13. Occult Science - An Outline: Preface to the 1925 edition
Translated by George Adams, Mary Adams Rudolf Steiner |
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[ 10 ] People with half-formed notions who allege auto-suggestion in this regard have little idea of the real depth and intimacy of such understanding. For the scientific understanding of the physical world there may be truth or error in our theories and concepts. |
[ 12 ] When a man's judgment is tinged however slightly by the dogmatic assertion that the ordinary (not yet clairvoyant) consciousness—through its inherent limitations—cannot really understand what is experienced by the seer, this mistaken judgment becomes a cloud of darkness in his feeling-life and does in fact obscure his understanding. |
It is no less intelligible than is a finished work of art to the non-artist. Nor is this understanding confined to the realm of aesthetic feeling as in the latter instance; it lives in full clarity of thought, even as in the scientific understanding of Nature. |
13. Occult Science - An Outline: Preface to the 1925 edition
Translated by George Adams, Mary Adams Rudolf Steiner |
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[ 1 ] Fifteen years having now elapsed since the first publication of this book, it may be suitable for me to say something more about the spiritual circumstances and my own state of mind when it originated. [ 2 ] It had been my intention that its main content should form part of a new and enlarged version of my Theosophy, published several years before. But this did not prove possible. At the time when Theosophy was written the subject-matter of the present volume could not be brought into an equally finished form. In my Imaginative perceptions I beheld the spiritual life and being of individual Man and was able to describe this clearly. The facts of cosmic evolution were not present to me to the same extent. I was indeed aware of them in many details, but the picture as a whole was lacking. [ 3 ] I therefore resolved to make no appreciable change in the main content of the earlier volume. In the new edition as in the first, the book Theosophy should describe the essential features of the life of individual Man, as I had seen it in the spirit. Meanwhile I would quietly be working at a new and independent publication, Occult Science—An Outline. [ 4 ] My feeling at that time was that the contents of this book must be presented in scientific thought-forms—that is, in forms of thought akin to those of Natural Science, duly developed and adapted to the description of what is spiritual. How strongly I felt this “scientific” obligation in all that I wrote at that time in the field of spiritual knowledge, will be evident from the Preface to the First Edition (1909), here reproduced. [ 5 ] But the world of the spirit as revealed to spiritual sight can only partly be described in thought-forms of this kind. What is revealed cannot be fully contained in mere forms of thought. This will be known to anyone who has had experience of such revelation. Adapted as they are to the exposition of what is seen by the outer senses, the thoughts of our every-day consciousness are inadequate, fully to expound what is seen and experienced in the spirit. [ 6 ] The latter can only be conveyed in picture-form, that is, in Imaginations, through which Inspirations speak, which in their turn proceed from spiritual reality of Being, experienced in Intuition. (Concerning “Imagination, Inspiration and Intuition,” the necessary explanations will be found both in the present volume and in my book Knowledge of the Higher Worlds and Its Attainment.) [ 7 ] Today, however, one who sets out to tell of the spiritual world in Imaginations cannot rest content with such pictorial descriptions. He would be foisting on to the civilization of our time the outcome of a state of consciousness quite unrelated to existing forms of knowledge. It is to the normal consequences of the present age that he must bring home the truths which can indeed only be discovered by a higher consciousness of the present age that he must bring home the truths which can indeed only be discovered by a higher consciousness—one that sees into the spiritual world. The subject-matter of his exposition, namely the realities of the world of spirit, will then be cast into forms of thought which the prevailing consciousness of our time—scientifically thoughtful and wide-awake, though unable yet to see into the spiritual world—can understand. [ 8 ] An inability to understand will at most be due to hindrances that are self-imposed. The reader may have fixed in his mind some definition of the inherent limitations of human knowledge, due to a mistaken generalization of the limits of Natural Science. [ 9 ] Spiritual cognition is a delicate and tender process in the human soul, and this is true not only of the actual “seeing” in the spirit, but of the active understanding with which the normal “non-seeing” consciousness of our time can come to meet the results of seership. [ 10 ] People with half-formed notions who allege auto-suggestion in this regard have little idea of the real depth and intimacy of such understanding. For the scientific understanding of the physical world there may be truth or error in our theories and concepts. [ 