The Rudolf Steiner Archive

Eight days ago, I tried to explain Goethe's world view through his “Faust”. We saw that Goethe presents the great struggle of the universe, the spiritual universe, between good and evil, as it unfolds in man and around man, in the way it is in the sense of mysticism or what we call theosophy. We have seen that where Goethe points people to worlds beyond the sensual, he does so in such a way that we can clearly see from his expressions his intimate knowledge of what we in Theosophy hold as our conviction. We have seen this in “Prologue in Heaven” and in the way he lets the Earth Spirit speak, but also in what we can see as a reference to the spiritual world and as a juxtaposition of the lower and higher self. We have taken a closer look at the address to the Earth Spirit and seen how Goethe introduces his Faust to the world, which we have called the world of higher knowledge, by showing how the human being is composed of the physical, the soul and the spiritual. We have been able to show this by the descent of Faust to the “Mothers”, by the characteristic properties of the homunculus, which cannot be made plausible in any other way, and then by the re-humanization of Helena in the “Classical Walpurgis Night”. We have seen how he ascends to knowledge, ascends to the heights of a spiritual Montserrat, to the heights of knowledge and mystical experience, concludes with the words that he has the Chorus mysticus say, and in doing so suggests the sense in which he wants Faust to be understood.

What Goethe expressed here is not a figment of his imagination, nor is it meant in a merely poetic sense, because Goethe has always seen the expression of secret natural laws in art, which he expressed at another time as follows: Art should be based on the deepest foundations of knowledge. There is no doubt that if we follow Goethe to the height of his life, if we look up and look up to the spiritual worlds, then we will be able to demonstrate a continuous increase to truly mystical heights in Goethe himself. Last time, I already pointed out that the direction of Goethe's gaze to the spiritual was not only in his nature, but was already present when he had already established a world view for himself, when he tried to make clear to himself when he entered Weimar, how things in nature are connected, when he sought a spiritual essence that underlies all nature. Last time I already spoke about the “Nature” hymn that he wrote in Weimar. In it, he addresses nature directly, but in such a way that it becomes a direct expression of a spiritual essence for him. You can see from every word in this prose hymn that he addresses nature as a being of a spiritual nature. In the book “On Natural Science” in General, he says about nature:

Nature! We are surrounded and embraced by it, unable to step out of it or to get deeper into it. Uninvited and unwarned, she takes us into the cycle of her dance and carries us away with her until we are tired and fall out of her arms [...] She has thought and is constantly pondering; but not as a human being, but as nature[...] She has no language or speech, but she creates tongues and hearts through which she feels and speaks [...] I did not speak of her. No, what is true and what is false, she has spoken it all. Everything is her fault, everything is her merit.

Thus he places himself in this nature, which he has conceived entirely spiritually, and speaks of nature as the external expression of a spiritual essence. Since Goethe addressed nature in this way, he was bound to ascend. For this is how he presents the physical incarnation: He imagines that the soul is above nature. It is true that it belongs to the great whole of the world, and he therefore also speaks of a higher nature. But by speaking of the lower nature, of the various changes, of the metamorphoses of nature, he builds the world view in the sense of the mystical. To give an example, I mention Paracelsus. Without him, Goethe is inconceivable. Through Paracelsus, Goethe is more understandable. I do not want to claim that Paracelsus' teachings can be adopted wholesale. Do not think that I want to speak in favor of those who today want to speak again as Paracelsus spoke. But we could still learn an infinite amount from such a highly chosen spirit. Goethe also learned an infinite amount from him. Just one word to show how Goethe strove in the spirit of Paracelsus: Paracelsus places himself before the true essence of man, soul and spirit, embodying himself in the archetypes of nature, in the mineral kingdom, plant kingdom, animal kingdom, where it is expressed in a one-sided way, in order to finally express itself in the most versatile way in man. In the various minerals, plants and animals, letters have been created with which the great All-Spirit has ultimately written the human being. This shows the depth of Paracelsus' insight into the human being. When Goethe sets out to study the development of the world's creatures from the imperfect to the perfect, he expresses himself in a similar way to Paracelsus. Every day, Frau von Stein received answers to questions about how his thoughts were maturing. Once, when he thought he was on the trail of a particularly important discovery, he said to her, “My spelling has helped me.” He meant that he had tried to get to know the plants and animals, which, like Paracelsus, were letters for him in solving the great mystery that man represents for man. In this way, Goethe wanted to proceed from the beginning of his study of nature, in order to seek the great spiritual connection in all beings. So, from the outset, he sought what he called the “primordial plant”, which was said to live in all plants and which, in essence, is the spirit of plant existence. Then he rose to the “primordial animal” and sought to prove the “primordial animal” in the animals. Metamorphosis of Plants and Metamorphosis of Animals – you only need to read them to have the most beautiful theosophical treatise on plants and animals you could ever find. It was precisely this attitude that led Goethe, soon after his arrival in Weimar, to an important scientific discovery. Until the time when Goethe became involved in the study of nature, the fact that humans are superior to animals had to be found in the existence of special individual organs. That humans differ in their physical constitution from the higher animals, however, was already addressed by Herder in his “History of Humanity”. Herder was Goethe's teacher to a significant extent. It was said at that time: All higher animals have the upper incisors in a special intermaxillary bone. Only humans do not have such an intermaxillary bone. Goethe said: The difference between humans and other beings is of a spiritual-mental nature. But the difference cannot be found in such a detail, which is why humans must also have an intermaxillary bone. Researchers have long resisted recognizing this discovery by Goethe. But today it is taken for granted that the discovery is based on a full fact. So even then, Goethe made this great scientific discovery out of his own convictions. In Italy, he studied the plant and animal world with the aim of finding ways and means of gaining an overview of these beings. In his Metamorphosis of Plants and Animals, he produced a masterpiece in this regard. The idea that Goethe carried out is an idea that can already be found on a large scale in Giordano Bruno. Giordano Bruno, for example, as is to be expected of anyone who truly sees into the depths of nature and the universe, is one of those who assumes that humans go through various incarnations, who assumes that humans have often been here before and will often return. The body of man, as we see it before us, shows us how soul and spirit expand in space. And when man dies, soul and spirit contract, they become, as it were, punctual, in order to expand again and then contract again. Thus existence alternates between expansion and contraction. Man ascends by becoming more and more perfect with each new expansion, only to contract again and pass through the purely spiritual realm. These thoughts were conceived by Giordano Bruno and were extended by Goethe to include plant and animal life. The whole metamorphosis shows us that the plant consists of the flower and the root in contraction and unfolding. This can also be found in Swedenborg's books, where he noted down the fundamental discoveries he made, which then bore fruit in Goethe and come to us again through him. Now some scholars from the Nordic academies have joined forces to publish Swedenborg's writings, and it remains to be seen how much science in all fields of natural science can be found in Swedenborg. Goethe studied Swedenborg, and there is an interesting doctoral dissertation from the University of Berlin by Hans Schlieper, in which the connection between the writings of Goethe and Swedenborg is demonstrated. If you want to gain insight into how Swedenborg developed these ideas, then you need only read Emerson's “The Representatives of the Human Race” and look up the article on Swedenborg. There you will find the ideas that bore such extraordinary fruit in Goethe. But you will also find that the various kingdoms of nature must ultimately find their culmination in the human being, that ultimately it must be shown how the soul emerges from the small world in order to find its unity in the larger world, in the cosmos. Schiller also expressed this in a magnificent way. In his correspondence with Goethe, Schiller writes on August 23, 1794:

For a long time now, although from a considerable distance, I have been observing the course of your mind and have noted the path you have set out on with ever-renewed admiration. You seek what is necessary in nature, but you seek it by the most difficult route, which any weaker force would do well to avoid. You take all of nature together to get light on the individual; in the totality of its manifestations, you seek the explanation for the individual. From the simple organization, you ascend, step by step, to the more complicated ones, to finally build the most complicated of all, the human being, genetically from the materials of the entire structure of nature. By recreating it, as it were, you seek to penetrate its hidden technology. A great and truly heroic idea that amply demonstrates how your mind holds the rich totality of its ideas together in a beautiful unity. You could never have hoped that your life would be enough for such a goal, but even just embarking on such a path is worth more than any other ending – and you have chosen, like Achilles in the Iliad between Pythia and immortality.

I could read on, and you would find that every single word of Schiller is aptly applied to Goethe. Goethe himself spoke beautifully about the relationship between man as a microcosm and the rest of nature, showing with tremendous power of words how not a single detail but the whole spirit of nature lives in man, how this whole spirit comes to the realization of itself. Whoever remembers the beautiful words spoken by the German mystics will know, among others, the saying: “The Godhead lives in man, and in man God has created an organ to behold Himself.” In his book on Winckelmann, Goethe says, where he speaks of antiquity:

When the healthy nature of man works as a whole, when he feels in the world as in a great, beautiful, dignified and valuable whole, when the harmonious comfort gives him a pure, free delight - then the universe, if it could feel itself, would exult as if it had reached its goal and would admire the summit of its own becoming and being.

What does Goethe say here that is different from what he presents in his “Faust” as the transition of all realms through nature? Goethe was never satisfied with the materialistic view of nature. And when Holbach had created a particularly crass expression in this regard, he opposed him as a young man. Goethe says about it, he [had] found nothing in it but a barren speculation, but not a real explanation of nature. Furthermore, matter was supposed to have existed from eternity, and from eternity it was supposed to have been in motion, and through this motion it was supposed to have produced the phenomena of existence. Thus Goethe dismissed materialism. Goethe always strove to find harmony between what he calls spiritual nature and what the incorporation of spiritual nature represents. Therefore, he was a follower of the doctrine that sees the embodiment of the spirit in our physicality, in the outer forms of nature. Goethe held this point of view throughout his life and elevated this point of view to ever clearer forms. Now, however, this point of view requires something else. It requires that we recognize that the human being is not complete. The realms of perfection must continue beyond the human being. This is the theosophical worldview. Thus, as Theosophists, we do not take the view that the human being is somehow complete. But just as there are also more imperfect beings, we also recognize that we have more perfect and more imperfect human brothers, and that there are some who have progressed far beyond the measure of other people. These are the great teachers who endeavor to lead people up to ever higher and higher worlds. This is a realm from the lowest beings to the gods. We recognize that man will one day rise to divinity, and we already recognize an order today that begins with the lower spirits and does not end until physical existence is exhausted and we look up to heights and beings that fill the gap between human beings and beings that humans only have an inkling of. In this sense, that he looked up to higher spiritual entities, Goethe spoke his poem from the first Weimar period, the well-known poem “The Divine”:

Noble be man,
Helpful and good!
For that alone
Distinguishes him
From all beings
We know.
Hail to the unknown Higher beings We intuit! Man shall be like them! His example teach us Those believe.

This is the poem in which Goethe spoke of the stages of ascent to higher beings. Those who have heard the theosophical lectures here before will know that in theosophy we recognize an unbroken succession of beings, from today's average human being to the higher beings, that we know that among us there are brothers who have reached high levels, who are our teachers, but who have withdrawn from the hustle and bustle of people because they need to have freedom. Only a number of disciples are able to see them. Those who rise to the fervor of deep truths, to a corresponding realization, which must be a free one, can hear these elevated human individualities. Goethe then speaks of these higher individualities. I only need to quote the poem “Symbolum”. In it, he speaks of the holy awe that must permeate us in the face of the truth and the spiritual world. Goethe is therefore speaking here of the voices of the spirits and the masters. This will show you the profound agreement between Goethe and what we call the theosophical world view. Now I would also like to show you that such an agreement really goes very far in Goethe. You know that in the theosophical world view we speak of the fact that human beings do not only have a physical body. This physical body is a subordinate body of the human being. Then we have the etheric double body. This can be seen by those whose psychic organs are open. It can be seen when the physical body is subtracted. Then the same space that the human being occupies is filled by the etheric body. It looks like the color of a peach blossom. Then comes the astral body, the expression of feelings, instincts, desires and passions. The Theosophical worldview calls this body “kama-rupa.” These three superimposed bodies are spoken of today. It is said that there is a parallel in our physical nature. The so-called occultist says that the physical body has an external parallel in what we call solid bodies, that what we call the etheric body has a similarity to the liquid, and that the astral body has a sensual parallel in everything that appears gaseous and airy. Everything that takes shape in the life of the senses and the life of the instincts is referred to as an image of the astral body. In mystical form, we speak of a deity that creates these formations. This is nothing other than 'Kama'. When studying cloud formations, Goethe spoke, entirely in line with this world view, of the fact that for him, too, the expression of the formation of water reveals an image of the soul, a KamaRupa:

When the deity Camarupa, high and holy,

Gathers the folds of the veil, disperses them,
Delights in the changing forms,
Now freezes, then vanishes like a dream,
we marvel and hardly believe our eyes;

With the exception of the term “Camarupa”, you can rediscover Goethe's theosophical worldview. The question now is: How is Goethe connected to what we really call the theosophical movement and how it was not created only by the Theosophical Society. The Theosophical Society merely popularizes the old theosophical teachings that have always been present. Before 1875, the principle was strictly adhered to that the theosophical teachings must be secret, that only those who profess very specific prerequisites and conditions can learn them. In my magazine Luzifer-Gnosis, you will find something discussed that can lead you to higher things. In earlier times, the theosophical teachings were only practiced in the narrowest of circles, in the so-called secret schools. Only those who had attained certain degrees could receive certain teachings. A certain degree of secrets was only imparted to a person when he had attained certain degrees. The most important society was that of the Rosicrucians, a top secret society. Whatever you find about it in books, you can call a hoax, as far as I'm concerned. What can be found in literature and what is accessible to scholarship is not Rosicrucianism. The brothers only knew each other. At the top were twelve initiates. Only the thirteenth was the leader. The outer symbol was the cross with roses. The society had, despite being a secret society, a great influence on the course of intellectual development. In the time when materialism did not yet dominate the major circles, a very great intellectual influence could still be exercised. The Rosicrucian Society is the one whose tradition and inner significance Goethe also knew. He became acquainted with it at an early stage. During the time when he was staying in Frankfurt after a very serious illness during his studies in Leipzig, he was initiated into the secrets of the Rosicrucians by a certain personage. More and more, this mysticism became absorbed in Goethe. Now he wanted to express what he had to say in this regard in a very profound poem. At the time he wrote this poem, he proved himself to be a practical mystic in that he understood life as practical mysticism. Only under certain conditions was he taught the most intimate things. Mrs. von Stein was one of his intimates. He could not imagine this connection any differently, as if he had already belonged to her in a previous life. That is the important thing. Not the dogma of reincarnation; the main thing is to understand life from this point of view. So Goethe once said, to make clear to himself his deep connection, his relationship with Mrs. von Stein: In times gone by, you were surely once my sister or my wife. That is the way he interprets reincarnation here and in other ways. Of course, Goethe regards this as his secret. He speaks of it only to his intimates. That is why you can quote some things from Goethe that seem to contradict him. You can also find this with other mystics. We know that this is the case. Now Goethe has expressed something of an ascent, of a spiritual order in the Rosicrucians in the aforementioned poem. This poem has become so dear to Mrs. von Stein that it is called “The Secrets”. It was never finished. The greatness of the poem should have been much more extensive. He might have been able to express himself if it had had as many verses as there are days in a year. But he did express the following clearly: firstly, this basic idea and, secondly, the view that a kernel of truth can be found in all religions, that all great religions contain a basic teaching, the so-called wisdom religion, and that the various wisdom religions are embodied in individual great initiates who are connected to one another in a brotherhood, that they differ according to their inclinations, the nature of the country and so on. Brahmanism, Buddhism, Confucianism, the teachings of Hermes, Judaism, Christianity; they all contain a common core of truth. They are different because those who truly grasp the human being in his spiritual essence know that it is not a matter of implementing an abstract dogma, but that one must speak to each person in his own way. You only have to possess the core of truth, then you can clothe it in the customs of every country. You will find that our theosophical teachings have rebuilt the ancient teachings of the rishis within the Hindu religion, just as they have in Europe. Even in a form that will again be able to withstand science. So we can speak to every people in their own language. But a common core of truth lives in all these languages. This was also the view of the Rosicrucians, as expressed by Goethe in the poem “The Mysteries”. You will see how much mysticism and theosophy lives in Goethe when we consider his secret revelations in the fairy tale of the green snake and the beautiful lily. But now let us look at this Rosicrucian coloring in his poem, which has remained a fragment. Goethe knows that there will not be many who will be able to understand this poem “The Mysteries”. He also knows that this poem contains so much that no one should dare to believe that they can fully understand it. But he expresses it clearly that he allows us to see into his deepest soul:

A wondrous song is prepared for you;
Listen gladly, and summon everyone!
The path is laid through mountains and valleys;
Here the view is restricted, there it is free again,
And when the path gently slips into the bushes,
do not think that it is a mistake;
We want, when we have climbed enough,
to reach our goal at the right time.

Then he shows how Brother Mark walks to a lonely monastery. In this live twelve hermits, the initiates, led by the thirteenth, whom Goethe calls Humanus, who encompasses all of them. In each of these twelve, one of the great world religions is embodied. Depending on the diversity of countries and times, the different religions are different, and in each of the initiates, each of the religions is different. In a college, however, they work for all of humanity. The leader Humanus is called that because he is such a late incarnation that the highest truth and knowledge is expressed in him in a peculiar way. Those people who are in relatively early incarnations, who have not yet undergone many embodiments, receive the lessons of life and ascend to such an extent that they carry the deepest core of truth within them as a matter of course. Then they do not need to study in the new incarnation, then they are such — through certain signs of their birth this is symbolically foretold — that they, as must be said of the great initiated of humanity, radiate the wisdom of the world. One such incarnation is Humanus. After he has spread the spirit around him in his environment, he ascends to higher spheres. Brother Markus is another such incarnation. When he appeared, Goethe said of him that he gave the impression, for higher reasons, that a higher wisdom must come into the world. Brother Markus appears to be simple. But he is a late iteration of human existence. At the same moment, as Goethe says, Brother Markus is led into the brother lodge, where the twelve are united, when Humanus is allowed to leave the twelve, where only his spirit remains in them, where the spirit ascends to the higher spheres. Brother Markus takes his place. This is the government of humanity that Goethe wanted to depict here.

He sees the emblem gloriously erected,
Which stands for the consolation and hope of the world,
To which many thousands of minds are bound,
To which many thousands of hearts have fervently prayed,
Which destroys the power of bitter death,
Which waves over so many victorious banners:
A fountain of refreshment permeates the weary limbs, He sees the cross and lowers his eyes.

