comprehended, a greater strain on the intellectual, the sentient and also the will forces, a greater strain on all the forces of the personality than was present in earlier times. And it was from a deeply intuitive recognition of the impulses of his time that Goethe placed Ahriman-Mephistopheles at the side of Faust, who is to develop personality consciousness in his trials. He must develop in the face of the resistance of Mephistophelian influences; he must recognize what lives in Ahriman-Mephistopheles from the one-sided development of reason and science, but he must preserve himself in it. For a personality who has passed through all science – “Alas, now I have studied philosophy, jurisprudence and medicine, and unfortunately also theology!” – and who has also taken up magic and magical traditions, it was only possible either to fall into mystical enthusiasm for the Earth Spirit:

In the flood of life, in the storm of action
I surge up and down,
weaving back and forth!
Birth and grave,
an eternal sea...

— to weave with it! But this is a rising, a becoming nebulous in this weaving and living in the storm of action... only vague mystics who want to lose their personality may long for this! The fifth post-Atlantic period demands the precise exertion of the strongest personality forces, and out of this knowledge and will in man should arise in the fifth post-Atlantic period. Therefore, however, in this fifth post-Atlantic period, humanity is required to fully employ its personality. And this will become more and more a requirement of this fifth post-Atlantic period: strengthening, empowering the personality through full use of the personality. It will become necessary, also with regard to moral understanding of life, for people who do not want to lag behind in their development to use their personality more and more. This strengthening of the personality will be a demand of the time. And this strengthening of the personality lies in the sense of normal, good, proper further development. The weakening, obscuring of the personality does not lie in the impulses of the rest of the fifth post-Atlantic period. This dissolving of the personality in nebulousness is a relapse, an atavistic relapse into ancient times. But when left to themselves, the opposing Luciferic and Ahrimanic forces work against the human being and undermine his tasks. Because the human being must then fully employ the spiritual science that should arise out of the strong forces of the personality for the fifth post-Atlantean period, Ahrimanic counterforces work against the personality. We must understand this, and it is from this point of view that we must view our time.

If we look back to earlier times, we shall find, in spite of all that is already personal, much more objective striving. In our time, the Ahrimanic forces are working in such a way that they gradually seek to draw the objective striving entirely into the sphere of the personality of those individuals who allow themselves to be drawn into it. Consider how, little by little, everything is diverted from the factual to the personal. This is not just a matter of chance, but something that lies in the nature of our time. Someone is working in the service of evolution, which continues to have a regular effect. Instead of approaching the matter, the fight against his personality will start more and more, personal defamation, personal distortion, will take the place of the factual. And today we can already see how far this has progressed in our age, how people no longer know how to distinguish between purely personal suspicion and objective criticism. And precisely where spiritual science is being practiced in an improper way, it expresses itself most grotesquely and most strongly.

Just recall our own struggles. Do you remember how objectively something had to be presented against the movement that has been attached to the name of Mrs. Besant in recent times. Did they present a single objective argument in their reply? No! Only the strongest personal suspicions. All personal suspicions! This is only a caricatured anticipation of what is a characteristic of our time and will take up more and more space, and which must be seen through with full awareness. Because personality must be pushed into the breach – because only through personality will it be possible to achieve more and more of what used to be achieved more through public spirit – the fight against personality is also starting. And because strength is demanded of the personality, and the sense of comfort does not want to seek strength from the thing that is striven for, the weak personality, the incompetent personality, is today so directed by the own power of the personality, drilled up into the strong. Without having learned anything, without having seriously occupied himself with anything, without having penetrated deeply into anything, today, purely out of the arbitrariness of the personality, this or that is done. And one does not understand at all how to reckon with these things.

In our field, you can again do some nice studies. How often has it been necessary to repudiate the swelling folly that has developed in our movement over the years, to repudiate the swelling vanity! But vanity does not understand that it must be repudiated. An example: in Frankfurt, when I was there once, I received a telephone call from a man who said he had to speak to me immediately. He then arrived, with extremely long hair that fell down over his shoulders and a corresponding patriarchal beard. He explained that he had been following me for quite some time and that he wanted to reach a kind of compromise between what he has to give to the world and what I represent. Well, you can't help but violate that principle of brotherhood, which considers amateurish stupidity and that which is honestly striven for as equivalent. You have to presume to make that distinction. So, of course, you have to let such people go, you don't have to worry about them any further. You don't have to be rude to them, but you do have to show them what you think of them and that you don't subscribe to the vague principle of equality, that every self-important idiocy must be regarded as equivalent to the other. Well, after some time the person in question appeared here in Switzerland and even announced lectures in various cities against me. He has also caused mischief in other ways, as some of those sitting here know. Thus enmities arise because the personality, which today must push itself into the breach everywhere, must permeate itself with something. But if it cannot do so, it wants to be strong without first making itself strong through the forces that permeate it. One must see through the causes of the conflicts. That is the essential thing. We must really understand the times in which we live, not act arbitrarily. Therefore, the strongest possible assertion of the personality is what our time demands. Fight the Ahrimanic battle against the personality.