11 ] For the spiritual world, it is no longer a merely theoretic issue; it is a matter of living experience. [ 12 ] When a man's judgment is tinged however slightly by the dogmatic assertion that the ordinary (not yet clairvoyant) consciousness—through its inherent limitations—cannot really understand what is experienced by the seer, this mistaken judgment becomes a cloud of darkness in his feeling-life and does in fact obscure his understanding. [ 13 ] To an open mind however, though not yet “seeing” in the spirit, what is experienced by the seer is comprehensible to a very full extent, if once the seer has cast it into forms of thought. It is no less intelligible than is a finished work of art to the non-artist. Nor is this understanding confined to the realm of aesthetic feeling as in the latter instance; it lives in full clarity of thought, even as in the scientific understanding of Nature. [ 14 ] To make such understanding possible, however, the seer must have contrived to express what he has seen, in genuine forms of thought, without thereby depriving it of its “Imaginative” character. [ 15 ] Such were my reflections while working at the subject-matter of my Occult Science, [ 16 ] and, with these premises in mind, by 1909 I felt able to achieve a book, bringing the outcome of my spiritual researches, up to a point into adequate forms of thought—a book moreover which should be intelligible to any thoughtful reader who did not himself impose unnecessary hindrances to understanding. [ 17 ] While saying this retrospectively today I must however admit that in the year 1909 the publication of this book appeared to me a venture of some temerity. For I was only too well aware that the professional scientists above all, and the vast number of others who in their judgment follow the “scientific” authority, would be incapable of the necessary openness of mind. [ 18 ] Yet I was equally aware that at the very time when the prevailing consciousness of mankind was farthest remote from the world of spirit, communications from that world would be answering to an urgent need. [ 19 ] I counted on there also being many people feeling so weighted down by the prevailing estrangement from the living spirit that with sincere longing they would welcome true communications from the spiritual world. This expectation was amply confirmed during the years that followed. [ 20 ] The books Theosophy and Occult Science have been widely read, though they count not a little on the reader's good will. For it must be admitted, they are not written in an easy style. [ 21 ] I purposely refrained from writing a “popular” account, so-called. I wrote in such a way as to make it necessary to exert one's thinking while entering into the content of these books. In so doing, I gave them a specific character. The very reading of them is an initial step in spiritual training, inasmuch as the necessary effort of quiet thought and contemplation strengthens the powers of the soul, making them capable of drawing nearer to the spiritual world. [ 22 ] Misunderstandings were soon evoked by the chosen title, Occult Science. A would-be science, people said, cannot in the nature of the case be “occult” or “secret”. Surely a rather thoughtless objection, for no man will deliberately publish what he desires to be secretive about or to keep obscure. The entire book is evidence that far from being claimed as a special “secret,” what is here presented is to be made accessible to human understanding like any other science. Speaking of “Natural Science” we mean the science of Nature. “Occult Science” is the science of what takes its course in realms which are “occult” inasmuch as they are discerned, not in external Nature—Nature as seen by the outer senses—but in directions to which the soul of man becomes attentive when he turns his inner life towards the spirit. [ 23 ] It is “Occult Science” as against “Natural Science.” [ 24 ] Of my clairvoyant researches into the world of spirit it has often been alleged that they are a re-hash, howsoever modified, of ideas about the spiritual world which have prevailed from time to time, above all in earlier epochs of human history. In the course of my reading I was said to have absorbed these things into the sub-conscious mind and then reproduced them in the fond belief that they were the outcome of my own independent seership. Gnostic doctrines, oriental fables, and wisdom-teachings were alleged to be the real source of my descriptions. [ 25 ] But these surmises, too, were the outcome of no very deeply penetrating thought. [ 26 ] My knowledge of the spiritual—of this I am fully conscious—springs from my own spiritual vision. At every stage—both in the details and in synthesis and broad review—I have subjected myself to stringent tests, making sure that wide-awake control accompanies each further step in spiritual vision and research. Just as a mathematician proceeds from thought to thought—where the unconscious mind, auto-suggestion and the like can play no part at all—so must the consciousness of the seer move on from one objective Imagination to another. Nothing affects the soul in this process save the objective spiritual content, experienced in full awareness. [ 27 ] It is by healthy inner experience that one knows a spiritual “Imagination” to