From the very beginning, this poem shows us how Goethe has the spiritual guidance of humanity carried out by the twelve. Thirty years later, a number of students approached him with the request that he provide some explanations. He also tried to say something about this poem. I will only mention a few things to you. He spoke entirely in the theosophical sense:

In order to confess the further intention, indeed the plan in general and thus also the purpose of the poem, I reveal that the reader should be guided through a kind of ideal Montserrat and, after taking his way through the different regions of the mountain, rock and cliff heights, occasionally return to wide and happy plains. Each of the knightly monks would have been visited in his home and, through the climatic and national differences, it would have been learned that the most excellent men from all corners of the earth might gather here, where each of them would quietly worship God in his own way.

Now he shows us how Brother Mark is led into the forecourt. Goethe did not live to depict the actual interior. But then we are shown who Brother Humanus is:

And if you ask me what is the name of the one chosen,
Whom the eye of caution chose?
Whom I often praise, but never enough,
On whom so many incredible things happened?
Humanus is the name of the saint, the wise man,
The best man I have seen with my own eyes:
And his gender, as the princes call it,
You should also know along with his ancestors.

He also shows here how such a leader has risen to such heights. The lower self must have sacrificed itself. We will see this in the sacrifice of the serpent when we speak of the “fairytale”. But here we see how the leader of the twelve chosen ones saves his higher self, his soul. How he has gone through this dying and becoming, and has not remained a dull guest on the dark earth, but has awakened the God-man in himself. He tells us clearly and distinctly that he sees this higher self as a feminine. To save it, the lower self must be killed. In the beautiful symbolism of the poem “The Secrets”, Goethe describes the upward development of a being like the thirteenth. He expresses it like this:

As the third man, I tell more and more freely,
How a spirit of the mother promised him early on,
And how a star at his baptism celebration
shone more brilliantly in the evening sky,
and how a vulture with outstretched wings
settled in the courtyard among the doves;
not striking fiercely and, as usual, doing harm,
he seemed to gently invite them to unity.
Then he modestly kept from telling us
how, as a child, he overcame the adders
Which he found entwined around his sister's arm,
Tightly wound around the sleeping girl.
The nurse fled, leaving the infant lying;
He strangled the snake with a sure hand:
The mother came and saw with joyful trembling
Her son's deeds and her daughter's life.

The sister is the innermost part of the soul, the same as the eternal feminine that draws us in. The adder is what must be shed. He adds the following explanation to the symbolum:

When nature has elevated a person,
It is no wonder that he succeeds in many things;
We must praise the power of the Creator in him,
Who brings weak clay to such honor:
But when a man, when a man, in the hardest test of life,
Conquers himself;
Then we can show him to others with joy
And say: 'That is he, that is his own!'

When the God-man is born in the soul, then all power rushes forward into the distance:

For all power rushes forward into the distance,
To live and work here and there;
On the other hand, from every side, the stream
Of the world narrows and hinders and sweeps us along:
In this inner storm and outer strife,
The spirit hears a word that is hard to understand:
'From the power that binds all beings, Man frees himself who overcomes himself.'

I. Report in the “Mühlheimer Zeitung” of March 20, 1905

On Saturday evening, Dr. Rudolf Steiner, Berlin, General Secretary of the German Section of the Theosophical Society, spoke on 'Goethe's Faust in the Light of the Theosophical World View'. The speaker explained that Goethe cannot be grasped in the full depth of his life's work if Faust is seen only as the poetic expression of the outer life around us and of the soul life in its outer phenomena. Faust offers infinitely more; it aims to provide a picture of the development of man and his place in the world and the universe. Goethe had insight into the teachings of mysticism, which coincide with those of theosophy; in the sense of mysticism, he had given in his Faust a picture of the human being, his development and ascent. He had reproduced the ancient teachings as only a poet could reproduce them, namely in the representation of a poet, and in doing so, he had made use of mystical terminology. Goethe was familiar with the ancient division of the universe into a physical, a mental and a spiritual world, and it was clear to him that man is also composed of three parts: a physical, a mental and a spiritual one. He therefore understood the human being as a microcosm in which the image of the universe, the macrocosm, was reflected. The ancient wisdom teachings of the Indians, Egyptians, Persians and Greeks understood the development of the human being in the same way as Goethe. He paid homage to the view that the human soul was there from the very beginning, that it had developed through all the realms of nature and become the creator of these realms, that on this journey of development through the most diverse states, it had created man in his present form and was now striving to spiritualize him further. To make clear this view of the work of Goethe, the speaker pointed to the many expressions of mystical terminology scattered throughout Faust, such as the passage in the prologue in heaven, which cannot be understood in any other way than in a mystical sense:

The sun resounds according to ancient custom
In the song-contests of the spheres of the brothers,
And its ordained journey
It completes with a thunderclap.

These processes, which can only be perceived in the world of the spirit, where the ear of the spirit listens and the eye of the seer can no longer follow, not to mention the physical eye – they are referred to in mysticism as sounding or resounding. In the first act of the second part, Ariel calls the organ that is to be understood as the organ of perception in these worlds the “ear of the spirit”. Ariel speaks:

Hark! Hark! The hoar-hounds howl!
The new-born day is breaking
For the ears of spirits.
The gates of rocks are creaking and cracking;
The wheels of Phoebus are rolling and clattering;
What a tumult the light brings!
It trumpets, it trombone;
Eye blinks and ear astonishes,
Unheard of does not listen.

The first part of the tragedy, as Dr. Steiner explained, presents man to us in the struggle with the lower physical passions. In the second part, we are shown the development of his soul and his ascent into the purely spiritual. Mephisto is the principle of desire and longing until the soul incites to higher life. The realm of the mothers is understood to mean the spiritual realm, to which Faust descends to attain the spiritual archetypes of things (Helena as a symbol of beauty). In Homunculus, the soul's journey of development is shown through the realms of nature; in Euphorion, the moment of higher enlightenment, which comes to us in happy hours and suddenly disappears again, etc. The captivating explanations, of which we have only been able to reproduce a few here, were met with much applause.

II. Report in the “Kölnische Zeitung” of March 22, 1905

On Saturday evening in the Isabellensaal of the Gürzenich, Dr. Rudolf Steiner of Berlin gave a lecture on “Goethe's Faust, a Picture of His World View from a Theosophical Point of View”. The speaker often uses a mystically opaque mode of expression; in the course of his hour-long speech, he wove into his inwardly spiritualized presentation, which developed in broad strokes into a journey through Goethe's life's work, viewed from a theosophical perspective, reflections on the history and essence of Theosophy. Even though the Theosophical Society as such has existed only for 30 years, the spirit of the world view had already been active first in esoteric Buddhism and later in the most important minds of the Orient and the Occident at all times. From individual basic ideas of the theosophical doctrine, Redrier spread, as in earlier lectures, over the three worlds of theosophy, life, soul and spirit. Regarding the subject itself, he said that Goethe's poem of life could only be understood if one illuminated it with what the theosophical world view meant, which he had expressed in a special way in the secrets and fairy tales of the green snake and the beautiful lily. With advancing age, he had become more and more absorbed in this world and realized that when we know the world, we also know the fragmented details of our being; there is no end to knowledge, only degrees. That is why Goethe had to end Faust as a mystic, after saying in his youth, “A good man in his dark urges is well aware of the right path.” After the speaker had considered the prologue from the mystic's point of view, he described Faust in the first part as tired of the sensual world; all the sciences of the mind did not satisfy him, in his innermost being there was a yearning for a spiritual world in the sense of mysticism. That is why Goethe lets Faust reach the earth spirit in the flame and recognize at the end of the first part that true self-knowledge is knowledge of the world. In the second part, he lets Faust get to know the three worlds of the theosophist. The imperial court embodies the great sensual world – Mephisto, “the impulse of development,” repeatedly draws him back into it – the mothers are the soul principle that is fertilized so that the higher human being may be born in the human being. The mystic also said to the materialist: “In your nothingness, I hope to find the All.” The homunculus, which can also only be understood mystically, is the representative of mystical clairvoyance, the birth and downfall of Euphorion are the mystical moments of celebration that quickly fade away. Finally, it was explained how Faust becomes completely independent of the sensual world, how he goes blind, how darkness is around him, but there is bright light within him. The “Chorus mysticus” is a Goethean creed. The lecture was very well received and was followed by a stimulating discussion.

My dear friends!

On January 29, 1827, Goethe said to his friend Eckermann about the then already advanced second part of “Faust”:

But everything is sensual and, when presented on the stage, will catch everyone's eye. And that is all I wanted. If only the crowd of spectators take pleasure in the appearance; at the same time, the initiated will not miss the higher meaning, as is the case with The Magic Flute and other things.

In this way, Goethe expressed that he himself allows a deeper meaning to be recognized in his works. It is well known that explanations of Goethe's deeper worldview are met with the objection: You yourselves put all sorts of things into the works that Goethe did not mean at all. This objection could easily be refuted. Only someone who does not want to apply all the powers of their soul to get behind the meaning of the poem can say this. We will counter all these objections with what Goethe said in his conversation with Eckermann. Goethe appears to us as one of those artistic figures who did not allow themselves to be inspired by the arbitrariness of fantasy or the randomness of external experience, but rather strove to recognize and explore the great riddles of existence. Goethe was a serious and profound seeker. The direction of his quest can be seen in his very earliest childhood disposition. Nowhere can such a direction confront us as powerfully as in what Goethe told us about the time when he was seven years old. He takes the best minerals and rocks from his father's collection of natural objects and arranges them in a regular form on a music stand. This is the altar on which he wants to offer sacrifices to the god of nature. At the top he places incense cones, which he ignites with the help of a burning glass through the collected rays of the rising morning sun. For him, natural products are the expression of the primal divine forces of nature. Through the rays of the morning sun that he had captured, he had kindled a natural fire, a sacred fire through the essence of the divine forces of nature itself. With this, he wanted to make an offering to the god of nature; in this way, he wanted to come closer to the great god of nature. In this childlike way, Goethe's entire spiritual relationship to the cosmos is expressed. On higher levels, we see young Goethe's confession again in his prose hymn “Nature”, when he was already working in Weimar:

Nature! We are surrounded and embraced by her – unable to step out of her, and unable to get deeper into her. Uninvited and unwarned, she takes us into the cycle of her dance and carries on with us until we are tired and fall out of her arms.

Then he addresses all the beings of nature, how they are revelations of the spirit that is present in nature. Finally, he says:

She has brought me in, she will also lead me out. I trust her. She may do with me as she pleases. She will not hate her work. I did not speak of her. No, what is true and what is false, she has spoken everything. All is her fault and all is her merit.

And before that it says:

With a few draughts from the cup of love, she indemnifies for a life full of toil.

After his student days in Leipzig, Goethe had an important inner experience: on his sickbed, he learned to feel the seriousness of life. In Frankfurt, he then undertook all kinds of strange studies with friends and delved into many mystical and alchemical works. He met people who were involved in mysticism and who sought the God, the Christ, within themselves. Then in Strasbourg he met the other great mind, Herder, by whose side he gained a keen eye for nature, which was then expressed in his scientific studies and writings. When Goethe had moved to Weimar, we often find him in Jena, like a student, listening to the lectures of Loder and other scholars in order to get closer to the divine power in nature. He always sees a manifestation of the spirit in everything that presents itself materially. While he was still in Strasbourg, he came across a book by a materialistic French encyclopedist. It made a great impression on him. He says about it in “Poetry and Truth”:

But how hollow and empty we felt in this dreary atheistic half-night [...] Matter was supposed to have existed from eternity, and moved from eternity, and now, with this movement, right and left and in all directions, it was supposed to produce the infinite phenomena of existence without further ado.

Then he continues:

But he knew as little about nature as we do: for having nailed up a few general concepts, he immediately leaves them behind in order to transform that which appears in nature as higher than nature, or as higher nature, into material, heavy, and indeed moving, but directionless and formless nature, and thereby believes he has gained a great deal.

This is a critique that Goethe could also make of today's materialistic science. Those who immerse themselves in Goethe will soon notice that when he talks about nature, he speaks from great depths, from the spirit that we call the theosophical worldview. It was in the fourteenth century when this was already being cultivated in the Rosicrucian current. Nothing reliable about it has been reported by outsiders. Only the initiates knew what really mattered.

There is a poem by Goethe, “The Mysteries”, where a personality comes to a kind of monastery and meets a gathering of enlightened personalities, twelve in number. A thirteenth is with them, who is about to die. His twelve brothers speak of him in the most beautiful, appreciative terms. Some traits of this great man, who stands as the knower of the world, are then told. It is said that as a boy he had already killed the adder, which signifies the overcoming of the lower nature. Then, after many meaningful words, the lines follow:

From the power that binds all beings,
The man who overcomes himself is freed.

One who has overcome himself is presented in this poem “The Secrets” by Goethe. The whole situation in which the brother, to whom this greatness is being told, is led into, appears to the knowledgeable as the Grail or Parzifal situation. Goethe could not complete the poem, the material was too great. He once gave a student an explanation of it. He hinted at a league of enlightened people who had joined together in a brotherhood. Each of them represents one of the great religious systems of the world. The great emissaries of these are united in a brotherhood, where there must be one of the leaders who sees the unity, the core of wisdom, in the religions. What Goethe says here could be made the principle of the theosophical movement. Goethe points here to what every initiate knows, that there is a secret union. Goethe lets the newcomer see the mysterious symbol at the gate: the cross with the roses entwined. Goethe wanted to point out that there is such a mystery within the modern world, as there have been such initiates in all times.

Goethe then sought God further as an artist during his Italian journey. He sought God in the universe, in all his creations that breathe the divine greatness; he also sought him in the creations of men, in art, which was a continuation of nature for him. He wrote on September 6, 1787 in the diary of his Italian journey:

These great works of art, which are also the greatest works of nature, have been created by man according to true and natural laws. All that is arbitrary and imagined collapses; there is necessity, there is God.

Of Greek art, Goethe says:

I have a suspicion that they proceeded according to the very laws by which nature proceeds and which I am on the trail of.

He expresses the connection between man and nature beautifully in his book about Winckelmann:

When the healthy nature of man works as a whole, when he feels himself in the world as a great, beautiful, dignified and valuable whole, when harmonious comfort gives him pure, free delight – then the universe, if it could feel itself, would exult as if it had reached its goal and would admire the summit of its own becoming and being. For what is the purpose of all the effort of suns and planets and moons, of stars and milky ways, of comets and nebulae, of worlds that have come into being and are still in the process of becoming, if not ultimately for a happy human being to unconsciously enjoy his existence?

That which lives in man, in the depths of man, as a spiritual-mental entity, that is Nature herself, and for man she becomes conscious in the soul of man. It was this intuitive perception that guided Goethe when he attempted to shape the legend of Faust in a new form. This legend expressed what a number of people felt at that time. In the medieval Faust, we see a man who wants to recognize the divine in nature itself. In the Middle Ages, the search for the divine in nature was seen as apostasy. The divine was only to be found in the religious record of the Bible. On the other side was the legend of Faust, who seeks the divine in nature and makes a pact with the devil. On the other side was Luther, who, as the legend goes, threw the devil's inkwell at his head. Faust falls prey to the devil; he became a worldly man and a physician who wants to recognize the great God in nature. In the Middle Ages, such people were called “sons of the devil”. Goethe brings something new to the Faust idea; his guiding principle is:

Whoever strives, we can redeem.

A striving person who seeks the sources of nature, who seeks the spirit of nature, must reach the goal. Goethe is serious about the interpretation. Where man not only seeks something soulful and spiritual in himself, but where he rises to the realization that everything around us is ensouled, there he is on the right path. When we look at the human being, we have to say that our finger, for example, is only conceivable as a limb of our entire organism. Man lives under the illusion of personal self because man devotes himself to the idea that he is independent and self-sufficient, and not a member of the whole earth organism. But if man were to be lifted several miles above the earth, he would no longer be able to live; he would have to [suffer a miserable death by] suffocation and wither away like the finger of my hand if it were to be cut off. Goethe recognizes the earth organism. There is a deep recognition in his desire to let Faust penetrate to the sources of life and to characterize the spirit of the earth with the words:

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,
a changing weaving,
a glowing life,
so I create at the whirring loom of time
and weave the living garment of the Godhead.

How Goethe has placed himself in the spirit of the cosmos, how he feels and senses the spirit in the cosmos, and how he also lives in the human heart, is shown when he has Faust speak with the same Earth Spirit elsewhere. There we recognize that Goethe sees the same work in every tree, every plant, as in man:

Exalted Spirit, thou hast given me, given me everything
I asked for. Thou didst not turn thy face to me in fire in vain.
Thou gavest me the glorious kingdom of nature
and the power to feel and enjoy it. Thou dost not
allow only cold, astonished visitors,
granting me to look into her deep chest,
as into the bosom of a friend.
You lead the line of the living
past me, and teach me my brothers
in the silent bush, in air and water.
And when the storm roars and creaks in the forest,
the giant spruce toppling, crushing neighboring branches
And neighboring trunks squashing down,
And her fall dull hollow the hill thunders,
Then you lead me to the safe cave, show
Then myself, and my own chest
Secret deep wonders open up.

We will find the theosophical ideas in Goethe again, without compulsion.

There is talk of Pythagorean music of the spheres. At higher levels of human development, there are experiences that are similar to those of a person born blind who undergoes a successful operation and suddenly gains sight – only much more magnificent and powerful. Such a spiritual operation does exist. In it, we learn about things and beings that are all around us in the world. The world of the spirit, of which Fichte spoke to his audience in 1813, then opens up for us. He says: “A new sense is needed for this.” When one speaks of these worlds to people, it often happens to those who speak as it happens to a seeing person among a group of blind people, to whom he speaks of color, shine and light. Everything that is said theosophically about this spiritual world is spoken entirely in the spirit of Fichte. The theosophist does not speak of a beyond. How many worlds we perceive around us depends on how many organs we have for perceiving these worlds. As many dormant abilities as are awakened in us open up as many new worlds for us. For the human being of today, there is initially a level of consciousness through which he perceives sensual and externally perceptible things. Then there is another level of consciousness for those who have attained the ability of higher vision. A new world of color, splendor and light opens up before their mind's eye. This world is called the astral world. An even higher world can be perceived when one attains continuity of consciousness, where the manifestations of a higher world manifest themselves in a way called sounds. The devachanic world is a sounding world. This world is then taken over into everyday consciousness so that one can also perceive it when walking among everyday things, among tables and chairs. The theosophical worldview speaks of a world of the soul, the astral world, and of a devachanic world, the world of the spirit, which can be perceived by those whose spiritual eyes and ears are open. Where Goethe has Faust placed between the forces of good and evil, he lets the words resound:

The sun resounds in the ancient way
In the spheres of the brothers' song,
And its prescribed journey
It completes with a thunderclap.