The second thing that our time demands, and demands quite energetically, is familiarization with the sense of fact. Humanity is instructed to understand the spiritual world. In this spiritual world, it is not the case that one can follow how one is being corrected. I expressed this in the final chapter of my “Theosophy”, that one is not corrected when one has done something wrong. Read it up. Sense of fact, sense of real facts. But the strongest Luciferic battle is being waged against this sense of fact in our time. In no other time, despite everything and in spite of everything that has happened, have facts been falsified as much as in our time! The Luciferic instincts call upon Ahrimanic forces, which present facts in a lying way. This tendency to present facts dishonestly is on the increase and will become more and more prevalent. It is important to see through this. Becoming accustomed to a sense of fact and to the fact that one will increasingly have to stand up for what needs to be stood up for in the world with one's personality is part of the fifth post-Atlantic period.

Try to understand how, especially in our field, the Ahrimanic and Luciferic struggle can already be observed today, how, right up to the most recent events, we have been confronted with a lack of sense of fact. Things are being written and said today that are no longer true at all.

Goethe sensed all this, deeply sensed it. If you go through his “Faust”, you will see that he connects the luciferic and ahrimanic forces to the nature of Faust in such a way as it must be seen by man if man wants to properly place himself with consciousness in the impulses of the fifth post-Atlantic period. In detail and on a large scale, the forces of Ahriman and Lucifer work against the human being. If Ahriman were not recognized, if Lucifer were not recognized, one would not be able to continue to live in the appropriate way. And all this must be brought about through spiritual science. One would like to say that it cannot be discussed strongly enough today, because one is still little understood today according to the weight of what has to be brought out of spiritual science. Things are taken too lightly, too easily forgotten. What our time demands is the deepening and strengthening of the personality, a sense of fact, a sense for true facts, and working with them on a large scale, one could say today, with the external events of the world. There are two things that work against what is necessary for the progress of humanity: an absurd nationality principle that has become atavistic. That is the first. A perverse nationality principle, as it was brought into the world by the Napoleons in the 19th century in particular, a nationality principle in the name of which many impulses are invoked today against the true sense of human development. A befogging nationality principle that befogs and confuses concepts, that places concepts in false spheres. I will make myself clear in the following way.

In a certain sense, we are right to speak of a green meadow if we understand the matter correctly. But we understand the matter correctly only if we speak of the green meadow in such a way that we know that the individual plants are green and that the greenness of the meadow

consists in the green of the individual plants; the individual plants have the concrete green. If I wanted to have the green of the meadow in concrete terms, without the concrete greenness of the individual plants, I would have to paint the meadow green, but then it would truly not be a green meadow. I can only speak of the green of the meadow if I am aware that in concrete terms I can only mean the green of the individual plants. I must know that the green quality is applied only to the individual plants, and that I must not think confusingly as if the green quality of the meadow could apply to the whole. If I use the word the green quality of the meadow in the abstract, then I must be clear about the fact that I am forming only an abstraction which summarizes the individual concretes, the green plants. It is absolutely necessary that there should be such clarity in the use of concepts, that, for example, people should learn that the words “freedom” and “justice” can only be applied in relation to the individual human being, just as “verdancy” can only be applied to individual plants, and that when I speak of the justice and freedom of nations, I can only mean an abstraction, just like the verdancy of a meadow. But today the most mendacious motto that could possibly exist is being spread across half the world, with talk of something that is to be fought for in the name of the rights and freedom of nations, which is such nonsense, such folly, as the green color of a meadow is a folly, if one thinks one could paint all the plants in the meadow, instead of the meadow being green because of the individual plants. Nevertheless, today's delusion of nations, with the false principle of nationality, speaks of this foolish motto: the rights and freedom of nations. And one is quite sure to be considered a fool, a madman, if one expresses what has already been expressed, especially in connection with 'Faust', who says: 'On free ground with a free people', not with a free nation, which could not be mentioned at all, - which must already be expressed in reference to 'Faust'. Today, one is certain to be considered a fool or a malicious person who rebels against something that is so beautiful and so great and so ideal, that is so well intended, but that is thought imprecisely, thought carelessly , is conceived with malevolence because it brings in something atavistic that does not belong in our time, because it teaches the individual a consciousness that comes from weakness and not from strength of personality.