be no mere subjective picture but the expression of a spiritual reality in picture-form. Just as in sensory perception anyone sound in mind and body can discriminate between mere fancies and the perception of real facts, so a like power of discernment can be attained by spiritual means. [ 28 ] So then I had before me the results of conscious spiritual vision. They were things “seen,” living in my consciousness, to begin with, without any names. [ 29 ] To communicate them, some terminology was needed, and it was only then—so as to put into words what had been wordless to begin with—that I looked for suitable expressions in the traditional literature. These too I used quite freely. In the way I apply them, scarcely one of them coincides exactly with its connotation in the source from which I took it. Only after the spiritual content was known to me from my own researches did I thus look for the way to express it. [ 30 ] As to whatever I might formerly have read—with the clear consciousness and control above referred-to, [ 31 ] I was able to eliminate such things completely while engaged in supersensible research. [ 32 ] But the critics then found echoes of traditional ideas in the terms I used. Paying little heed to the real trend and content of my descriptions, they focused their attention on the words. If I spoke of “lotus flowers,” in the human astral body, they took it as proof that I was reproducing Indian doctrines in which this term occurs. Nay, the term “astral body” itself only showed that I had been dipping into medieval writings. And if I used the terms Angeloi, Archangeloi and so on, I was merely reviving the ideas of Christian Gnosticism. [ 33 ] Time and again I found myself confronted with comments of this kind. [ 34 ] I take the present opportunity of mentioning this too. Occult Science—an Outline, now to be published in a new edition, is after all an epitome of anthroposophical Spiritual Science as a whole, and is pre-eminently exposed to the same kinds of misunderstanding. [ 35 ] Since the Imaginations described in this book first grew into a total picture in my mind and spirit, I have unceasingly developed the researches of conscious seership into the being of individual Man, the history of Mankind, the nature and evolution of the Cosmos. The outline as presented fifteen years ago has in no way been shaken. Inserted in its proper place and context, everything that I have since been able to adduce becomes a further elaboration of the original picture. |
14. Four Mystery Plays: Interlude
Rudolf Steiner |
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As soon as it departs therefrom, its works are untrue. Sophia: I understand you perfectly when you speak like that. I have always admired the artists who could represent what you call the reality of life. |
If you think of this assertion as changed into an elemental feeling you will understand why I feel a sense of distress towards much that you call art. It is distressing to see an external sense-reality imperfectly, portrayed in realistic art. |
Estella: I see no possibility of our coming to any understanding with one another on this point. It is indeed sad that, in these most important problems of the soul, my best friend follows views so different from my own. |
14. Four Mystery Plays: Interlude
Rudolf Steiner |
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Scene: same as in the Prelude. The day after the play to which Estella, in the Prelude, invited her friend to accompany her. Sophia: Forgive me, dear Estelle, for keeping you waiting. I had to attend to something for the children. Estella: Here I am back again with you already. I long for your sympathy whenever anything stirs me deeply. Sophia: Well, you know that I shall always sympathize most warmly with you in your interests. Estella: This play, of which I spoke to you, Outcasts from Body and from Soul touched me so deeply. Does it seem to you odd when I say that there were moments when all I had ever known of human sorrow stood before me? With highest artistic force the work not only gives the outer mischances happening to so many people, but also points out with wonderful penetration he deepest agonies of the soul. Sophia: One cannot, I fear, form a proper conception a work of art by simply hearing of its contents. But would like you to tell me what stirred you so. Estella: The construction of the play was admirable. The artist wished to show how a young painter loses all his creative desire, because he begins to doubt his love for a woman. She had endowed him with the power to develop his promising talents. Pure enthusiasm for his art had produced in her the most beautiful love of sacrifice. To her he owed the fullest development of his abilities in his chosen field. He blossomed, as it were, in the sunshine of his benefactress. Constant association with this woman developed his gratitude into passionate love. This caused him to neglect, more and more, a poor creature who was faithfully devoted to him, and who finally died of grief, because she had to confess to herself that she had lost the heart of the man she loved. When he heard of her death, the news did not seriously disturb him, for his heart belonged entirely to his benefactress. Yet he grew ever more and more certain that her noble feeling of