When most people say that this is a poetic image, they misunderstand the poet if they think he is making up a phrase. A true poet does not do that. The physical sun does not resound. But if we look at the sun as the expression of a spiritual organism, then we can speak of the sun resounding. In the second part of Faust, Goethe lets him encounter a similar situation. It says:

Hark! Listen to the storm of the hours!
For spiritual ears,
The new day is already being born.
Rock gates creak and rattle,
Phoebus' wheels roll and clatter,
What a roar is brought by the light!
It drums and trumpets, eye blinks and ear is amazed,
unheard-of things are not heard.

These are the depths of wisdom from which Goethe draws. Those who do not know that Goethe sought to draw from the sources of esoteric wisdom do not understand Goethe well. He himself said that the deep meaning of his poetry would not remain hidden.

The second part of “Faust” has always been a big problem for people, also the fact that Mephistopheles, the representative of evil forces, is associated with Faust. Goethe researchers have also written an infinite amount about Mephistopheles. The word is composed of “Mephis” – is equal to Verderber – and “Tophel” – is equal to liar. At the same time, this leads us to the fact that Goethe was able to draw from sources where exactly this meaning of Mephistopheles could be found. We get to know the esoteric Goethe from the second part of “Faust”. People have thought a great deal about the homunculus. Some interpreters of Faust suggest that the homunculus represents humanistic research. Faust scholars can also be seen grappling with the question of what the “mothers” represent.

Occult teachings have always distinguished between the physical, mental and spiritual nature of the human being. Even today's materialistic science regards the physical nature. The soul world belongs to what we have characterized as the astral. The spirit belongs to the devachanic world. As in all mysticism, for Goethe the physical body is the transient one. The soul is that which forms the connection between what is transient in time and the spiritual eternal. For Goethe, the human being is also composed of three parts: body, soul and spirit. For the one who thus considers the structure of human nature, what happens to him when a person enters this world? He comes from the eternal sphere of Devachan. The source of spiritual existence is spoken of as the “Mothers”. The threefold source of the human being is with the Mothers. The eternal corresponds to the spirit. The soul also has an eternal archetype. In Theosophy, this is referred to by the Sanskrit words: Atma, Budhi, Manas. This is referred to as the divine trinity, which is with the mothers, of which man is a threefold image. Goethe wants to depict this, the way in which the threefold nature of man is composed of spirit, soul and body. A long-dead person is to stand before Faust: Helen. The example of Helen is to be used to illustrate the development of humanity. The re-emergence of the spirit in a new form is to be shown there. The three parts of the human being are to come together again.

Goethe depicts the soul itself through the homunculus, which is the astral body of the human being; it longs to be embodied. The spirit must join it; it is with the mothers. Now Goethe actually describes the journey to the mothers in a very appropriate way. Mephisto says to him as Faust enters the realm of the mothers:

Sink away! I could also say: rise!

There is no difference between up and down in Devachan. Then he shows him the tripod, which shows him the way to the mothers, the threefold nature of man. Faust succeeds in bringing up the ghost of the deceased Helena. Faust is not yet ready to fully understand this. When he wants to embrace Helena passionately, an explosion follows.

Homunculus is created; this is precisely the human astral body. This astral body is to receive a physical body. Goethe has him guided down to the ancient Greek philosophers. He wants to have the “thoroughly practical” for the astral soul. Now he is to learn from the Greek philosophers how to come into being and develop. The entire development through stones, plants and up to the human being is then described. The process of passing through the plant kingdom is aptly described as “it grunts so”. Finally, we see the possibility arise that the body connects with the soul when Eros comes. Homunculus is dashed to pieces against the shell carriage of Galathea; as a spirit he no longer exists, he has connected with the elements.

In the great world poem, we see how Goethe embodied his view in it. Goethe describes his view differently in the fairy tale of the green snake and the beautiful lily. The way the “fairy tale” was created should make it clear that what is expressed here is possible. During the time of their friendship, Goethe and Schiller published the Letters on Aesthetic Education as a kind of dowry. Schiller asked Goethe to make a contribution. Goethe wrote to him that he could not express what he had to say in a philosophical way, but that he would present it in a pictorial form. So he wrote the fairy tale of the green snake and the beautiful lily. If we want to understand what Goethe meant by the “fairytale”, we only need to read what Schiller wrote to Goethe at the time. Schiller sees in the realm of beautiful appearance, in the realm of artistic appearance, an intermediate realm that elevates people from the realm of necessity, of sensual nature, to inner freedom. He sees in the artist the person who finds the spiritual in the physical, so that the sensual is spiritualized. In this way, art can help people to rise above the sensual world. It is a means for them to purify and spiritualize their instincts. People may then follow their instincts when they have been so purified that they no longer go against the spirit, so that people cannot help but want the ideal. Goethe presents this in a great image, but one that is drawn from infinite depths. In the will-o'-the-wisp in the fairy tale, who cross a river and have to promise the ferryman to pay for their journey with three onions, three artichokes and three cabbages, we recognize the lower self of man , the ego nature, which has the potential to develop the three-part, higher, future nature, namely the wisdom nature or manas, the kind nature or budhi, piety and the strength nature or atma, strength. The development of man to this higher trinity is called initiation, which is carried out in the mysteries. Gradually, in the great process of evolution of humanity, all people will become initiates.

In all esotericism, water is used to describe the astral world.

Human soul, how like thou art to water!

says Goethe. There are two types of human nature: one that acquires wisdom in selfishness, the other that acquires wisdom by working from experience to experience. If the astral — the river — is to accept the gold, the wisdom acquired in vanity, then it will flare up. In esotericism, the original is represented by the lotus flowers, by something that can be peeled off so that a germ remains. The will-o'-the-wisps represent the human ego that only wants to shine; the snake represents the human ego that identifies itself with wisdom. Goethe once said:

If the eye were not solar
How could we see the light?

When the snake glows from within, it can enter the temple, where humanity acquires the three highest goods, which are represented by three kings: wisdom, piety or beauty and strength. The old man with the lamp represents the way in which most people are now enlightened. Religion is symbolized by the old man's wife. The beautiful lily represents the eternal, which man can only attain when he has been purified. The highest kills all that is living and immature. But through mystical death, man attains the highest spiritual gifts. In this fairy tale, Goethe has embedded the deepest truths of esotericism. In it, he shows how man attains the highest goods of humanity through the sacrifice of his lower nature. The same idea is expressed in the saying that appears in the West-Eastern Divan, in the poem that begins:

Tell no one, only the wise,
Because the crowd would scoff.

In the end, he speaks of the sacrifice of the lower nature and the spiritual rebirth of man:

And so long as you do not have this,
this: Die and become!
If you are only a dull guest
on the dark earth.

Medieval Christianity has the three wise men from the East represent the three continents of Europe, Asia and Africa. Just as such things are linked to great truths in esotericism, so too is the illusion that one king is a Moor, the second a European and the third an Oriental. The three wise men from the East are connected with great cosmic truths. Just a fortnight ago, we said that Theosophy would restore to man direct perception, a correct understanding of what happens in the course of a year, so that changes show us how our spirit coincides with cosmic events.

Just as we do not see merely a physical movement when a human eye looks at us, but rightly draw conclusions about the inner state of a human soul from the outer gaze of the eye, so the theosophist realizes that in every thunder and lightning, in every breath of air, in every sunrise and sunset, only the physical expression of spiritual entities is to be sought. And just as everyday events give beings a sense of the beings behind them, so the regularly recurring phenomena of the year reveal the deeds of a divine spirit that works according to law. We see how the power of the sun grows more and more from spring onwards, how the sun regains its power from the shortest days, how it awakens the veiled life of the earth and lets it sprout anew, how the power of the sun is expressed in external deeds. From a certain day on, the power of the sun decreases again, the days become shorter and shorter. When the least physical power of the sun reaches us, life withdraws below the surface of the earth. Man can feel and experience that behind all the deeds of outer nature stands the spiritual creation of spiritual beings.

If he penetrates even deeper, the teachings that were cultivated within the mysteries tell him that not only does this take place, but that with the increasing solar power, the activity of the solar beings decreases, that at the time when the external solar power is weakest, another power increases. In the shortest time, another, a spiritual power is strongest. When the darkness is at its greatest, there is a light during the course of the year that shines most brightly; the traditions of the mysteries have always expressed this. Christmas is connected with the deep wisdom of the world. All legends tell us that the gods sleep at midday. There are regions where the churches are open all day, only closed at noon; this is based on the same premise. What Christian humanity celebrates as Christmas can only be understood from the mystery teaching. The disciple was shown the sun and the moon, as they alternate in their normal course. They were especially pointed out to the fact that during the night the earth itself veils the sunlight. At Christmas, in the deepest silence, the disciple is shown a transparent earth through which the sun can be seen. “To see the sun at midnight” is the ancient custom of Christmas. Those for whom matter is no obstacle can see through the earth to the sun on the other side, namely the sun beings. Contrary to the tradition that the gods sleep at noon, it was believed that the gods watch at midnight, because at midnight the spiritual light can be seen best. This should be done with particular solemnity at Christmas. We can understand that this has continued to have an effect into our time, since Christmas is in this season. Esoteric Christianity also sees a body in the sun, and just as man is not content to merely observe the body physically, so the Christian is aware that through the sun the body of a spiritual entity becomes visible and that Christ is the head of spiritual entities.

Now the physical fact that the moon reflects sunlight is an expression of a spiritual fact that underlies the physical one. Even in the Hebrew era, people said: Before the power of Christ works and creates in the earth itself, it works in an indirect way. The Jewish law before Christ was the spiritual background of the moon. As long as the people of the Earth were immature and not ready to receive the power of Christ, they had to receive the reflected light of the moon. Through Moses we received the law; the law was spiritual sunlight in the reflection of the moon. Initiates could see the power of Christ through the Earth at Christmas. With the coming of Christ into the Earth, the spiritual power of the Sun united with the power of the Earth, and that is the origin of the Christian Christmas. It celebrates the moment in the evolution of the Earth when man has matured to receive the inner sun, and now man should be able to see through the transparent Earth. What used to be a mystery festival became Christian Christmas. Now man should also feel the power of Christ in the daytime and in the Earth, not only in the sun. This says a great deal. People sensed the spiritual sunlight in the reflections of different religions and world views. These religions and world views represent the three wise men of the Orient. Now the time has come when the sun penetrates the earth as a unified force, when one should sense the basic power in all religions.

Then the religions arrive, led by a star, the star of Christmas. Only the wise men are shown the transparent sun, which is the star of Bethlehem itself and has led them to where Christ appears in the flesh. They bring gold, that is, their wisdom, which has taken on different forms; now the star has arrived that unites them. Frankincense is the symbol of reverence for the power that brings peace in all human deeds, opinions and questions; myrrh is the symbol of immortality, for the spiritual power of the sun. Through beholding through the earth, the disciple receives the realization, the inner guarantee of the soul's immortality. Furthermore, myrrh signifies resurrection and preservation. The establishment of Christmas on the shortest day — it has been moved slightly — is not an arbitrary act, but an expression of human development. The Christian tradition knows what a profound fact underlies this. During the midday hour the gods sleep, while at midnight the gods are awake. What works externally, physically, is indicated by the myth through the figure of John, namely, the physical power of the sun alongside the direct power of Christ. When the sun is at its strongest, the spirit is at its strongest. John's birthday is when the sun is at its strongest: I must decrease, but he will increase. From summer towards winter, the physical power of the sun, like John, decreases, and the spiritual sun, like Christ, increases. Those who work in the sense of the esoteric Christ have felt this idea of peace and harmony.

This poem is so great, the deepest trait of Christianity, of esoteric Christianity, lies in it. A pilgrim is sent to the monastery with a special mission. Twelve individuals are found there, with a thirteenth at the top. Brother Mark is led through many regions and his character is described to us. This is deeply significant, we are told, which forms external intellectual power, education and training. Brother Markus comes close to his goal after many wanderings. He strives for serious wisdom training. [That lonely, strange wanderer does not possess the science of the mind, but he does possess wisdom that speaks as if from children's lips. It is the wisdom that speaks through the transformed science. He speaks from the naive feeling of his wisdom, and it does indeed sound as if it comes from children's lips.] We must again take re-embodiment as our starting point. A person who has learned much in a previous life, who has a world of ideas and content for contemplation, will then be re-embodied. These ideas do not have to appear in the form of ideas. He seeks serious training in wisdom. [His wisdom is a mature and transformed knowledge from previous embodiments. He has not learned much new knowledge in his present incarnation, but he has accumulated wisdom from previous lives.] Now it is love, kindness, compassion, and

Brother Mark appears not as a sage who has learned much, but as a mature sage who has learned in previous incarnations; whose wisdom has become gold. At the entrance to the monastery, which he enters, he encounters a strange symbol that is supposed to represent the meaning of life to him: a cross entwined with red roses. He sees the sign of the cross, professed by so many people, entwined with roses. Note the wording in this sentence, it is a password of the Rosicrucian:

Who has joined roses to the cross?

[This may suggest that Goethe was a Rosicrucian initiate. The cross represents the three lower bodies of man, the physical, the etheric and the astral body. In his life, man should overcome those qualities of these three bodies that have come to him from outside. They should be transformed within him through his ego.] By the fact that his own ego can say to itself “I am”, he transforms these three bodies. [For he who does not have this dying and becoming remains only a dull guest on the dark earth. The lower bodies are represented in the black cross.] Man transforms these lower powers and qualities, not as a form of self-mortification, but as instruments of his own ego, purified, cleansed, transformed into powers of his own ego. He kills what was originally in him and lets it rise again as a young, fresh power – his higher ego, which is the ruler over the lower powers. The mortified bodies – the black cross – in the mortified original Tree of Life as three representatives and a fourth: sprouting life. [The four beams of the cross are made of the wood of the cypress, the cedar, the palm and the olive tree, and they touch at one point.] Cypress is the physical body, palm is the etheric body and cedar is the astral body, which has been overcome; olive tree, which permeates the three lower bodies as with ointment, as with oil, as that which rejuvenates and gives birth again.

[Esoteric Christianity sees in the rosary on the cross the Christ Jesus, through whom the lower nature in man is purified and raised to a higher level.

When man looks at the sprouting life, not yet penetrated by passions. still asleep, only a dim consciousness, is plant green. Where it rises up to the I in the astral body, where the I expresses itself, there the green plant sap becomes red blood. [Red blood, the color of roses, is the symbol of the I. As long as the green plant sap still wells up through the leaves, it announces to us the pure, chaste plant substance. The penetration of the body with passions, desires, instincts causes the emergence of red blood. In man, the pure plant substance has been permeated with desires and passions. Thus man has bought his higher consciousness, through which he perceives as he perceives today: by permeating the plant substance with desires and passions. He will purify his ego again, he will regain the chastity of the plant. [In the course of time, the ego must gradually restore the pure plant substance. Thus, man with his red blood must, as it were, become pure plant substance again. As long as this remains green, it sleeps.] In the future, the red blood will no longer be the expression of his lower instincts and desires, but of his higher self. The red roses on the cross signify both the color of our blood and our pure plant nature. It creates myth-forming power similar to wisdom. In the power that emanates from Christ, the ego is led upwards to become pure, chaste plant substance again. In the red flower we see the purified, refined ego. There is a beautiful old myth: the bee, as it goes to the red rose to suck, so it went to Christ Jesus to suck from the wound. [The devil hates red roses the most!] He wants the blood in the fist. He hates the purified blood that has returned to the red rose.

In the poem, we have twelve representatives of different religions united in the leading, great brotherhood of humanity. [A thirteenth leads them because he overlooks and encompasses all the individual religions] in order to flow out from here into the whole world. Just as the three kings come to the harmony in Bethlehem, so the twelve send their spiritual rays out into the world. And one leads. We see here the threefold higher nature of man, the rays emanating from one point.

Markus is admitted to the monastery and he is united with the eleven to become twelve.

[Brother Markus receives the deepest instruction in the monastery. The poem characterizes the thirteenth, the leader of the assembly.] The thirteenth is presented in his essence as one who is exalted in his soul, in his heart the various confessions of the world are balanced. [At his birth a star shone, signifying the spiritual sun that he had seen at his initiation. It is the same star that shone for the Magi from the East at the birth of Jesus Christ.] A vulture comes down and dwells peacefully among the doves. Peace is the atmosphere that spread at the birth of this person. A strange saga is told about him in his youth: as a boy, he overcame the vipers, that is the lower nature of his being. In previous lives, he had acquired the strength to overcome himself. The viper was wrapped around his sister's arm. This sister signifies his etheric body, which in the case of males is female] — You know that the etheric body in the male sex is female, that is, always in the opposite sex. The astral body wraps itself around this — the adder, the snake, and he overcomes this, which wraps itself around his sister — around his etheric body. The boy practices obedience in the outer world. At first he submits to what the parental home demands with a certain humility and devotion. He is now allowed to go out into the world, and finally, by the right of his birth, he may take the lead in the order. [By the right of his birth he is placed at the head of his order, which is something deeply significant.] The twelve represent the different religions of humanity. Each of them [experiences a moment in its development when it feels it has come closest to the truth]. Each has something special to tell, as a special relation to the thirteenth. [On this point, the twelve are particularly close to the thirteenth.]

At an important moment, Markus enters the monastery: the thirteenth is preparing to leave the monastery to enter a higher level. [The thirteenth of the old men wants to ascend to the highest region of the mystical. He no longer needs to undergo physical embodiment. To do this, the twelve others should mature so that they can then manage without the thirteenth.

There are thirteen chairs in the hall, symbolizing the spiritual work of the thirteen, and Brother Markus is shown around. The task of each is symbolically depicted in a sign above the chair. Above the chair of the thirteenth is the cross of roses. The thirteenth, Humanus, is a mediator for harmony and peace, which are differentiated in the world. The various religious denominations, which are in conflict, find each other here at a higher level, so that the power is not lost, but flows out into the world. To the right and left of the chair is the fire-colored dragon. [The fire dragon is the lower astral nature that must be overcome; and the hand in the bear's jaws means the ego of the human being, which is embraced by the lower, destructive nature, but through which stage one must pass as a mystic. We also find the meaning of this symbol with the war god of Central Europe, with the hand in the jaws of the wolf. This symbolizes the time when the word was sunk into man's inner being. The power of the word through which man develops. Here [the deep meaning is expressed that work must be done]. Because many a person looks at what is being done that is more important than the physical work for the overall development of humanity. What is done from the spiritual centers is invisible. The twelve have experienced the joys and sorrows of life, and now they are gathered for a different kind of work – another door is closed by a curtain. [The twelve men no longer work here in a physical way, but in a higher spiritual way. Through their own perfection, they are working at the same time on the further development of humanity.]