And the other thing that works against progressive principles in our time, apart from the absurd principle of nationality, is the politicization of intellectual life. It is important to understand these two things, to understand the politicization of the life of thought. I have already drawn attention to the meaning of “policy” in another context, where people are constantly talking about policy, about staging certain thoughts in order to achieve this or that. But how widespread this is in the world! In our fifth post-Atlantic period, the worst is emerging from this politicization of the life of thought. A time that could still believe in a certain way when it formed thoughts, could be inspired at its councils, and could decide on this or that dogma, which was then used to achieve this or that in the world. But our time, which is truly uninspired in its materialistic structure, will, if it does not tie the thought in such a way that it is tied in responsibility to the impersonal truth, grasp the thought only out of personal-arbitrary or out of association-arbitrary or otherwise somehow common-arbitrary aspiration. And so the thought is not put into the world because one sees its correctness, but because one wants to politicize with it. This politicization of the thought life goes on and on. And one does not educate oneself in such a way that one comes to the right, to the true thought, but one educates oneself in such a way that one comes to a thought with which one can politicize, for example with the thought of not vivisecting animals. But one does not grasp the thought in its truth, but by its political power of agitation. One agitates with the thought, one politicizes with the thought in temperance associations, in anti-vivisection associations. One does not grasp a thought in its reality – temperance, vivisection or the like – but one politicizes in relation to it. Thought is politicized everywhere. They are absorbed into the political machinery. The false principle of nationality, the false politicization of thoughts, as it lives especially in our present-day clubbiness, is what is contrary to the currently progressive correct evolutions of humanity. Associations are founded, not to represent the truth, but to achieve this or that. As a result, even the right idea can be fanatized, made one-sided, while the fifth post-Atlantic period has in its fundamental character the task of working through the truth.

Herman Grimm, who had become familiar with Goethe's life, said: “Goethe's ‘Faust’ represents a poetry that is really thought out entirely from the organization of the human personality.” A middle-ranking university professor goes astray in his scientific pursuit, going through all sorts of things. But what he goes through is representative of all human striving in the highest sense and, if you go deep enough, contains everything that can arise in a person in our time in terms of philosophical questions, everything that can arise in terms of matters of the heart, and everything that can arise in terms of political forces. And one could add from the depths of spiritual science: precisely that which is purely human, which is the content of humanity, is contained in this “Faust”. What nation does he belong to then? None, of course. And he is the most vivid protest against the false nationality principle of our day, which is thoroughly captured in a word of Grillparzer, a harsh-sounding but deeply true word of Grillparzer. Grillparzer spoke the word: from humanity through nationality to bestiality. That is the way! Nationality leads astray when it is insisted upon, when aspirations are drawn from it, from humanity, and it soon leads into bestiality. And of course politics is necessary in the world, but not the politicization of thought. And one sees how Goethe's thoughts are depoliticized! Try to understand the second part of Goethe's Faust from this point of view; it is written from tremendous depths. It is a great document not only of our time, but of all times of humanity, for it touches on the questions that we have seen, which stand directly alongside the great biblical questions. The scene of Sorrow stands beside the scene of Paradise; the scene where Mephistopheles stands before the spirits of heaven stands beside the image that the Bible gives of how the sons of the gods took pleasure in the daughters of men and joined with them in the flesh.

One would like to have much, much better words to point out what should be deeply inscribed in the human mind and heart and what should not be forgotten, which unfortunately is all too quickly forgotten after it has been heard. For the healing of the great evils of the time can only come from an understanding of the things that have been touched upon.

If today, in connection with Goethe's “Faust”, I have tried to give some idea of the impulses of the fifth post-Atlantean period, and how they are spiritual, I would above all like to see an understanding come of how the sins against these impulses of the fifth post-Atlantean period are showing up all over the world, how lack of understanding is occurring everywhere in the world precisely with regard to what is to be understood. Oh, I would like to have the words with which I would like to talk about these things! But perhaps in the times to come other people will find better words to discuss the things that are so little understood today, because so many people would like to let their personality be submerged in some convenient support for this or that, seeking to become this or that through this or that movement here or there, and then no longer able to extricate themselves from the false principle of community or false principle of nationality, no longer able to extricate themselves from the politicization of thought. And yet, everything that goes down this false track will fall prey to Lucifer and Ahriman. Only that which will know that nothing can be achieved on this track will flourish! However comfortable we may be in all the various agitations and club activities of our time, the path that must be found will only be found in the service of that human activity that seeks wisdom in truth, and that is convinced that only by incorporating truth into humanity can the human goal can be achieved by incorporating truth into humanity, and which knows that all politicization of thought must cease, all agitating with thoughts as if they were dogmas, that they must be grasped with the full sense of responsibility for truth, not for their agitational value, not for the favor that we show them. It is not because they please us that thoughts may enter our sphere, but because we really have the full sense of responsibility for truth and truth-value.

I would like to have said much more than can be contained in the words spoken in the appendix to Goethe's “Faust”. I want it to continue to work in hearts and souls, because I know how much of what is needed for our era and for humanity, which is wandering on such wrong paths in our era, is contained in it. If we cannot admit to ourselves the wrong paths we wish to continue along, then we cannot make real progress towards the right goal that humanity must pursue.