friendship for him would never turn to passionate love. This conviction drove all creative joy from his soul, and his inner life grew constantly more desolate. In this condition of life the poor girl, whom he had forsaken, came again into his mind, and a wrecked life was all that resulted from a hopeful and promising man. Without prospect of a single ray of light he pined away. All this is portrayed with intense dramatic vividness. Sophia: I can easily see how the play must have worked upon your feelings. As a girl you always suffered intensely at the destiny of such people, who had been driven to bitterness by heavy misfortunes in their life. Estella: My dear Sophy; you misunderstand me. I can easily distinguish between what is real and what is merely artistic. And criticism fails, I know, if one carries into it the feelings one had in life. What stirred me here so deeply was the really perfect representation of a deep problem of life. I was once again able to realize clearly how art can only mount to such heights, when it keeps close to the fulness of life. As soon as it departs therefrom, its works are untrue. Sophia: I understand you perfectly when you speak like that. I have always admired the artists who could represent what you call the reality of life. And I believe a great many have that power,—especially nowadays. Nevertheless even the very highest attainments leave behind them in my soul a certain discomfort For a long time I was unable to explain this to myself, but one day the light came that brought the answer. Estella: You mean to tell me, that your conception of the world has dispelled your appreciation of so-called realistic art. Sophia: Dear Estelle, let us not speak of my conception of the world to-day. You know quite well, that the feeling I have just described was entirely familiar to me long before I knew anything at all about what you call my ‘conception of the world.’ And these feelings are not only aroused in me with reference to so-called realistic art: but other things also create a similar feeling in me. It grows especially marked when I become aware of what I might call, in a higher sense, the want of truth in certain works of art. Estella: There I really cannot follow you. Sophia: A vivid grasp of real truth must needs create in the heart a sense of a certain poverty in works of art. For of course the greatest artist is always a novice compared with nature in her perfection. The most accomplished artist fails to give me what I can get from the revelation of a landscape or a human countenance. Estella: But that is in the nature of the case and cannot be altered. Sophia: But it could be altered, if men would only become clear on one point. They could say that it is irrational for the soul to reproduce what higher powers have already set before us as the highest works of art. These same powers have implanted in man an impulse to continue the great work of creation, in order to give the world what they themselves have not yet placed before the senses. In all that man can create, the original powers of creation have left nature incomplete. Why should he reproduce nature's perfections in an imperfect form, when he has the ability to change the imperfect into perfection? If you think of this assertion as changed into an elemental feeling you will understand why I feel a sense of distress towards much that you call art. It is distressing to see an external sense-reality imperfectly, portrayed in realistic art. On the other hand, the least perfect representation of what is concealed behind the outwardly observed phenomenon may prove a revelation. Estella: You are really talking. of something that nowhere exists. No true artist really tries to give a bare reproduction of nature. Sophia: That is just why so many works of art are imperfect; for the creative function leads of itself beyond nature, and the artist does not know the appearance of what is outside his senses. Estella: I see no possibility of our coming to any understanding with one another on this point. It is indeed sad that, in these most important problems of the soul, my best friend follows views so different from my own. I hope our friendship may yet fall on better days. Sophia: On such a point we shall surely be able to accept whatever life may bring us. Estella: Au revoir, dear Sophy. Sophia: Good-bye, dear Estelle. Curtain |
14. Four Mystery Plays: The Portal of Initiation: A Prelude
Translated by Harry Collison Rudolf Steiner |
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Estella: You ought to know. You have known me long enough to understand how I have wrenched myself away from that manner of life, which, day in and day out, only struggles to follow tradition and convention. I have sought to understand why so many people suffer, as it seems, undeservedly. I have tried to approach the heights and depths of life. |
I am aware of the nature of true art; I believe I understand how it seizes upon the essentials of life and presents to our souls the true and higher reality. |
14. Four Mystery Plays: The Portal of Initiation: A Prelude
Translated by Harry Collison Rudolf Steiner |
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Sophia's room. The colour scheme is a yellow red. Sophia, with her two children, a boy and a girl; later, Estella.