Mark is received in the forecourt and waits to enter the innermost part. Brother Markus has only gained a glimpse into the astral realm, but there is a hint that in due course he will also get to know the spiritual world. At first he saw only images and colors of it. The spiritual worlds, on the other hand, resound in the spiritual tone, in harmonies of the sound of the spheres. After his sleep, he hears three blows and in between a light flute sound. This is to be regarded as a symbol of the harmony of the spheres. Furthermore, he senses the gradual awakening of the threefold higher nature of man. Thus he is initiated to finally become a member of the higher cosmic world himself. Only then does he actually feel accepted into the great cosmic sound. The birth of the higher man through the power of the roses takes place, [symbolically represented by the three youths. They signify the birth of the three higher parts of the human being. The power of Christ brings us up to the true self as the highest level of mystical-spiritual development]. The greatest bliss that a person can achieve is Manas, Budhi, Atma. Through this, he becomes a member of the great cosmic secrets of the development of the earth.

Today, on New Year's Eve, our greetings go from soul to soul, from heart to heart, and when we embrace these impulses, our greetings contain something of the goals of the world principle. One year follows another in the steady progression of time. Reflections such as today's should fill us and remind us that not only years go and come, but that these are stages, to ever higher and higher ascent of the individual and of all humanity. We feel that this is not repetition of the same, but ascent with goals within life with the true, genuine perfection of humanity. Let us let our souls be filled with these reflections and thus feel the impulse of the genuine New Year's greeting, which is struck in our souls by the Christ principle, as a greeting that embraces all humanity.

We want to help each other to ascend, we greet each other at every turn of the year. We want to work together, in theosophical brotherhood, to ascend the path of human perfection. Then the sound of the New Year's Eve bells will contain something of the harmony of the spheres. There are customs and traditions, and when we connect the soul with these customs and with the sound of the New Year's Eve bells, we say: We want to be helpers to each other in the forward climb of humanity to its highest goals.

Cypress, cedar, palm, olive tree: according to an ancient legend, the wood of these trees was used for the cross of Christ.

The rose, the chaste ego, is plant sap, but red. Bees flew to the wounds of the Savior, sucked at them and found the same in them as in the flower: blood that had become plant. To fully empathize.

The “Mysteries”. The twelve in the monastery are representatives of the twelve religions and creeds. There can be twelve. They all stand under one supreme; the spirit is the same, flowing into all.

From Brother Mark's mouth wisdom resounds as from children's lips; in the deepest simplicity, this is the divine teaching.

Those who know this and have expressed great wisdom to the highest degree in previous incarnations can, in their next life on earth, let the highest expressions of wisdom sound from their lips as naturally as a child speaks. At the highest level, there is the greatest simplification of wisdom. This is the case with Mark.

The thirteenth is about to leave this body, while fully conscious. A star at birth means that the birth of someone like this is of profound significance for the whole cosmos. He overcomes the vipers, which means that he is born at a high level. The three limbs are depicted in the form of an amphibian. Snake symbol. Fish is the sign of the Christ.

He has already overcome his lower nature. This is indicated by the killing of the viper.

After the second half of life, physical strength declines. However, spiritual strength increases. Even those at a high level must relive childhood and go through a lot before their higher personality can fully reveal itself. The spirit lies in the powers we have, not in what we learn; these are only forms.

He sees herbs and becomes a healer. The willingness to obey the will of others saves an enormous amount of strength for life.

Humanus [the thirteenth], who has all the powers of man within himself and has risen above him.

The shields [above the brothers' chairs] symbolize what each of them had to give to the world: a fire-colored dragon quenches its thirst in flames, which is the transformed astral nature, passion for religion. The arm in the bear's jaws: man's wild nature is called the bear nature. Lower animals are soundless animals. The more the animal becomes similar to man, the more 'sound' arises in him. When the 'I' has completely moved into the human being, it can fully sound into the world. This is the Rubicon that man must cross, represented in the tongue. That which is in the mouth, the tongue, is at the same time the arm in the throat (Fenriswolf).

One should use what people have already achieved, not wanting to achieve everything on one's own. That is useless effort. It draws strength from the world. There is still a lot going on here. The white lodge is among us, always.

The three youths: the three higher limbs of the human being.

It seems as if they have come from nocturnal dances,
quite refreshed and beautiful after joyful exertion.

During sleep, the astral body is in the higher world and brings back new strength. This should not be taken intellectually, but felt: from humility and simplicity comes the highest wisdom.

I. Excerpt from a Dutch brochure

The above was the title of a lecture given by Rudolf Steiner in Amsterdam on Thursday evening in the “Van het Nut” building.

The speaker, introduced to his audience as the General Secretary (Chairman) of the German Section of the Theosophical Society, began by describing the concept of Theosophy. Theosophy wants to be a movement to deepen our spiritual life. And it is fair to say that Theosophy in our time represents what we perceive as a great movement in the whole cultural world.

The speaker then points out the growing internationalism and the continued disappearance of the walls between people and people, between nations and nations, over the centuries. In the material field, we see the banker, the industrialist, the merchant playing an important role here. But all of this as material phenomena are consequences of the existence of common ideas, the internationalization of ideas.

What we saw in earlier centuries (and even now) in the religious sphere, dividing one person from another and one people from another, is magnificently bridged by Theosophy, and this is only possible because the theosophical spiritual current extends to the deepest foundations of spiritual life.

It is not the theosophical attitude that says, “How is it possible that we have come so wonderfully far,” and looks back with a certain pity at the old “childlike” beliefs.

We in Theosophy have completely turned away from the delusion that we can look down on what humanity has achieved in earlier times.

In order to show the relationship between Goethe, the poet, and Hegel, the philosopher, and the theosophical view of life, the speaker will present the latter in a few basic principles:

The first principle is that this visible world is based on an invisible world; secondly, that man can get to know a supersensible world behind the sensual world. But: the supersensible world cannot be reached with ordinary sensual perception. Theosophy is not concerned with magic, with superstition, with falling back into old fantasies. The one who perceives not only the facts of the material world, but also the spiritual causes of it, becomes aware of a higher faculty within himself.

Dr. Steiner then gives a favorite example of a person who was born blind and underwent an operation. A world of perception opens up for him. An infinity of light and color flows into his eye that now sees, of which the person previously had no concept and could not form an idea. As a citizen of the lower nature kingdoms through his lower nature, the human being belongs on the other hand through his higher nature to the realm of the higher worlds, from which his being is built. And so the human being stands with his inner being between two realms.

Now we see the life of the individual human being playing out externally between birth and death, and we see how he becomes richer and richer in experience through the perception of the external world. And we ask ourselves: What is it and where is it that the human being has taken in during all this time? What we have absorbed is transformed by death into a seed for a different development. The sum of our life experiences has reached our soul, and at the moment of death the fruit of life presents itself as a seed. In a new life, in a new embodiment, the seed unfolds. We can perceive this in the development of a person from the moment of birth.

What we perceive cannot be explained by this one life alone. Just as the plant germ leads us to an earlier plant, so this spiritual soul germ leads us to an earlier spiritual life. This is what is usually called reincarnation.

Each life enriches the soul with the fruits of life, and each life the person enters richer: Everything we have within us, we have acquired in previous lives. And we also know that the thoughts living in this world are the fruit of earlier human development. But we see that both the old fairy tales and myths and what we currently call our science are only forms of human development – and that we will later achieve other and higher forms of this development.

When we survey all this, we are able to build a bridge to the poet Goethe and to the philosopher Hegel. From the very beginning, we find a basis for theosophical feelings in the whole being of Goethe. Even as a boy, Goethe was trying to find his own divine spiritual nature through his spiritual experiences.

The seven-year-old boy cannot recognize the external religious forms of his time as his own, so he builds himself an altar on a lectern and places stones and plants from his father's geological collection on it: natural products that he perceives as expressions of divine life. And then he wants to light a sacrificial fire, and he lets the first rays of the rising sun fall through a burning glass and ignite the sacrificial candle on the altar he has erected himself.

As an artist, too, he seeks nothing but the great life of the supersensible world, for example on his Italian travels. He also says that art is the most worthy interpreter of the spiritual world. One should also look at his letters to Winckelmann, where he describes his view that everything that exists in nature in terms of order, harmony and measure is reflected in man, where it exults to the highest peak of perfection.

Schiller writes to Goethe: “Dearest friend, I have been watching the course of your spirit for a long time, albeit from afar.” — “You are taking a difficult path, but you will surely find it... etc. From the very beginning, Goethe feels that he was born out of the spiritual-cosmic nature.

That Goethe recognized the spiritual in man is shown not only by a poem from the 1790s, “The Mysteries,” in which he speaks of the Rosicrucian symbol: the black cross with the red roses; he gives his creed even more beautifully in the fairy tale of the beautiful lily and the green snake and in his Faust poem. The speaker refers to Goethe's letters to Eckermann, where he says that his Faust can be viewed from two perspectives: firstly, it is something for people in the theater, but then there is also something in it for the initiate who sees the spiritual life behind the sensual life of man. Those who do not have that, the dying and becoming, remain only a dull guest on this dark earth.

Then the speaker points out other things that are so well known to most people, but understood by so few, and certainly not by most commentators on Goethe: in the prologue, where Goethe speaks of the “harmony of the spheres” and the heavenly choirs; in the reappearance of the figure of Helen in the second part, Helen who had already died; and finally on the homunculus, with which he wants to imply nothing other than that which is human, from embodiment to embodiment: the soul: He was all too happy to be embodied.

The speaker is briefer with regard to Hegel, namely because of the already advanced time of the assembly. Hegel is a contemporary and in many respects the student of Goethe. He understood everything about Goethe, except for the theosophical basis. Hegel shows how far one can come who does not know the above-mentioned foundations of Theosophy.

Take a glass of water: you can only draw water from it if it is in it. And man can only draw wisdom from a world that is itself built of wisdom. Hegel strove to prove this.

Hegel recognizes the world of ideas as a coherent spiritual world, independent of nature, and he calls this world pure logic. For Hegel, “logos” has the meaning of: the great original plan of the world, the sum of the ideas that underlie this world.

The speaker then points out the well-known systematics of Hegel and follows how he speaks of the three sides of the ideas: - the idea in itself - the idea in nature, spread out in space and time, where it will become self-aware, descending into different forms, to humans and further - then the idea, returning to its own pure essence, having become self-aware.

But, says the speaker, Hegel carries within himself all the limitations of his time. We must not see the philosophical lines alone, nor consider the “world of ideas” as something absolute. (The speaker seemed to mean: not as a concrete thing).

For Hegel, the scientific view of the world had become an absolute, and one always has the feeling that Hegel means that when man has grasped the world of ideas, humanity has come to its end. Hegel knew nothing of the infinity of forms through which the world of ideas gradually becomes conscious in successive lives, and that man must learn the logos of feeling as well as the logos of idea to live and experience. From Hegel's philosophy, a kind of materialism emerged.

[After speaking] tirelessly for almost two full hours with great mental strength, this extraordinary speaker concluded his lecture with the apt words of Goethe:

If the eye were not solar,
how could the sun delight us?
If the soul were not divine,
how could the divine delight us!

II. Report in the “Algemeen Handelsblad” of March 7, 1908

Theosophy, Goethe and Hegel.

The above topic was discussed yesterday evening at the 'Nutsgebouw' in a large public meeting convened by the Dutch Section of the Theosophical Society, with Dr. Rudolf Steiner, Secretary General of the German Section, as the speaker.

The speaker – an interesting figure: a sharply defined, ascetic thinker with deep, sparkling black eyes and long, matt black hair swept back; on top of that, a talented speaker – began his talk with a summary of the essence of Theosophy and its teachings.

He spoke of the possibility, so familiar and encouraging to those who have immersed themselves in theosophical ideas, but still so shocking, imposing, not to say fearsome, for novices, that man outgrows the physical, sensually perceptible world that surrounds him directly and moves and develops on a supersensible level of existence, thus elevating itself above itself; the possibility that man, not through magic or with the help of all kinds of superstition, but by cultivating the faculties of the soul that lie dormant within him, seeks and finds the spiritual foundations on which his sensual existence is based.

Dr. Steiner went on to speak of the doctrine of reincarnation, according to which the human soul, gathering life experience in a series of lives, grows in abilities, faculties and aspects, unfolding again and again in a new life as an effect, a consequence, a result of previous lives, and then, enriched by new experience, moving back to a state of condensation and concentration to finally fight his way up from the world of unconscious feeling, from which it was born, through the world of ideas or conscious feeling, to that world plan where the unity of knowledge and will will be born from the consciousness of ideas and the human soul will return to the eternal-spiritual core of existence from which the universe emerged.

The boy Goethe was already aware of this eternal spiritual core of existence. He built himself an altar of plants and minerals to glorify all creation, and he lit the incense candle on it in the sun, the eternal greatest manifestation of the eternal God.

Having also reached male puberty, he did not stop searching for the transcendental foundations of all that exists. Traveling in Italy and admiring ancient art treasures, he wrote to his friends in Weimar about his discovery of the “necessity of creativity-God”.

And also: “I suspect that the ancient Greeks created a work of art according to the same laws by which nature also performs its creative work, laws [that] I am on the trail of.”

And later, still in his work on Winckelmann, he wrote: “Everything that nature possesses in terms of order, harmony and measure is summarized in man.

Other great fundamental ideas on which Theosophy is based also dominated Goethe and are expressed in his works.

Thus, his unfinished work “The Mysteries,” dating from 1780, is an apt summary of theosophical ideas, where the doctrine of reincarnation is recognized in this beautiful image: “From the mouth of this pilgrim flows wisdom, as from a child's lips.

And again, in the fairy tale of the green snake and the beautiful lily, but especially in the second part of “Faust,” we find recognition of this teaching and other apt interpretations of Goethe's theosophical ideas.

Without going into detail, we could not follow the speaker in his quotations. We will just mention his surprising explanation of the enigmatic “homunculus figure” from the second part of Faust as a human soul on the path to reincarnation.

Dr. Steiner also sensed the great fundamental thoughts of the world that Goethe had “secreted into the poem” in Hegel's philosophy. He too recognized God, the Logos — this word traced back to its original meaning — in the “original idea of the world”. He saw the sum of ideas underlying the sensually perceptible existence, which thus becomes an image of the “spirit in itself”. And in the isolated subjective spirit of the human being, Hegel saw and honored the macrocosm reflected as microcosm.

But Hegel's absolutism, born of the worldview limitations of his time, prevented him from going further. The continuous development of the human soul as a microcosm until unity with the cosmic core is achieved is not recognized by him. But this does not detract from the greatness – now mostly misunderstood greatness of his basic idea, which was purely theosophical, like Goethe's when he wrote:

If eyes did not see the sun,
How could light delight us then.
If in us were no God's power,
How could divinity delight us then.

With this quotation Dr. Steiner ended his lecture, which was listened to with great interest by the numerous audience of ladies and gentlemen.

Many readers of Goethe's Faust will feel something very significant for every human soul and heart when they hear the poet's words resound, which depict how Faust, this representative of humanity's highest aspirations, how this Faust, after having gone through everything that can be our science of the most diverse branches can achieve, stands at a loss, struggling for a knowledge that means more than the satisfaction of the theoretical needs of the mind, that encompasses everything that is most needed by man in his darkest hours, for consolation and for uplifting of life, for strength of existence and for creativity in reality. And when we are pointed by the poet's words to a possibility of soaring beyond mere intellectual theory into the realm of the spiritual world, when we are pointed to the fact that there is something higher to be gained than theory and wisdom of the mind, it may well may well urge us, if we are interested in what is to be incorporated under the name of theosophy into modern spiritual paths, to look at what has flowed into German cultural life through Goethe from this particular angle. We may be urged to look into what actually lies behind that expression of Goethe's when, as Faust, he beholds the sign of the macrocosm before his eyes, he says that he now knows what the wise man means by the words:

The spiritual world is not closed,
Your mind is closed, your heart is dead!
Rise up, bathe, disciple, undaunted
The earthly breast in the morning dawn!

This is, in a sense, an invitation from Goethe's work itself to be viewed from the standpoint of spiritual science. Such a consideration of the work of great personalities who have had a profound effect on cultural life is very much in the realm of spiritual science, for this science can never fall into the error of other currents in claiming that everything that is truly valuable in terms of human knowledge has been created only through them. Mankind could then have little trust in a realization that would arise with the saying: “Like a shot from a pistol, it has only just been created.” Since human thinking and striving has existed, people have searched for truth. Should all those who preceded the truth researchers in question have searched in vain, only to be caught up in error?

How can we behave in a manner befitting a worthy attitude if we keep saying how we have come so gloriously far precisely with our wisdom? Theosophy does not make such demands. It seeks only to have the ancient wisdom that has always flowed into the hearts of those who have striven for truth and wisdom put into a special form and shape; this shall be given a new form that corresponds to the present life. Therefore, it is part of the task of Theosophy to inquire of the great minds of the past how their striving relates to what we are exploring today through our spiritual science.

We choose one who has achieved something so significant, Goethe, and if we place next to him someone who is unknown today and has been so for a long time, not unknown by name but by what he has wanted and commanded, Hegel, , then today's reflections may show us how, precisely, theosophical life makes it possible for us to appreciate some of the unrecognized, because theosophy is an instrument for finding and recognizing depths that would not be revealed in any other way. If we first immerse ourselves in Goethe, it is truly not difficult for us to find in his nature that basic trait of spiritual-scientific will and knowledge, which is characterized by seeing the invisible of the spiritual world in everything visible.