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14. Four Mystery Plays: The Portal of Initiation: Scene 1
Translated by Harry Collison Rudolf Steiner |
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One day she felt herself completely changed, And none could understand her altered state. Estrangement met her wheresoe'er she turned Until she came into our circle here. Not that we fully understand ourselves What she possesses and what no one shares. Yet we are trained by this our mode of thought The unaccustomed to appreciate, And feel with every mood of humankind. |
) Johannes: It took me many years to understand And know the vanity of things of sense When spirit-knowledge is not joined with them In close and intimate companionship. |
14. Four Mystery Plays: The Portal of Initiation: Scene 1
Translated by Harry Collison Rudolf Steiner |
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Room. Dominant note rose-red. Large rose-red chairs are arranged in a semicircle. To the left of the stage a door leads to the auditorium. One after the other, the speakers introduced enter by this door; each stopping in the room for a time. While they do so, they discuss the discourse they have just heard in the auditorium, and what it suggests to them. Enter first Maria and Johannes, then others. The speeches which follow are continuations of discussions already begun in the auditorium. Maria: Johannes: Maria: Johannes: Maria: Philia: Maria: Capesius: Strader: Philia: Strader: Luna: Theodora: Capesius: Theodora: Maria: Capesius: Maria: Strader: Maria: Theodora: Maria: Capesius: Maria: Capesius: Maria: Capesius: Strader: Astrid: Capesius: Strader: Astrid: Felix Balde: Maria: Felix Balde: Felicia: Maria: Capesius: Maria: Capesius: Maria: Felix Balde: Benedictus: Felix Balde: Felicia: Benedictus: Capesius: Benedictus: Strader: Capesius: Strader: Theodosius: Strader: Theodosius: The Other Maria: Capesius: Maria: Romanus: Capesius: Romanus: Germanus: Capesius: Germanus: Capesius: Johannes: Maria: Johannes: Maria: Johannes: Maria: Johannes: Then saw I tongues of fire spring up and lick Maria: Helena: Johannes: Helena: Johannes: Helena: Johannes: |
14. Four Mystery Plays: The Portal of Initiation: Scene 3
Translated by Harry Collison Rudolf Steiner |
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Merry thy laughter, as a child can laugh Who hath not known as yet life's shadowed fears. Thus thou didst learn to understand life's joy, And mourn in sadness, each in its own time, Before thy dawning conscience grew to seek Of sorrow and of happiness the cause. |
14. Four Mystery Plays: The Portal of Initiation: Scene 3
Translated by Harry Collison Rudolf Steiner |
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A room for meditation. The background is a great purple curtain. The scene is purple in colour with a large yellow pentagonal lamp suspended from the ceiling. No other furniture or ornaments are in the room except the lamp and one chair. Benedictus, Johannes, Maria, and a child. Maria: Benedictus: Child: Benedictus: Maria: Benedictus: Maria: Johannes: Benedictus: Johannes: Maria: Johannes: Benedictus: A Spirit-Voice behind the stage: Curtain |
14. Four Mystery Plays: The Portal of Initiation: Scene 5
Translated by Harry Collison Rudolf Steiner |
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Felix Balde: I know full well that they are shrewd enough To understand the objections I have voiced, But not so shrewd as to believe in them. Theodosius: What must we do that we may forthwith give The powers of earth what they do need so much? |
14. Four Mystery Plays: The Portal of Initiation: Scene 5
Translated by Harry Collison Rudolf Steiner |
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A subterranean rock-temple: a hidden site of the Mysteries of the Hierophants. At the right of the stage, Johannes is seen in deep meditation. Benedictus (in the East): Theodosius (in the South): Romanus (in the West): Retardus (in the North): Romanus: (Felix Balde appears in his earthly shape: the Other Maria as a soul form from out of the rock.) —Who, unitiated, can release Retardus: Felix Balde: Benedictus: Felix Balde: Theodosius: Felix Balde: Retardus: Felix Balde: Theodosius: Felix Balde: The Other Maria: Benedictus: Theodosius: Romanus: Retardus: Benedictus: Theodosius: Romanus: Johannes (speaking out of his meditation, as in the previous scene): The curtain falls slowly |
14. Four Mystery Plays: The Portal of Initiation: Scene 8
Translated by Harry Collison Rudolf Steiner |
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Strader: Never so little have I understood Thy speech; for surely in all artists' work The living spirit is thus manifest. How therefore doth thy friend, Thomasius, Differ from other masters in his art? |
14. Four Mystery Plays: The Portal of Initiation: Scene 8
Translated by Harry Collison Rudolf Steiner |
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Same room as for Scene 1. Johannes at an easel, before which Capesius, Maria, and Strader are also seated. Johannes: Capesius: Strader: Capesius: Strader: Maria: Strader: Maria: Strader: Capesius: Strader: Capesius: Maria: Strader: Capesius: Strader: Capesius: Maria: Johannes: Maria: Curtain falls whilst Maria and Johannes are still in the room |
14. Four Mystery Plays: The Soul's Probation: Scene 1
Translated by Harry Collison Rudolf Steiner |
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It seems as though I could not draw my breath When I attempt to understand. these words. And ere I feel the thoughts that I must think, Fear and misgiving have beset my soul. |
Prepare to change the sense of many words If thou wouldst understand my speech aright, And do not marvel that thy present pain Bears in my language quite another name— I call thy state good fortune. |
Yet none the less it must be each man's task, Who understands them in their truest sense, To drink the spirit-waters from that source. Nor are my words designed to hinder thee From being swept away to worlds that seem To thee fantastic. |
14. Four Mystery Plays: The Soul's Probation: Scene 1
Translated by Harry Collison Rudolf Steiner |
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The library and study of Caaesius. Prevailing colour brown. Evening. First Capesius, then the Spirit Forms who are powers of soul later Benedictus. Capesius (reading in a book): (Speaking as follows.) Thus is portrayed in words of import grave So that which I in my content beheld I know henceforth that I must search and seek And were all wisdom to unite in this, Such thoughts would be a sacrilege to-day, The fruits of work of lofty spirit-beings (Resuming his reading.) ‘In silence sound the depths of thine own soul, (Resuming his soliloquy.) It seems as though I could not draw my breath (Resuming his reading.) ‘Within thy thinking cosmic thought doth live, (Becomes entranced by a vision, then comes to himself and speaks.) What was this? (Three Figures, representing soul forces, float round him.) Luna: Astrid: The Other Philia: Capesius: (From his gestures it is plain he feels unable to reply ‘yes.’) Oh! I am—I am not. The Spirit-Voice of Conscience: Capesius: (Once more he relapses into a reverie.) (Enter Benedictus. Capesius does not notice him at first. Benedictus touches him on the shoulder.) Benedictus: Capesius: Benedictus: Capesius: Benedictus: Capesius: Benedictus: Capesius: Benedictus: (Exit.) Capesius: Curtain whilst Capesius remains standing |
14. Four Mystery Plays: The Soul's Probation: Scene 2
Translated by Harry Collison Rudolf Steiner |
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Maria: Still do I hear delusion: so let me Alone continue speaking, for I know That thou must understand me without fail. For sure it is no lying shape will dare To change the words unto thine ear addressed. |
14. Four Mystery Plays: The Soul's Probation: Scene 2
Translated by Harry Collison Rudolf Steiner |
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A meditation chamber. Prevailing colour violet. Serious, but not gloomy atmosphere. Maria: Benedictus: Maria: Benedictus: Maria: Benedictus: Maria: Benedictus: Maria: Benedictus: Maria (after a pause betokening deep reflection): Benedictus: Maria: (Maria sinks into deep thought.) (The three Spirit-Figures of the soul- owers appear.) Maria: Philia: Astrid: Luna: Maria: (Long pause, then the following:) In you, my sisters, I see spirit-beings A Spirit-voice,—the spiritual conscience: Curtain falls; everybody still standing on the stage |
14. Four Mystery Plays: The Soul's Probation: Scene 3
Translated by Harry Collison Rudolf Steiner |
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The Other Philia: O heed the sisters not; They lead thee far astray To cosmic distances, And rob thee of earth's touch. They do not understand That earthly love bears trace Of cosmic love itself. In cold their natures dwell And warmth flies from their powers. |
14. Four Mystery Plays: The Soul's Probation: Scene 3
Translated by Harry Collison Rudolf Steiner |
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A room whose prevailing tint is rose-red; cheerful atmosphere. Johannes: (Enter Maria, unobserved by Johannes.) And when my courage faileth me, once more (He sees Maria.) Oh, thou art here ... Impatiently I craved Maria: Johannes: Maria: Johannes: Maria: (Exit.) Johannes: (The three Spirit-Figures of the soul-powers appear with the Other Philia.) Luna: Astrid: The Other Philia: Curtain: Johannes, Philia, Astrid, Luna, and the Other Philia still standing |