In everything visible we see the outer physiognomy of a spiritual, the outer expression of something supersensible, just as we see in the human countenance the expression of what lives in the spirit, in the soul. But we must not look at Goethe as some sycophants do, saying that Goethe had in his mind's eye what all mankind longs for, but was unwilling to express in clear words, unable to express it in quite definite forms of words, and that he sought to express it here in more obscure, nebulous feelings. The Swabian Vischer, the author of “Auch Einer”, has already raged about the fact that one wants to find Goethe's creed in the fact that Faust speaks to Gretchen:

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

As true as that was in conversation with Gretchen, it is just as untrue in all other respects, for not everyone who has a sincere aspiration wants a Gretchen wisdom, although in many cases it is only striven for as a Gretchen wisdom. But in Goethe, something quite different had been alive from his youth, from his boyhood on. If we follow him back to his childhood, we do not find any kind of spiritual-scientific knowledge, but we do find the same emotional formation of the soul, the whole attitude of a theosophically thinking person. We see the seven-year-old boy unsatisfied by all kinds of emotional experiences from all the external religious forms that flow to him from his surroundings; but he can vaguely sense and feel a higher spiritual reality. He searches his father's botanical collection for all kinds of plants, selects all kinds of mineral objects and places them on a music stand, which is his altar. And already in his boyhood, in his yearning child's soul, he wants to make a sacrifice to the great God of nature, as he later calls him in clear words, who is conjured up by what happens in the world, he wants to bring him so mysteriously before his soul. He takes a small incense stick, places it on top and, by focusing the first rays of the morning sun, ignites the candle. In this way, he performs his sacrifice with a candle lit by the forces of nature itself. Even as a boy, he thinks of what is hidden and enchanted behind the physiognomy of nature. And that remained in his soul throughout his life. It sounds wonderful to us when we hear his prose hymn, which he speaks to a writer as an expression of what nature means to him, soon after his arrival in Weimar. It is the hymn “Nature”:

Nature! We are surrounded and embraced by it – unable to step out of it, and unable to get deeper into it. Uninvited and unwarned, she takes us into the cycle of her dance and carries on with us until we are tired and fall out of her arms.

Or when we think of the great words: everything is nature. She invented death in order to have much life. And so it goes on. Goethe himself later confessed that the poem was based on the idea that a spirit dwells in all natural processes, just as a spirit also underlies everything that is personal. He seeks the physiognomy of spiritual life; through this we see him driven to observe nature in its interrelationships. We cannot go into detail about him as a naturalist here, but we may point out that he goes beyond what was to become his specialized field of study in every respect. We see in him everywhere the endeavor, which can already be seen during his student years, that the individual natural object should provide him with information about the interrelationships in life. To this end, he later studied in Weimar; he attended Loder's lectures on bone structure, comparative anatomy and so on. He did not want to consider only the fragmented parts of nature; we see from this that on his Italian journey he wrote: “After all that I have seen here of plants and animals, I would like to make a journey to India, not to explore new things, but to look at the old in my own way.” His way of looking at things, however, is to see writing in everything, which mysteriously expresses the spiritual life behind it. That Goethe has this in mind becomes particularly clear to us when we see how he brings all life under one point of view, under one perspective. In Italy, he gains an initial idea of what Greek art can mean to his great mind. Before that, he had discussed many things with Herder. He educated himself through Spinoza's thinking to the idea of a divine-creative essence behind the phenomena; but he was not satisfied with this. He wanted to recognize a divine-spiritual essence in man himself. He writes to his friends from Italy, as he stands before the work of art that has given him the secret of Greek art: There is necessity, there is God. I have the feeling that the Greeks proceeded according to the same laws by which nature works, and I am on their trail.

Thus, art is the continuation of nature's creative process. The artist should immerse himself in the laws of the world and then continue nature's work; what nature allows to pass from the supersensible to the sensual at a lower level, the artist should do at a higher level. In his book on Winckelmann, he says:

When the healthy nature of man works as a whole, when he feels in the world as in a great, beautiful, dignified and valuable whole, when harmonious comfort gives him pure, free delight - then the universe, if it could feel itself, would exult as if it had reached its goal and would admire the summit of its own becoming and being.

Thus, for Goethe, the human spirit is that which already lives in the strict nature, in rocks and plants, what develops there through the animal, becomes conscious for Goethe in the innermost human being, and when man pours his spirit into forms, then he himself creates as higher nature beyond himself. But this was something he was born with, to see the spirit in everything he saw, it was natural for him, so natural that the momentous conversation between Goethe and Schiller after a lecture by Batsch in Jena could take place. Schiller remarked afterwards that there was always something bleak about looking at nature only in detail and never as a whole. Goethe replied that one could also proceed differently, one could also go from the whole to the parts and base one's actual observation on the spiritual. He then drew the symbolic picture of a plant and said of it that it was the original plant and contained all others within itself; with it, one could form and invent new plants in any way, from the lowest to the highest plants. Schiller, who at that time could not rise to such heights, soon worked his way to this view himself. But now he replied to Goethe that what he had sketched was not an experience, but an idea. Goethe did not understand this at all, but rather thought that if it was an idea, then he saw his idea with his eyes. Here two worldviews stand starkly opposed to each other. Schiller believed that he could only grasp the spiritual through abstraction; Goethe through the beholding of the idea with spiritual eyes. Goethe was clear about the fact that the spirit lives in everything, that creative spirits prevail under the sensual, and Goethe not only developed this world view in a theoretical way, but he also embedded this world view in his works, in everything he did in a poetic way. This is particularly evident when we try to grasp the depth of the second part of Faust.

At that time, this world view was by no means limited to Goethe or found only in a few people; rather, it was an intellectual atmosphere in which Germany's best minds lived at the time, and Hegel also grew out of this intellectual philosophy. Of course, for many who have only heard a little about Hegel, he is a dismissed philosopher, one of the great bearers of error of the past. When people approach great minds, they behave very strangely. There is a beautiful writing by a Russian scholar, Chwolson: Hegel, Haeckel and the Twelfth Commandment. In it, a good characterization is given in a certain way. The author is an excellent physicist; he is good at drawing the conclusions that can rightly be drawn from our present-day world view. His twelfth commandment is actually very self-evident; but it is not understood by many. It reads: “You shall never write anything about which you know nothing!” Those who are well-versed in intellectual life know that Chwolson does not understand Hegel; so he is a perfect example of his commandment. It is easy to ridicule when something is taken out of context. One must know the whole context. Hegel is a mind that was ripe, very ripe, but was only coming into its own for the first time with its own ideas. Born in Stuttgart as early as 1770, he published his first work, which for those who are superficial in spiritual matters is perhaps in many ways quite incomprehensible today, only in his old age. But this work should be deeply significant for anyone who wants to scale heights in spiritual life. It is the “Phenomenology of Spirit”. It must appear to us as if it springs from spiritual life through its outward genesis.

He shows that he was able to disregard the things of the external world in the utmost concentration. It took tremendous intensity of spiritual power to write these subtle things; the last pages were written while the cannons thundered in the Battle of Jena. There this work was completed, which was to introduce us to the spiritual world. And he always took his time; almost a decade later his “Logic” was published, and we also have an encyclopedia and a work on jurisprudence by him. The majority of his works emerged from his lectures through his students. It is difficult to give just one picture of the meaning and spirit of Hegel's teaching in a few words, but it is perhaps possible to give a broad outline. There has been much ridicule because Hegel wanted to construct the whole world, all objective being out of the spirit, out of the idea, because he first builds up nothing but concepts, nothing but a world of ideas that can only be followed through the human intellect; therefore, it is said that he did not research experience, but wanted to get everything out of the spirit, which one can only experience in this way by examining nature. This is where the greatest error in judging Hegel lies; it is quite wrong to say that Hegel wanted to spin the whole world a priori out of his head. He was quite clear that reality was spread out in space, but he also knew that behind this objective reality there are spiritual connections that man grasps in the images of ideas. What could he do about seeing the idea in things? He explored the world empirically, but he just saw more than the others. Nature also gave him the ideas beyond the gross material, just as it was with Goethe. Could Goethe and Hegel help it that the others could not find these ideas? Those who can't find them then believe that Hegel spun them out of his head. Lichtenberg, the great German humorist, once spoke of a book and a human being and said: When a book and a human head collide and it sounds hollow, it is not always the fault of the book. And when the human head and nature collide and the head remains empty because it cannot find any ideas, it is truly not nature's fault. Hegel made it his task to erect that which expands in space into the mighty structure of ideas that he calls his logic. That fabric of ideas, of which he figuratively says that it is the god that he was before the creation of nature. That was more than a figure to him. From abstract being to absolute being, one has something before oneself like a creation. He says: The diamond web of concepts and ideas is something in which the things of nature are woven. This web became a mirror image for him, from which nature apparently comes to meet him again. He follows nature through all its stages to show how it is the idea, the creative thought, that lives in everything. He considers the mineral, plant and animal kingdoms, then the human being; he shows how the human spirit gradually becomes more and more perfect until it stands out through understanding and reason to the contemplation of the spirit in the external world. It is a gigantic edifice that rises before us, even if it is flawed in detail. It is a building that anyone can construct, and at the same time it is a good training, since one concept necessarily arises from the other, and every conceptual mass must fit into what is created in ideas. At most, we only find a similar necessity where the human mind delves into the connections provided by mathematics. There will come a time when we will again ascend to this significant schooling of the spirit.

When we try to sense how spirit and nature are combined in Goethe and Hegel, do we not feel the spirit of theosophical perception? Yes, we do feel it. Only one thing will be missing for the spiritual scientist in Hegel, which he finds in Goethe in the words of “Faust”, which Goethe calls “Chorus mysticus”:

All that is transient
Is but a parable;
The inadequate
Here it becomes an event;
The indescribable
Here it is done;
The eternal feminine
Draws us on.

Let us take the first three lines. We see nature as it arises and passes away in its individual parts; everything that has to go through birth and death is a parable for the eternal, the transcendental, for everything that stands behind it. Here, Hegel is a kindred spirit to Goethe; he, the philosopher, expresses the same thing intellectually: “All that is transitory in nature is a parable of the eternal world of ideas.” Then follows something that the poet could aspire to, but that was lost to the philosopher:

The inadequate,
here it becomes an event;
the indescribable,
here it is done.

If we feel these words correctly, we notice here where Hegel's purely logical explanation of the world is lacking. We can also apply the tighter discipline in this ascent to this network of concepts and ideas that lies behind the transitory. But there is something in this web of ideas that is inadequate, but which cannot become an event through intellectual contemplation alone. Hegel means: In this logical structure I have before me the God before He has entered into His appearance. But we must feel: Yes, you have something of the God who could have appeared to you as the great plan of the world, into which everything is fitted. But this web of ideas lacks life, and Hegel felt that.

The philosopher, the mere logician, cannot penetrate to the supersensible life. Here his mind, which was set up mainly for logic, could not penetrate. All idea is inadequate when it comes to letting the content flow out. From the realm of shadows, reality radiates when life comes to the structure of ideas. This life can only be found if man does not just stop at what is presented to his intellect, but must take the path to the stages of higher knowledge. Man must begin to let the spirit live in himself. For this, one needs a kind of knowledge that does not live only in sharply contoured concepts, but in what we have often mentioned here: in the realm of images and imagination, which represent a kind of knowledge that strives beyond all conceptualization. Behind all ideas lies a world of creative principles that is richer than all ideas. This is the inadequacy that can never enter into the idea, that must and can be experienced if one goes beyond the idea to the image that the poet has, or to the supersensible reality, to the spiritual. That is why the poet Goethe was able to approach what was missing for Hegel.

In the second part of Faust, Goethe comes as close as possible to what we today call a theosophical world view. He strives for nothing less than to include in the content of the highest spiritual human culture that which connects human beings to the great spiritual realm, which they sensed as children, sought as adults, and expressed in the fairy tale of the green snake and the beautiful lily. He really wants to place these secrets before his soul, secrets about the spiritual and sensual-physical aspects of the human being. He also seeks to do the same in the second part of Faust, but we must approach it with different eyes than those usually used by scholars. We must take something on board that will strike some of today's interpreters of Faust as something quite crazy; but we will find confirmed what Goethe says to Eckermann: “I have worked in such a way that those who only want something for their own external curiosity will get their money's worth, but for esotericists I have included many a secret.

First, Faust is led through the small world. After he has gone through sensual happiness and sensual misery, we see how he is to be accepted into a circle of ideas where the greatest secrets of the nature of the world are to become clear to him. He is introduced to the great world. Faust wishes to unite with the Greek Helen, who has long since died. She is to unite with Faust as a physical woman. For Faust and Goethe, Helena means something quite different than for most people. For them, she is the representative of the people and creativity that Goethe admired in the Greeks, of whom he said that they had come to the bottom of the secret of all natural creativity and hinted at it in their works of art.

But only if we are well prepared can we experience the mystery that the eternal, the immortal in man can come to us in a new embodiment; nothing less than the riddle of embodiment confronts us here. Faust strives for Helena – he touches her, but at first there is an explosion because he is not yet inwardly purified, and he must first grasp the secrets of the incarnation, which are shown to Faust step by step. For Goethe, the human being also consists of the physical human being, who represents the outer physicality of the human being, that which he has in common with all the surrounding minerals. Then there is also a second link in Goethe's view: the soul, the astral body, the carrier of desires and so on. For Goethe too, the spirit is supreme, for it is the true eternal essence that hurries from embodiment to embodiment, undergoing incarnation after incarnation. And Faust is to experience how spirit, soul and body come together to form this sensual world. He must first recognize where the eternal is when it is not physically embodied on earth. The eternal is in a purely spiritual realm. Therefore Faust must be led down into the spiritual realm, into that kingdom where the “Mothers” are, the primeval mothers of all spiritual beings. Mephistopheles stands by Faust's side with the key to the kingdom of the Mothers, which he hands over to Faust. That is what Mephistopheles can do; he can describe the outer realm, but he cannot enter into it. He is the representative of the purely intellectual human being; he even describes the realm as nothingness. Therefore, he is the representative of realism, of monism. One should reach the threshold of spiritual life; the strictest science has the key, but it only opens the door. Those who have only sensual experience still clearly speak the words of Mephisto that there is nothing in the spiritual realm. But Faust replies what should be replied even today:

In your nothingness I hope to find the All.

And Faust descends into the realm of the mothers and brings up the living eternal spirit of Helen, that which moves from embodiment to embodiment. Whoever follows and understands the description of the “realm of the mothers” will recognize the knower in Goethe in every word.

Sink then! I could also say: Rise!

In this realm, this is the same — our concepts of space are no longer sufficient. The Mothers sit on a glowing tripod. This is the symbolic suggestion for what is actually eternal in man, which is divided into: Manas, Budhi, Atma or spirit self, life spirit and spirit man. This symbol of the tripod, surrounded by the eternally creative mothers, expresses enough in such a meaningful place. The spirit that Faust brings must be enveloped in the astral and physical sheaths, and that is what happens. Goethe presents what stands between the spirit and the physical body in the middle of it, the astral world, in Homunculus. That which has nothing to do with anything in the physical world, which is created separately from the spirit of Helena, but which is later to connect with it, that is the astral in man, that which dwells in the physical body in man. Goethe does everything to point out that in Homunculus we have the astral in man. If the astral could be separated from the physical, then it would have to be clairvoyant – it would have to see clairvoyantly into the astral world. It is no longer clairvoyant in the physical body. And Goethe presents the homunculus as clairvoyant. As soon as he appears, he sees what Faust dreams; he sees the whole world of ideas of Faust. And if we go further – are we not clearly told:

He does not lack spiritual qualities,
but he is all too lacking in the tangible and practical.

– after all, he lacks the physical. Homunculus is a soul that wants to embody itself. In every word that is spoken, one can recognize Goethe's opinion in the indicated direction. But Goethe's words must also be understood in the right sense.

It will! The masses are stirring more clearly
The conviction of the true, the true.

We find this even in commentaries on Faust: in Wagner, the conviction of the true is stirring. But what is meant is that the astral nature begets in a way that is above human procreation. It is a conviction—like Übermensch. It is difficult for people to understand Goethe where he is esoteric. Even during his lifetime, he had to hear people always pointing out what he had poured into it from the abundance of his youthful nature and his poetic feeling, for which one does not need much to understand it. He dealt with such people nicely. A note was found in his estate:

They praise Faust
And what else
In my works
In their favor.
The old Mick and Mack
Is very pleased;
The pack of ragamuffins thinks
It's no longer them!

They also believe the spiritual researcher. Goethe points out in everything that he wants to characterize in Homunculus this second link of the human being, that this soul, before it can take up the spirit, must unite with all that is in the lower kingdoms of nature. We see how the astral passes through all the kingdoms of nature up to the human being. With Faust, Mephisto and Homunculus, he therefore leads us to the classical Walpurgis Night. This is an important chapter that tells us what Homunculus actually wants. There are the creative forces in nature, and Homunculus wants to learn the secret of how to structure the physical shell around himself as an astral being, how to start from the mineral kingdom in the lowest realm and put shell after shell around himself — up to the human realm you have time. In the transition from the mineral to the vegetable, Goethe finds the beautiful expression: “It grunelt so” (it grunts). It is then shown how he progresses further up to where he is ready to create a physical shell from the elements. That is when Eros appears, love. When a person wants to step out of the spiritual into the sensual, then, according to the great secrets, spirit, soul and body must combine. When the three unite, then the human being can appear before us in a sensual and spiritual way. Helena is docile, the eternal spirit has come up from the realm of the mothers. Homunculus has surrounded himself with sensual matter, united with the spirit, and Helena stands before us. The poet could not have portrayed the embodiment any differently. In the third act, the secret of becoming is presented.

The inadequate, here it becomes an event,

he says in summary, what he wants to express after this examination. There, where we ascend the higher path of knowledge to higher forms, there the spirit shows itself as creating, alive, there it is placed before our soul in a living form. And we see what the spirit must also have if it is not to be a mere specter of eternal ideas – it must have will. He suggests that it must not only have thoughts and concepts. The indescribable, that must be done, that is the will. He confronts us as a capacity for knowledge, where we feel the innermost source of the highest knowledge flowing in us. When we turn away from all sensual and physical things. Man can reach this level, and Faust has reached it. Goethe shows us this symbolically by making Faust go blind at the highest level, so that he cannot see the physical.

But within, a bright light shines.

We find ourselves in the deeds of the spiritual world:

The indescribable, here it is done,

that which cannot be described with words from the world of the senses. We see how the living, logical, willing spirit can flow into us. And this fertilizes what is considered feminine in the highest sense, the soul. Thus we understand what Goethe means by the last words of “Faust” when we know that the soul is always represented as something feminine that needs to be fertilized and that draws us towards everything that becomes action. This is what Goethe wants to show us.

I have only been able to give a few rough strokes. What has been said about Hegel will show you that Hegel was on the path of theosophy. He went as far as he could. With tremendous energy, he researched nature, sought and found the connections. Goethe, the poet, went even further. In his poetic images, he sought to expand the rigid contours of conceptual images, that which is to become wisdom and science in life, by capturing the living spirit. Thus, through his Faust, Goethe truly affirmed that it was a deep truth to him, which he emphasized at the starting point of his scientific writings, that we see the external things of the physical world because our senses are created for external sensual things. The external image presents itself as our eyes are:

If the eye were not solar,
It could never behold the sun;
If not in us the God-own power,
How could we divine delight!

Just as the physical sun is seen through the physical eye, so is the spirit the creator of the spiritual eye in man, and is seen through the spiritual eye in its effectiveness. These words are the result of his world view. This is how he understands the spirit that permeates the world, and this is how he has struggled in his strength to a realization that only a few find. He says to one of his friends at the very end of his life: “The most important thing I have written is not for the great world, but for a few who can seek the same on spiritual paths.

What he has achieved for a few must become common property for many. It must not remain a theoretical world-view but must take hold of mind and will. And so, precisely those who approach Goethe's and Hegel's world-views from a spiritual-scientific point of view must come to the conviction of how much Theosophy can be found in both of them. This conviction is summarized in the words of the wise man:

The spiritual world is not closed,
Your mind is closed, your heart is dead!
Rise up, bathe, disciple, undaunted
The earthly breast at dawn!

Yesterday I endeavored to show how the material to be presented here regarding Goethe's most intimate opinions and views on the development of the human soul is not arbitrarily worked into his works, and in particular into the material with which we are particularly concerned, his fairy tale of the green snake and the Beautiful Lily, but I have tried to show how the whole basis on which to build, the explanation of this fairy tale and Goethe's more intimate worldview, can be gained from a historical consideration of Goethe's life, from a historical tracing of the most important impulses of Goethe's ideas. I may say that an attempt has been made to establish the foundations for what is to be given today in a more freely developed form on the subject. If we allow the fairy tale we spoke about yesterday to arise before our soul, it appears to be completely immersed in mystery. And one would like to say that either one must assume that Goethe wanted to put a lot of mystery into this fairy tale, as he put a lot of mystery into the second part of his “Faust,” according to his own sayings, or that we could regard this fairy tale — which is quite impossible — as a mere play of the imagination. If the latter were not already excluded by Goethe's whole way of thinking, one would have to say that such an assumption is particularly prohibited by the fact that Goethe placed this fairy tale at the end of his story “Conversations of German Emigrants”. For it is basically the same idea that we found characteristic of Goethe's entire life yesterday, and which also lives in these “Conversations of German Emigrants,” which were written in the last decade of the eighteenth century. And from what immediately precedes the “fairy tale,” we can once again discern the theme of this fairy tale.

We are presented with the conversations of people who have been forced to emigrate due to events in their French homeland, who look back in the most diverse ways on what they have experienced in terms of sadness. We see how the entire story comes to a head to show what people who are, in a sense, uprooted from their circumstances and surroundings can go through in the solitude of their souls; what people in such a situation can gain by reflecting on their emotional experiences, by self-observation. We need only highlight a few examples to show how Goethe brings everything to a head, how a soul that becomes a fighter within itself, that often asks itself through various prompts: What kind of guilt have I accumulated, how have I hindered the soul's development? How such a soul tries to find out about itself. First we meet an Italian singer who is to reveal her fate to us in this story because her destiny can serve to illustrate a human soul that, in a certain respect, must remain on the surface of world observation. A human soul that, although it attentively follows what is going on around it because it is forced to by its circumstances, is not yet mature enough to distinguish between what, in a sense, may be called an accident and the spiritual necessity of things. It does not yet know how the phenomena of life must be connected so that we can assume the presence of spirit and spiritual laws in our environment. This Italian singer behaved in such a way towards a man that he became seriously ill as a result of her repulsive behavior, and that he is actually dying because of her behavior. So she is summoned to his deathbed. She refuses to come to his deathbed. He must die without having seen her. Now, in the time following his death, many things happen that give a soul, which would have to be characterized in the same way as that of the Italian singer, something to think about; so much to think about that she does not really know what to make of what is going on, which could still be seen as connected with my whole behavior, with the whole way in which I behaved towards the dead man in relation to his fate. After death, something very strange happens. She hears all kinds of noises in her rooms, the furniture dances, and she is even slapped in the face by an unknown, invisible hand, so that she is really frightened by the strangeness and horror of these events. Is the dead person somehow there, wanting to assert himself because of the way I behaved towards him?

A cupboard's top breaks open, and it is strangely revealed that at the very moment that cupboard's top broke open in this room, a cupboard in France, made by the same carpenter, burst into flames in its rooms. Mind you, my friends, it would never occur to me to try to explain these things in the light of a spiritual worldview, nor to suggest that Goethe wanted to express that there was something in such events that could give cause, for all I care, to assume all sorts of hidden spirits or the rumbling of the dead.

Goethe merely wanted to show that there are certain souls that are so little enlightened that they do not know what to do with such strange events, that are not enlightened enough not to say: these things are nothing; but they are also not superstitious enough to say: the dead man is certainly stirring, but rather those who, because they are not developed, can only have an indefinite feeling about such things. We see how the soul fares in the external world, depending on its stage of development, which Goethe already demonstrates by steering the stories in “The Sorrows of German Emigrants” in the direction of “fairytales”. He shows us how a person is put in the position of having to heal a lady of her sensuality, her passion. He suggests the path of having her fast, of guiding her through asceticism, so to speak, in order to dampen the ardent passion in this way. This is another indication of what a soul can go through in order to experience development. Continue – and now notice how Goethe does indeed lead the matter upwards in stages. First, he shows a soul that is really digging around in the vague in the Italian singer; he shows an already more real thing in the lady that I just mentioned: It is indeed the case that many people come to a purification of their passions, to an upward development of their soul through fasting. Here we are moving from the indefinite into the definite, into reality, and this is fully the case when we ascend into the reality of human soul development in the physical world, as we see in the third story related by Goethe. He shows how a person is initially somewhat unscrupulous, and thus stands at a subordinate level of soul development, to the point where he says: What belongs to my father also belongs to me. The practical result of this is that he commits theft at his father's checkout. He grows, so to speak, precisely through this act. His soul ascends, and he becomes, precisely by doing this wrong deed, a kind of moral center for all the humanity that then groups around him. Thus, already in his stories, which lead up to the “fairy tale,” Goethe shows us how he wants to depict soul development, the soul's ascent from certain subordinate stages to higher stages of knowledge and world view.

Now, as we saw yesterday, we are dealing with soul forces that are represented by the figures, the beings of the “fairytale”, and with the play of soul forces, which is to gradually purify itself into harmony, even into a symphony of soul forces, as the soul rises higher in the deeds performed by the figures and persons of the “fairytale”. In what happens in the 'Märchens', we are dealing with will-o'-the-wisps that want to be ferried across from the other side of the river to this side by the ferryman. They are initially filled with gold, but the ferryman does not want their gold as a reward because the river would be thrown into wild turmoil if gold pieces were to fall into it. Rather, he must demand fruits of the earth: three onions, three artichokes, and three cabbages. The will-o'-the-wisps have the ability to shake gold around them, and we have seen how they encounter the snake, which they call their aunt from the horizontal line, while they themselves are beings from the vertical line. By sprinkling gold, they give the snake something that becomes fruitful and beneficial within it, because the snake, by connecting the pieces of gold with its own substance, becomes inwardly radiant. That which it could not see before and which has something to do with the secrets of soul development, that it can illuminate that within itself.

When I tried for more than twenty years to gain access to this fairy tale in every possible way, it was above all a liberating thought in the confusion of questions that arise from the “fairy tale” when it became clear that above all I had to pursue the gold. Gold plays a role of the most diverse kind in this fairy tale. First in the will-o'-the-wisp. The will-o'-the-wisp scatter it around; there it shows itself in a certain way as something that we may address as not beneficial in certain respects. In the snake, the gold becomes beneficial. Then again in the golden king, who is made entirely of gold, then we find it again on the walls of the hut where the old man with the lamp lives, and there the will-o'-the-wisp lick it down and make themselves thicker and more substantial by licking the gold down from the walls. So the gold comes up several times, and one time we are pointed to the fact that this gold has something to do with the power of the human soul, by being pointed to the temple, which is first below and then above ground, that the golden king represents the bringer of wisdom. It is something that we do not need to interpret or explain, but where we can say: Here Goethe himself says: the golden king refers to the giver, the bringer of wisdom. So the gold must have something to do with wisdom. It is the gold, by filling the being of the golden king, that makes him a wise being, that leads him to bestow the gift of knowledge

Know the Highest!

— this is transferred from the golden king to the youth, and the youth is thereby quickened. Gold is therefore something that the Giver of Wisdom is able to instill in man. The will-o'-the-wisps, if they represent a soul-power, must represent the soul-power that is able to receive wisdom, for they have the gold within them, the soul-power that can also cast wisdom aside. We learn how this wisdom can be stored by the fact that on the walls of this symbol of wisdom, gold, was stored for a long, long time before the will-o'-the-wisps licked it. We cannot help but say, since we know how well founded it is to see soul forces in the individual forms, that the will-o'-the wisp represent the abstract intelligence, the pure power of the intellect, which is capable of acquiring a certain amount of wisdom through what is usually called external science, what is called speculation, external experience. And now we also understand why gold, wisdom, plays such a role in the pure intellect of the will-o'-the-wisps: the person who absorbs what knowledge, science and wisdom is with the pure intellect absorbs it above all in order to have something personal with it, in order to be able to use it personally. We can look into Goethe's soul and recognize the way he related to something when we become aware of how he often congratulated himself, so to speak, for never having been in a position to officially represent as a teacher the science to which he so devotedly dedicated his time , that he was only able to give the world some of his wisdom when he was inwardly impelled to do so, was not called upon to cast wisdom aside as one casts aside clothing when one is destined to become a teacher or an abstract bearer of wisdom.

In this way, Goethe presents human wisdom in the Irrlichtern that has developed one-sided intelligence and power of reason, and it is a peculiarity that – however much it may be denied – abstract knowledge, mere intelligence, especially when it increasingly moves into wisdom – and abstract intelligence can absorb vast amounts of wisdom – that this leads to vanity, to wanting to be able to deal with concepts everywhere. We are speaking entirely in Goethe's spirit when we realize why we still contrive such wise thoughts and think so cleverly: abstract concepts and ideas that are not drawn from the depths, from the richness of life, are unsuitable for ultimately leading us into true communion with the eternal riddles of existence. Where we need something that goes straight to our hearts from the eternal riddles of existence, we need something other than abstract ideas and concepts, as products of mere intelligence. When we stand before the boundary that separates the two realms, the realm of the sensually physical world, into which we feel transported, and the realm of spirituality, the realm of the supersensible, when we feel ourselves at this boundary, we are we are repelled by all abstract concepts and ideas. Indeed, these abstract concepts and ideas are not even capable of making comprehensible to us what is closest to us, for they alienate us from what is closest to us. How far removed the abstract thing is from grasping even the most everyday things that surround it; so it is incapable of giving in its concepts and ideas to that stream to which we are drawn when we want to cross over into the supersensible world. For concepts and ideas are not good for that. If you want to get to the very source of life, then it rears up and does not let us get close. Therefore, the river has no use for the gold that the will-o'-the-wisps are able to give, and we are told that none of them have ever confessed or served time. They are from the vertical line, while the old crone is from the horizontal line. This indicates how man removes himself from the ground through abstract concepts and ideas and cannot reach the ground of everyday life, which he is supposed to understand. We see how plastic these abstract figures of the will-o'-the-wisp are. But are ideas and concepts, are philosophical explanations under all circumstances that which separates us from the true source of existence? No, they are not, if man has the capacity to live in such a way that he combines his own life forces with things. Not to go out into the realm of abstract concepts and ideas, but to move correctly within things, to become a spirit, as Faust became one when he said:

Exalted Spirit, thou gavest me, gave me everything,
why I asked. Thou didst not in vain
turn thy face to me in fire.
Gavest me the glorious nature for a kingdom,
the power to feel and enjoy it. Not
You only allow coldly amazed visitors, granting me to look into their deep chests as into the bosom of a friend. You lead the line of the living before me, and teach me my brothers in the silent bush, in air and water.

Where man truly enters into an inner communion with the beings of nature, where he does not sever himself with all the powers of his soul from the beings of nature, there the same concepts that alienate him from the world when they become abstract serve him to penetrate ever deeper and deeper into existence. We must not, so to speak, turn things around and say: because abstract concepts and ideas alienate the abstract being from the true essence of things, concepts and ideas are worthless in general. No, on the contrary, where they fall into the soul power that rises, lives in and with things in a certain community, in such a soul power they are full of light at the same time. Therefore, gold, which in a certain sense is without blessing in the will-o'-the-wisps, becomes such a blessing, the light in the snake that lives in the clefts and has the horizontal line, clings to the earth. If man clings to the earth, if he loves all things, if he immerses himself in things, if he, to use the much-maligned word, “mystically” immerses himself in things, then clear ideas serve to guide him through things. Therefore, you can also see – I don't know how many of you have had such an experience, but it can be had – that sometimes scholastically presented philosophies seem cold and sober, but that the same ideas, when they come to us from simple primitive people who live outside as herb gatherers, root gatherers or the like – and who are usually very interested in the secrets of existence – to what lofty ideas such people, mystically united with nature, sometimes come. We shall see how, in the case of primitive people who are in communion with nature, ideas become luminous that are worthless, sober, frosty in the case of abstract people. Thus we are led away from the will-o'-the wisp that abstract intelligence presents to us, to that soul power that is deeply rooted in us and that has the mystical urge to plunge into things, as it were. This is vividly and vividly depicted to us, as the snake moves through the crevices: Man, in fact, even if he does not enlighten himself with concepts, does not live in abstract ideas, comes close to the heart of things, like the snake to an underground temple, where, because it cannot shine, it first perceives only through touching certain forms that it only later examines in the light. Man, when he has only an appreciation of the mysterious workings of the forces of nature, comes to the heart of nature and can experience something of what lives in the things around us. We experience this with the snake, which shows us how it is a representative of those soul forces in man that can live without ideas under certain circumstances, only then not illuminated by the light of knowledge, but which nevertheless lovingly delve into things and come to a certain understanding of the riddles of the world. When the balance is restored by the fact that ideas and concepts are absorbed into these mystical powers of our soul, then the time comes when a person who is lovingly inclined towards things also finds that which he previously only sensed from the sources of existence; that he can also illuminate it through his own inner light. Yes, he is only led deeper into it.

You may recall a significant saying of Goethe's, where he says:

If the eye were not solar,
How could we behold the light?
If the power of God does not live in us,
How can we be enraptured by the divine?

Where Goethe immediately points out how we must respond to the eye of the light, which is intended to illuminate the secrets of nature, if it is to shine back again, reflecting the secrets of nature within it, as it were. Therefore, we must absorb the preparation for knowledge within us, as the snake absorbs gold, then we penetrate into what otherwise remains dark, as man, when he inwardly preserves the sense, the open heart, for the spiritual, sees the insights more clearly, how he can only then also see the spiritual in his environment.

And so the snake enters the underground temple. Here Goethe indicates to us in a wonderful way that there are subterranean places for the life of the human soul. One can only characterize such things as Goethe presents here if one enters somewhat more intimately into the strange workings of the human soul in its development. It can then be felt how our soul, before it is able to explain the things of the world outside and to prove the divine life and weaving of the spirit in all things, has to be inwardly certain that there is such a divine source, that there is a supersensible behind all that is sensible. She can experience the certainty of this supersensory within herself and yet be unable to see this supersensory shining throughout the universe. Oh, it is a lofty goal to behold the spirit in its form, as it is the creative source of all that surrounds us in the great world, as all that surrounds us in the great world wells up from the spirit. To do this, man must first develop the highest powers of the soul within himself.

The supersensible, which sleeps hidden in the normal human consciousness as a higher self, must first be evoked by man in order to ascend to the higher level of his spirit's development. One can sense that something like this exists. But then one also comes to another realization: if one has any sense of reality, of true existence, one must say to oneself: I can only reach my ultimate goal if I see how everything lives and is permeated by the spirit, how spirit is in all things. But I myself, as I stand in the world with my sensual body, so I am, as it were, crystallized out, born out of the spirit — out of which I am born, without my being involved, which I can ultimately achieve again through the highest knowledge. In a mysterious way, unconscious to myself, I have come from this land of the supersensible, into which I want to penetrate again through my knowledge. There we have the other shore, of which the “fairytale” speaks, the land beyond the river, where the beautiful lily dwells, which represents the highest world and life view, which represents the soul power to which man can develop. From there comes the mysterious being, the ferryman, who brings the will-o'-the-wisps over from the other side. Through real powers, man is transported into this world, where he stands as if surrounded by darkness – hence the mysterious words spoken by the ferryman, who brings us from the transcendental world to the land on this side of the river, who may only bring the beings across, but no one over. In no way can man return to where he came from except through birth. Other paths must be taken.

Then the will-o'-the-wisps ask how they can enter the realm of the beautiful lily, that is, how a single soul power can merge into the harmony of soul powers in such a way that it ascends to the highest. The snake then suggests two means: One is that which can be given by itself, when it allows itself to be transported by the Serpent at midday, when the sun is at its highest point. The will-o'-the-wisps say: 'That is a time when we do not like to travel. Yes, why? It is simply quite beyond the grasp of the Abstract-Lover, who wants to live only in abstract ideas and concepts, who wants to achieve everything only through combinations and conclusions, to make the transition as represented by the snake, through mystical devotion to things, through seeking mystical communion with things. This mystical communion cannot always be attained either. I recall that a great mystic of the Alexandrian school confessed in his old age that he had only experienced that great moment a few times in his life, when the soul feels ripe to delve so deeply that the spirit of the infinite awakens and that mystical moment occurs in which the God in the breast is experienced by the human being himself. These are moments at noon, when the sun of life is at its highest, when something like this can be experienced, and for those who always want to be ready with their abstract ideas, they say: anyone who ever has real thoughts must reach the highest level, for them such midday hours of life, which must be seen as a grace of earthly life, are no time to travel. For such abstract thinkers, there must always be a moment to solve the riddles of the world. Then the snake points out another way they can get across, namely through the shadow of the giant, that strange being that can do nothing for itself, cannot carry the slightest weight, not even a bundle of rice on its shoulder. At dusk, when half-light spreads, when the giant lets the shadow fall over the river that separates the sensual from the supersensual, then people can also cross over. What kind of a strange being is this giant? If we want to understand this giant, we must bear in mind that Goethe was well aware of those powers of the soul that lie, so to speak, below the threshold of consciousness. In the case of normal people, these powers only emerge during dreams. However, if we speak in a spiritual scientific sense, they belong to the subordinate clairvoyant powers that not attained through the development of the soul, but which occur particularly in primitive souls in the form of presentiments, second sight, and all that is connected with a soul that has not yet progressed very far, from which a certain uncontrollable and uncontrolled clairvoyance wells up.

Through such clairvoyant powers, there is no denying that a person can get some ideas about the supernatural world, and many people today still prefer to come to the supernatural world through such ideas or through spiritualistic images than through development, through the real upliftment of the soul into the land of the supernatural. What belongs to the realm of the subconscious, to the realm of the soul, that is not illuminated by what one can call clear mind, what one can call the light of insight, what one can call self-control, what is also like dream-like knowledge in life, is represented to us in this giant. In fact, one cannot truly recognize anything through this subconscious, because it is very weak compared to real knowledge, something that cannot be controlled anywhere, something that cannot be relied upon, so to speak.

If you wanted to personify this subconscious, you couldn't do better than a human being who is unable to carry the slightest weight. Through such subconscious knowledge, man — if he wants to develop it alone — is not able to recognize in a controlled way the slightest thing that stands on a sure basis, that has weight for our world view. But the shadow of this subconscious plays a great role in the whole of cultural life. Oh, that shows through everything — and only one word needs to be spoken to [characterize] the shadow, which for many human souls actually leads satisfactorily into the realm of the supersensible: the word 'superstition'. If countless people did not have superstition, which is the shadow of the subconscious, which prefers to operate not in the light of clear ideas but in the twilight, they would have no idea of the supersensible world, and for countless people today superstition is still the shadow of the subconscious, which leads them in the twilight hours of the soul life into the realm of the supersensible. One need not even enumerate the various manifestations of superstition in the history of civilization; one need only consider how people come to Theosophy, to spiritual science, which seeks to convey something to us from the supersensible world, something that only those people can comprehend who are willing to make great efforts to lift their soul higher. We want to ascend to the higher beings. But many make themselves comfortable, they want the spirits to descend to us instead of us rising to them. They are happy when a medium is found somewhere who, from the realm of the subconscious, testifies to the existence of the supersensible world. Not only inferior minds pay homage to what flourishes so abundantly as “spiritualism,” but even scholars who do not want to admit that the soul can be raised to the heights of the spirit through its own development. It is not said that the things that happen are not true, but distinguishing between truth and error is extremely difficult, and only for the initiated is it possible to exercise scientific control.

Goethe wants to point out this shadow of the subconscious, this whole vast realm that eludes wise self-knowledge and self-control, this power of the soul. But he does not point it out like a polemicist – Goethe was never a polemicist – he is aware that every power of the soul, at its level, even if it has to be suppressed at another level, has its importance, so he does not say: Beware of the giant, but he even finds it useful here to have the snake give the advice to the erring ones that they should have themselves translated by the giant's shadow at dusk. Strangely enough, this advice is repeated today when scholars do not want to bite into theosophy. Then well-meaning people come and say: let a spiritualist session convince you of a supersensible world, then you will be introduced to it in a plausible way. But superstition plays a great role in attracting attention, in directing the human mind to the supersensible world, and it must be clearly understood that Goethe, who wanted to present the entire field of soul forces as in a symphonic harmony, really believed, as this superstition, when it does not degenerate into wild superstition, has its good reason in the soul forces, which do not all come with sober, clear concepts, but first say to themselves: We can penetrate deeply, deeply into the secrets of things - but we would rather first hold it with intuitions of their secrets. First sense these secrets, do not immediately find our way into sharp contours! This intuitive restraint in relation to things is very important, since it should play a part in the entire life and weaving of our soul development.

Goethe wanted to show that what was expressed so clearly in outer nature was expressed in a higher way in the forces of the soul. I do not want to point out how Goethe, if he had not written a poem, a drama, a Wilhelm Meister, a Werther, would have been a shining personality for all time through his scientific discoveries. That in addition to his better-known scientific discoveries, he found a certain law that was not thought up or speculated by him, but which we will see is deeply rooted in the things themselves, like a leitmotif in all of nature's work, and which could be called the law of balance, in all external natural things as well. That nature has a certain measure of development for every being, can alter it on one side or the other, and can allow multiplicity and diversity to emerge from it. Look at the giraffe! Nature has used a certain measure of forces for the giraffe's activity, using more strength for the development of the front body, the neck, which is why the hindquarters are stunted! Look at the mole! Here nature devotes all its forces to the body, which is why the little feet remain stunted. Goethe showed how one can understand the difference in form between a dromedary and a lion and how different organs result from applying uniform measures in one direction one time and in the other direction another time. We see how a typical structure expresses itself in its diversity: in one case, the lower jaw develops teeth; in another, the lower jaw remains toothless and horns develop. When Goethe enunciated this law, it was naturally thought to be the saying of a poet who understood nothing of natural science, who was a layman, a dilettante. But in 1830, in the French Chamber, during his dispute with Cuvier, a French naturalist drew attention to this law under the name “balancement des organes”. The future will have much to say about this “balancement des organes” because it leads deep into the formal properties of the various entities. Goethe also applied this law to spiritual life. He recognized that there is also such a thing in the soul that expresses the individual at a higher level in the individual soul forces, so that he says: There are human beings who develop the special quality that is represented by the will-o'-the-wisps. They represent will-o'-the-wisps in life itself, false prophets who can do no other than communicate what they have learned to others and pour out their gold. Other people who can place a mystical light in nature, like the snakes that submerge themselves in nature. In short, Goethe wanted to show how, in general, normal life in the outer world, souls present themselves in such a way that they develop one-sided powers. How man can reach the higher level of knowledge by inwardly representing the type of the human soul, a balance, a right interaction of all soul forces, linked to the most sober soul force, the sense of foreboding. Not as superstition does, which loses itself in foreboding and lets the power of intelligence be enslaved by the foreboding of the nature of things.

On the one hand, Goethe shows how man can become one-sided, but he also shows how, if he wants to attain higher knowledge, he must strive towards that summit, which is symbolized by the beautiful lily, the inner harmonious balance and the interaction of the individual soul forces.

Now we know that the serpent, having received, so to speak, the inner radiance within, comes into the subterranean temple. Now it can distinguish between those spiritual worlds that approach man, that must inspire man, that can give strength, and those that the human soul must properly have within it if it is to ascend to a higher existence. There are certain powers in the human soul that it must have if it is to ascend to a higher level. But if a person wants to attain this higher level without having found the right path at the right time through the inspiration of these world powers, if he wants to grasp the highest that can be achieved in knowledge and world view prematurely, then this world view is something that can kill, confuse and paralyze him in his soul. Therefore, the youth who wants to unite with the lily before he is ripe, he will first be paralyzed, yes, killed. That is, Goethe has vividly expressed what he once expressed in a short saying:

Everything that frees our minds without giving us mastery over ourselves is corrupting.

There is a high level of human development through which the human soul can grow together with the fruits of all knowledge. It stands before us like a distant prospect. Our striving must be directed towards maturing, towards shaping ourselves in such a way that we are in the right mood, in the right inner state, and do not receive the highest in an immature way. So the youth is killed first and is to be led first through the endowment of soul powers, represented by the kings. Before he can connect with the beautiful lily, the snake leads him to the three kings. Meaningful conversations surround these kings like secrets. The golden king is the supersensible power that can be kindled in our soul, which gives the right wisdom so that the power of wisdom harmonizes with the other soul forces. The silver king represents piety. And for Goethe, piety means something quite different than in the ordinary sense.

Those who know Goethe also know that for him, the cult of beauty and art were intimately connected with religious feeling; therefore, beauty is what always makes him feel pious, so that for him the king of wisdom is represented by gold. The king who is endowed with the soul power that generates religion through beauty is the silver one. But that which is to permeate our impulses of will, that which wants to penetrate us in the ordered life of the soul as the power of the will, is represented by the brazen king.

Our soul forces must be under our complete control, so that we can distinguish them, so that we see the world in the right way, full of wisdom, and our feelings do not play tricks on us. That the life of feeling is not overcome by the life of wisdom and the life of wisdom in its turn by the life of the will and vice versa, but that the three soul powers arise separately, specified in the higher soul life. As for the fourth king, it may be said that every human being has wisdom, piety and willpower within him, but that they are mixed together in a chaotic way, like gold, silver and ore. Then a higher age of development begins for the soul when this chaotic mixing of soul powers ceases, and man is not even pushed by an impulse of will, at one time his feelings run away with him, at another time he is led by wisdom alone. No, when the non-chaotic, as it happens through the fourth king, is mixed, when man clearly separates within himself the realm of soul power, that of wisdom, that of the feeling of beauty, that of the religious mood, that that is imbued with the good will to do good, so that he rules over this realm and is not driven by it, then he will come to that point in time when one can say: It is time, I must undertake something else. A soul that is led unprepared before the realm of wisdom, beauty and power would hardly see anything of these things.

The man with the lamp represents a soul force that, in a certain sense, prepares people for wisdom, beauty and strength. It is the peculiarity of this lamp that it can only shine where there is already another light. What kind of light comes from the lamp of the old man? The same light, the light of religious world view, which must precede the actual wisdom knowledge, radiates from our hearts, even if we have not yet penetrated into things. It is a light that can only shine where other light is already present. Religions can only produce faith where they arise through this or that preparation, or where they are adapted to what people feel under the climate, certain cultural epochs and so on. There, therefore, the serpent, which wants to penetrate through mere inner mystical soul power to wisdom, piety, power, must encounter the kings, the soul forces, with the light of faith, which leads the soul to higher knowledge, which prepares the soul. Thus Goethe shows how the right time must approach. How it must first be guided by the light of faith and how it can then, when the soul has prepared itself, guided by the light of faith, ascend to an age where it has experienced many things. How it can come to the direct grasp of the soul power in its separateness as well as in its harmonious interaction. It is shown how man can prepare himself here on the physical plane on this side of the river. How on the other side, if man connects himself prematurely with the heights of human emotional life, he suffers damage in his soul, so to speak, perishes.

And now the strange figure of the old man's wife with the lamp. This woman, who is described to us as all too human, who is chosen by the will-o'-the-wisps to pay with fruits of the earth — she represents primitive human nature, which cannot rise to knowledge, but when connected to the man with the lamp, with the light, she can believe. What is the light of faith capable of? It can transform stones into gold, wood into silver, dead animals into precious stones. This is all characterized by the fact that the lamp-black pug that has eaten the gold that the will-o'-the-wisps have shaken off is transformed into precious stones by the old man's lamp. This shows the power of faith, this completely wonderful power of faith, this advancement of higher knowledge. Or how it is able to show us all things in such a way that they really present their divine aspects in a certain way. That they show what is in them even before they have reached the supersensible in them through knowledge. The dead stones show: what is endowed with wisdom is transformed into gold by the light of this lamp. This means that faith is able to already sense in things what wisdom later recognizes in full light, and how all things are not as they appear to us in the sensory world, but that they have a deeper side. This is symbolically indicated by how the light of faith in the old man's lamp transforms all things. Man, if he remains in his healthy nature, cannot attain to science, to knowledge, then he actually has something in him that is much more connected with the mysterious forces that stand at the border of the supersensible. Compared to the person who has come to abstract science and easily becomes a doubter and skeptic. How he loses his footing, becomes insecure, nervous about all knowledge. How secure some original primitive nature is, as represented by this old woman, who is so in touch with nature, who can give what the will-o'-the-wisps cannot give. Such people have an original feeling through which they are aware of the connections with the infinite, the divine, which lives and weaves in all nature as the supernatural. That is why, when learned people with their doubts come to some original people, there comes that compassionate smile that says: No matter how clever you are, no matter how much you know about nature with your learning, we know what you do not know; certain knowledge brings us together with that from which we ourselves originate. The woman can pay, which the will-o'-the-wisps cannot.

The human being must attain not only emotional certainty. He is connected with a supersensible realm, as is represented by the rule of the temple with the kings, where there is not only an inner, mystical sense of security, but the human being must ascend so that he is truly introduced to the realm of the supersensible, sees the spiritual life and activity. The temple must be transported from the underground into the overground. The temple of knowledge itself must rise above the boundary line, above the river between the supersensible and the sensual world. And it is conceivable that a soul which has worked on itself in this way, has gone up the stages of development, has those holy midday moments of life in a certain way in hand, can pass through them into the spiritual and over into the sensual world. That it can draw attention to how the Divine-Spiritual reigns when an event of external nature is shown and can point again to the pure Divine-Spiritual that is in the supersensible realm, so that it is achieved that not only exquisite, particularly favored spirits can cross the river. This is to be achieved through spiritual science in modern culture. Goethe is a prophet of theosophy in his “Fairy Tale,” in that he shows that not only the favored mystical natures, who have innate mysticism, have midday moments of life when they can cross over the river and find the realm of the supersensible in the bright sunshine of life, but that there is a soul development that everyone can undergo. Every soul, naturally, even though it is laborious and full of renunciation, can all wander over and across, from and to the transcendental realm, when what the mystery of faith is has occurred.

“How many secrets do you know?” – “Three,” replied the old man. “Which is the most important?” asked the silver king. “The revealed,” replied the old man.

This saying [of the revealed secret] often occurs in Goethe because Goethe, like all true mystics, was of the opinion that there is nothing spiritual that does not experience itself externally, materially, somehow, that one can find connections between the material and the spiritual everywhere. It is only a matter of finding the right point, the right place in the universe where the spiritual expresses itself externally, physiognomically. The secret, apparently! Not so much how to seek the spiritual in a roundabout way, but to connect with things, like the snake. And one also finds a way into the spiritual through communion with the material world. The revealed secret is the one that can be found everywhere and to which only a certain maturity of the soul belongs. The three secrets are none other than how wisdom, beauty and piety and virtue should live in us, not separately. Characteristically, a fourth is necessary, which the old man cannot know. But he can know that it is time to say it! What does the snake whisper in the old man's ear? That she is willing to sacrifice herself, that she is willing to sacrifice her own body, just to build a bridge over the river out of what arises from her.

The great secret of the sacrifice of the lower soul forces, which should only be the path to the higher self: I want to sacrifice all that which is connected with the lower entities of nature, which I have sought, obedient to the laws of the world. Those who do not have this dying and becoming remain only a gloomy guest on the dark earth.

First, man must go through all that leads him to the events and facts of nature, in order to then offer up what he has gained and experienced with his lower self as a sensual being, and ascend.

Jakob Böhme expressed this mystery beautifully:

He who does not die before he dies
will perish when he dies.

He who enters the supersensible world through the gate of death without having killed the lower powers of the soul, without having died to the lower self before passing through the physical gate of death, would not prepare himself in this embodiment to see the true spiritual being before death!

The soul saves itself from ruin in the lower self when it becomes like the snake, which does not merely remain in the clefts, but sacrifices itself. This means that there is a power of the soul in us that can connect with all nature beings. This power must first be sacrificed, however, for the sake of higher knowledge, so that what must first be sacrificed is all that is lower egoism, all that base selfishness, in order to attain higher freedom. Thus that which first led us into the realm of this world itself becomes the path to the beyond. We ascend into the supersensible world only over that which we have sacrificed ourselves. The will-o'-the-wisps are only able to unlock the gate. They have the keys. Science has the keys, as Mephistopheles has the keys to the realm of the mothers; he can unlock, but not lead into, the real secrets. We can recognize the value of the sciences, appreciate the intelligent and abstract in human life, for it leads us to the gate. But then the higher soul forces must begin if we want to be admitted into the temple. Thus we see how these will-o'-the-wisp actually play out their role to the end, and how Goethe, in the development of his fairy tale poetry, captures the meaning of the soul forces down to the last details. The “fairytale” is such that with this kind of explanation, every word, every sentence is proof that a deeper meaning is being introduced into the fairy tale. Through the effect of the lamp, the old man's house is lined with gold. What remains of religion, of the different religions? Tradition!

Let us try to imagine the whole thing in concrete terms in our cultural process. Let us go to our libraries and search in the historical works on this and that religion. How much of the gold is stored there, how much is illuminated by the light of the lamp, how the abstractions come in, licking up the gold, gleaning the history of religions from the books and making new ones out of old books. Even where wisdom becomes history, stored up in libraries, the will-o'-the-wisps can nourish themselves on it; they even walk around full of erudition with what comes first from these sources. It agrees less with the pug, the natural creature, the unlearned one, who dies from this wisdom and must first be revived. First, through the light of the lamp, he is transformed into precious stones and can be transformed from precious stone through contact with the lily. The lily can enliven everything that has gone through death, that has undergone this – what does not have this dying and becoming – a bright guest must have become this on this earth. He who wishes to endure the touch of the lily must have passed through the death of the lower self.

Thus the young man only becomes ready to come into contact with the beautiful lily after he has been killed. He can only enter the Temple of Wisdom after the snake has sacrificed itself. When all this has happened, the young man can then be led to the temple. When the sacrifice has been made, the soul is led upwards from its subterranean existence to the realization that everything is permeated and interwoven by the spirit. Then the temple is led from below upwards, and the human being is endowed with that which the individual soul powers can give him. Wisdom gives him that which is expressed in the sentence of the golden king:

Recognize the Highest.

The symbol is the oak wreath. The silver king gives him the sceptre and says:

Feed the sheep

as a sign of his endowment with the power of piety. The king of brass hands him the sword and shield and tells him:

Keep your sword at your left side, and your right hand free.

Right-hand virtue is not aggressive in its approach, but it stands strong and firm on its feet, and when it is a matter of human dignity and human destiny, it is ready to defend these and to work in the world in human love and beneficial human action. Now the young man unites with the beautiful lily. The individual powers of the soul are illuminated by true love. But the soul can only feel this when it has risen above ordinary love, when it is absorbed in love for the spiritual. Wisdom, beauty, piety, virtue, they develop and promote the soul's development. Love not only has to grow, it invigorates, shapes and harmonizes everything. It lifts the soul up a step. There we then see how the human being, when he ascends, when he finds himself in that temple where he can experience knowledge, how he comes to see, but now in holy awe, how the small temple in the large temple sees the highest, the secret of secrets, the human being himself, how he passes over as a spiritual being from the spiritual world to the hut of the , where man is placed as a small world, as a small temple in the larger temple, showing so beautifully when the soul moves up to the steps of higher knowledge, then he attains the secrets of the world through wisdom, piety, and virtue. What Goethe so beautifully felt as the Spinozian love of God, the development of the highest powers of the soul, comes to the riddles, the secrets of the world, but as the highest of the secrets, which we only see again as a small temple in the great, the secret of man himself and his connection with the divine being. The giant comes last, also groping around, and then becomes the hour hand of time. Our knowledge becomes spiritual, it dissipates when we ascend in our soul life, and what is external materialism is the consciousness of those laws that work mechanically. The giant basically stands for the subconscious, for everything that comes from the forces of the soul that also work in the subconscious. This may only remain in one when we look up at what is the utmost for our inwardness, how the times follow one another, what the outer rhythm of time is. This has its ultimate justification, and mere mechanical knowledge has a justification there. One would like to say: Goethe may have had in mind when he came up with this idea of the giant, who finally becomes the hour hand of the world, what superstition has been done with the art of numbers, the various structures in space, what is only a superstitious shadow of a greater knowledge that has remained from the old days of the old worldviews. But one thing remains as justified: to use what has been recognized to form a kind of chronometer for the processes that surround people.

Thus, in a certain respect, we find everything that Goethe felt was necessary for the development of the soul's powers translated into vivid images. If you want to ascend to the highest, then you must develop the soul's powers in such a way that it can only be expressed symbolically in rich, meaningful images. Then you will come close to what Goethe wanted to say when you try to gain an insight into these images from the whole of Goethe's world view. But you must be aware that what is contained in the fairy tale is infinitely richer than I have said, and that all of this is actually only a suggestion of the kind in which Goethe's fairy tale should be sought and felt. But perhaps it is possible to get a sense of the inner wealth and greatness from which Goethe created with such immeasurable productive power. How right he is when he says that the true, the beautiful, the truly artistic can only be an expression of the general truth that permeates the world and that people can recognize. And this was also what lived in Goethe as a conviction, what led him from step to step in restless pursuit; this is what draws us to Goethe, so to speak. Goethe is one of those minds that work like only the very greatest.

You read a work by Goethe once in your life. You think you have understood it. After five years you read it again and realize: I didn't understand it then, but only now. Then again after five years, and you realize how much you have discovered that you couldn't see before because you weren't mature enough. Only now, after you have experienced so much yourself, only now can you understand the work. Five years later you read it again, and then perhaps you are so happy that you say to yourself: At the time you did not understand it; you must, you can wait until you become more mature and more mature, to be completely satisfied as you grow into it more and more. This feeling is only experienced by the most exquisite minds in the development of humanity. In such people we see the leaders of human culture. One gets an inkling of the infinity of the soul's content by being able to penetrate ever deeper into it. Then one counts him among those spirits about whom, summarizing today's reflection, we can say:

Like stars shining
in the sky of eternal being
are the spirits sent by God.
May all human souls in the realm of becoming on earth
succeed in seeing their flames of light!

Dear attendees!

It was in the late summer of 1831 – that is, [not quite] a year before Goethe's death – that the great poet sealed a package. The contents of this package were to remain untouched until after his death.

What Goethe sealed at the time was the conclusion of his great life's work, the second part of his “Faust” as it is presented to us today. And the words that Goethe spoke to one of his friends when he had completed this great work of poetry sound significant. He said: “My life's work is now complete, and basically it doesn't matter what I do now and whether I do anything at all.

It is a peculiar feeling that must creep into our soul when we see such a personality arrive at the height of life and at the same time in the evening of life, and when such a feeling passes through the soul of this personality. This statement by Goethe implies that our poet feels something deeply inwardly concluded in his life's work: he feels, so to speak, that he has brought to an end and to a goal something that he had been working on for a long, long time – not years, but decades! And when we consider that the work in which he has invested his highest ideals and views of life has been completed, then we must attach a very special importance to such a work – such a rich, meaningful life that can speak of itself with such inner harmony and with the consciousness of having reached a goal [that he has given the world what he had to give, that is the deep meaning]. To have given to humanity the best you have to say! [With this great poet, we can understand how his work grows with development, becoming richer and richer.]

We can get an impression of what that means if we put ourselves back into the poet's life, into that time when he, in September of the year 1783, in Ilmenau, carved into a [wooden wall] the words:

Over all the hills
There is peace,
In all the treetops
You can barely feel
A breath;
The little birds are silent in the forest.
Just wait, soon
You too will rest.

Even if we have to understand such a poem based on the situation and perhaps have to remember that it was born in such a moment of inspiration as Goethe had – it was evening – out of the evening mood, we can still say that these words, so full of meaning, were written out of Goethe's mood at the time, out of that mood of heavy worries of the inner life, when heavy riddles weighed on his soul.

It was at the end of his life, when he was back at the place where he had written these words. He reread them in old age, and with tears of emotion he looked back to this youthful mood. What lies between two such moments in Goethe's life! What ultimately lies in Goethe's life between the time when he began to invest all his thirst for knowledge as a yearning for the ideals of life in the youthful [first parts of] Faust, and the moment shortly before his death, which brings this work to a close! Oh, it is very peculiar that we can follow several steps in this work of the poet's, where it shows us how it grows and grows with the poet's personality. Even when he arrived in Weimar in his [mid] seventies, he brought with him certain parts of his “Faust”. That was the first form in which he expressed his life ideals and riddles. This version was not available in print for a long time – it was preserved until the nineteenth century, when it was found in the estate of a Weimar court lady. Rediscovered when the archives were opened, the “Faust” was printed as a fragment in 1790. [From then on, the “Faust” grew more and more.]

Today, my task is to characterize this mighty poem from the outside and thus create the conditions for tomorrow's lecture, which will delve deeper into the profound secrets. There has been much talk about the incomprehensibility of the second part. In response to this, I would simply like to raise the question: Do you believe that a personality such as Goethe, at the end of his life, is as easy to understand as he was in his earlier years? Should we not rather endeavor to penetrate with all our might into what he had to say in his old age?

We have three versions of Faust: first, the youthful Faust, which is called the first part. This is available to us in the manuscript that was found in the Weimar estate of the aforementioned court lady. The second version dates from 1790. And the third appeared in 1808. This is the form in which the first part of “Faust” is now available to us. From then until the 1820s, Goethe did not think about continuing his “Faust.” [We will see what the reasons for this were.] For Goethe, the problem was too great to simply bring it to a conclusion. It was only in 1820, when he was at the height of his powers, that the poet took up the work again and completed it with energy and strength in the last year of his life. Oh, in Goethe we have a person who is already confronted with the greatest issues of life in his youth, but at the same time a personality who, from decade to decade, was able to look into his own soul and say: Now you have come a step further.

And when we see how far above us this ever-striving personality stands, must we not be inspired to follow the steps he took between the first and second parts of his “Faust”? [Truly, there is a tremendous difference between the stages of the first part of “Faust” and between the first and second parts.] If we first consider the figure that could have been printed in 1775, we would see a personal work in which Goethe's most intimate yearning and striving have been incorporated. Everything that Goethe has felt in terms of mystery and profound experience has been poured into this work.

Then we find that “Fragment” that first came to our attention in 1790. There we find a remarkable difference compared to the first one: Goethe is already more serene. What first comes to us as a personality with an individual touch and nuance is more elevated into the impersonal and serene. We feel more that what is being discussed concerns not only Goethe in his youth, but also all of us to a greater or lesser extent.

And if we then consider the figure from 1808, we find that he [“Faust”] has moved more from the human into the superhuman, into a sphere where the powers of heaven fight for man and man is placed in the struggle between good and evil – expressed in particular in the “Prologue in Heaven”. In the first part, we see the striving of the Goethe soul to participate as a human being, but in 1808 we see him placed in the whole of humanity, his perspective broadened from the human-personal to a grand tableau of the world.

But in the inner character we find that the first part contains something that Goethe himself, in the age of life, feels as something personal and unclear, not as something universally human. Those who delve into it find something theoretical in it: the way a person speaks when faced with things unknown to him, of which he has only a presentiment. The second part – however strange this may sound in view of our usual preconceptions – is a realistic work, flowing from the most fundamental experiences after he could say of himself that he had arrived at a satisfactory solution to all the questions of life. [In this respect the second part is raised even higher above the personal level]. Therefore, if we understand him correctly, Faust fills us with the same satisfaction as all literary works of which we can say: here an artistic individuality has struggled to speak to all people, to inner peace, to inner harmony.

How Goethe allowed the content of “Faust” to flow out of his innermost being can help us understand why the first part is more theoretical and the second more realistic in the way it recounts Goethe's experiences of what he experienced.

If we want to find Goethe in his “Faust”, we have to realize that the goal was contained in his disposition from childhood on. That is why it is so significant that seven-year-old Goethe already felt unsatisfied as a boy [from what his environment told him] about the great underpinnings of life. Of course, he cannot express it then, only feel and sense it; but he feels in the direction that he was later able to present in such sharp contours. And so we find that one day he is looking for an expression for his feelings about the divine: He takes a music stand and places on it everything he can find of natural products in his father's collection of natural objects. He has erected a kind of altar for himself, and through the products of nature he allows the creator, the creative spirit behind it all, to speak to him. For the seven-year-old boy intended to make an offering to the god he was seeking. And on top of it he places a small incense stick, and he takes a burning glass, collects the rays of the rising sun with the burning glass and ignites the small incense stick. He has made a sacrifice to his god at the very source of nature. [This is the direction of Goethe's soul, his striving towards the sources of life.] In his memoirs, he himself says that as a boy he wanted to sacrifice to the deity. This urge remained in his soul and was expressed in all his later endeavors.

Thus we see him, when he was supposed to be studying law as a student in Leipzig, mainly occupied with what he could take from the natural science of the time; and in all other sciences and knowledge of life he looks around, just as he had looked around at the end of the sixties [of the seventeenth century] in all knowledge. But he does not seek [individual insights] as one otherwise [as a young student] sought under the constraints of circumstances. He sought to blaze a trail to insights of all kinds; he strove [for a general knowledge of the spiritual source of humanity], thereafter, what was then expressed in abstract terms, in sober, dry observations of external life impressions, that he sought to connect with the innermost longings and needs of his soul: the insights should bring him enlightenment about the riddles of life. The knowledge of the time was not suited for this purpose.

Everything that came to him was connected in Goethe with his very individual quest, with all the questions that arose in him about the infinite. And his life, even in his youth, was such as to point him to the spiritual and eternal. But that which was so suited to deepen his whole life from youth on was particularly expressed in various events of his life.

Only two of these will be mentioned here: During a serious illness, he felt close to death. Yes, death stood at his bedside in his early youth. He was touched by this event in his life by the transience of all externals, and his soul was also directed outwardly to the pursuit of the immortal.

Anyone who follows Goethe's life at the time will see how this event deepened his life. He was suited to encounter very special [intellectual circles] in Frankfurt. And the personalities who, in the most eminent sense, direct the soul towards investigating [the riddles of life], the spirit and the sources of existence, who have worked their way out of the traditional moods of religion, who ask: Where are the limits of our knowledge? How much do we have to leave to mere religious traditions and how much to our own insight? [Those who do not ask about the limits of knowledge, about the limits of science and revelation] did not feel at home with those who were Goethe's friends at the time.

Meanwhile, a different mood prevailed among those in the midst of whom stood the sincere Fräulein von Klettenberg, whom Goethe later immortalized in his “Confessions of a Beautiful Soul.” In this circle, people said to each other: There is something in the human soul that can be developed, that can mature ever higher and higher. Man is not always mature enough to recognize the highest, but forces slumber in his soul that he can develop [that can be brought out if one strives and works on himself. One then acquires inner spiritual powers that are otherwise not present in the soul]. And what he cannot achieve, no matter how humanly he tries, he can achieve if he develops powers that cannot be achieved in ordinary life. The content of this circle of friends was the development of the soul; because it was their conviction that there is something in the soul that remains unconscious, or let's say subconscious, in ordinary life. [In ordinary life, people are unconcerned about the mysterious powers that are there.] If a person lives in such a way that he devotes himself only to sensory perception, and processes this sensory perception only with the intellect, he does not approach the sources of life, he passes by the hidden powers of the soul, which he can develop and work on. And when a person has brought himself to a higher level of development, then he penetrates deeper into what is hidden behind the objects. Then the spiritual, the eternal, the imperishable comes to meet him. Such was the mood of these friends.

So you can see that these people had a different attitude to the question of the immortality of the human soul than many people have in their lives, where they often refrain from seeking insight into what is eternal in nature or in art, or leave it to traditional lore. It was not so with these friends. They said to themselves: There is something immortal out there in nature, and there are forces that are in the human organization as they are out there in nature. What is transitory and shows itself to be transitory on the outside is also transitory within the human being. And if we only see our powers with this transitory, then the immortal will never reveal itself. But in the hidden depths of the soul lie deeper powers of the human being, powers that are covered as if by a veil because the human being only gives some to the outer sense perceptions and the mind that combines them. Through such powers, which are purified and which give objective knowledge [of the eternal] [in the same way as the intellect gives it for the sensual world], we must purify the senses and try to distract them from the transitory. That is what they said to themselves: When I connect with the eternal in my own soul, then I stand spiritually face to face with the immortal, then I have brought it out of myself, then nothing can take away the certainty of immortality, then I am connected with the spirit in my own breast, which comes from the Spirit of God just as sense things come from the outer belonging and harmony.

Goethe felt a deep kinship with these souls. But there was much that was unclear in these souls. What I have now explained with certain words was expressed by them more in the form of intuitions, of unexpressed feelings of the soul; it was expressed more in certain soul gestures than in sharply outlined insights.

It was into this society that young Goethe came. And this society had a certain preference for a certain kind of writing that emerged from a medieval knowledge that had already passed away. Writings that expressed the way in which one sought to approach the great secrets of human nature. Goethe also came into contact with these writings, and we can see what the basic mood of his heart was when we see him searching in these medieval writings with an unceasing thirst for knowledge, in order to find means to develop the hidden forces of his soul that would finally lead to the knowledge of the immortal. One such work was that of Valentinus Basilius and Theophrastus Paracelsus, [Welling's “Opus macrocabalisticum et theosophicum”, but especially Kirchweger's “Aurea catena Homeri”], which he himself calls cabalistic-theosophical.

What do these writings contain that a person with a modern attitude at the time would delve into such writings as if a modern-day Haeckelian or other modern educated person would occupy themselves with the strange writings of Eliphas Levy? [If an ordinary person delved into them at the time, they would consider these writings to be pure nonsense, a flight of fancy.] And that is exactly how it was in those days: a modern person would feel that it was pure nonsense, that only a fantasist could devote himself to such things. One can understand this attitude, then and now. From a certain point of view, it can be recognized as a justified attitude. One need not be surprised that someone who is not far enough along in the development of his soul can only see pure nonsense in it. Goethe found more than mere nonsense in it. But some of it was pure nonsense. It still belonged to the time before the invention of printing, when everything was still written by hand; to the time when science had not yet been enriched by what Galileo and Kepler had taught. In those days, people sought to understand nature in a completely different way. If we want to characterize the way in which people wanted to approach the source in that time before the great achievements of natural science, we have to say that before that time, people sought to enter into nature and the world with everything that was in their soul, to enter into nature and the world with everything in his soul, not only with his intellect; but to purify his will and feeling in such a way that he also recognizes objectively with his feeling in the same way that mathematical knowledge searches. [Something that today's man can hardly imagine. In the same way, desire can become a power of knowledge. But for that, man must change it; he must work on it; he must purify and purify it of all selfish feelings. In the same way, the will can be elevated to a power of knowledge. But for that, man must not leave feeling, sensation and desire as they are – he must work on them!

The circle of friends around Goethe knew how to work on it. While the mind can be left as it is, because it is already as one can leave it, [one must reshape feeling, emotion, will and desire so that they become powers of knowledge]. Only through this work can one extract the hidden abilities of the soul that give man a knowledge of the eternal. The intellect, which is conveniently left alone, can only provide enlightenment about the transitory. This kind of knowledge through will and feelings had been more neglected [compared to intellectual knowledge at the time], even in Goethe's youth. On the other hand, what was gained through external sensory perception and the intellect prevailed, as is also the case today. But Goethe knew the limits of sensory-intellectual knowledge. [So he could not really find his way around in these writings, which, since they were written by latecomers who no longer had their own knowledge, contained a lot of nonsense.] His soul received nourishment from these books, although he could not understand them. They contained much that was pure nonsense, but anyone who could see beyond that to what was more deeply contained in these writings could feel that there was knowledge lying dormant within them. And this is what Goethe felt: the realization that does not aim to take the world as it is, but to develop the soul, to shape it, to bring up the forces that lie dormant within it. (He now wants to develop the ability to grasp these within himself.)

In these writings, Goethe found strange figures that only a fool can find pleasing today. But there is something else behind these things; I will mention just one example. In that writing, “Aurea catena Homeri,” which made a particular impression on him, you will find a strange figure: two dragons. One formed at the top as a semicircle. It is full of life and gives the impression of a good being. Below, entwined with it, is a shriveled, dried-up dragon, which appears as a symbol of evil. The two are entwined in a circle. Within the circle are two triangles: one point facing upwards and the signs for the individual planets of our solar system at the corners.

How fascinated Goethe's soul must have been by such a sign, for what is experienced in the soul in relation to this sign does not leave the soul untouched. Inner soul forces stirred when he looked at this sign: what otherwise only served human needs, what will and desire is, stirred like the urge for knowledge. He felt something that is necessary for the knowledge of such writings.

If someone wants to say: Of course, if you just want to talk about the tasteless stuff, you show that you have no knowledge of science, such as philosophy and other sciences. This objection can be understood, even if one says: In our knowledge, we should see what is there in truth. What this fantastic stuff depicts does not depict truth. Those who speak in this way are absolutely right. But they do not know what is important! What matters is the impression that these images make on the soul; that they are precisely those that bring out what otherwise lies deep within the soul, that they have creative power for the soul. And Goethe felt how this sign affected him: “It affects your will,” he felt. It draws forces from your soul that connect with the universe. He felt that. But he felt something else as well, something terrible for him at the time. He was confronted with all these things, felt that they could trigger something in the soul, felt that they could work — but he did not feel the strength within himself to be able to let this something take effect. He only felt that they concealed something

and I cannot understand what I can sense there.

[He sensed something in them like the spirit of the world, but he cannot understand it through his education and his previous life.] It was terribly shattering for Goethe's soul when he sensed something like connections with higher soul forces, sensed what could flow out of this “Aurea catena Homeri”, and yet had to say to himself: You are not yet mature, you cannot penetrate the secrets of the world, your powers of knowledge have not yet matured. But he longed to follow such a path of knowledge. And so he came to other signs, to a symbol that represented not only the great world but also the working of the spirit on earth. He felt closer to it, but still was not able to extract the forces from the earth. Now we feel how what he experienced flowed into Faust. There he focuses on the title page of the 'Aurea catena Homeri'. It shows him how the forces go from planet to planet, how their inner relationship is indicated with human desires, [it draws them up to good, down to evil], in the forms of coiled dragons, with the triangles, one point of which is directed upwards. A few pages further on, he sees the picture that shows “heavenly powers ascending and descending”. There he must turn away, for he did not feel his powers ripe to understand this.

Now read the passage in Goethe's “Faust” that shows that you cannot grasp anything from ordinary knowledge, from scientific knowledge, nothing that is experienced in the depths of the soul:

There I stand now, I poor fool, And am as wise as before!

That was the mood when Goethe left Leipzig.

There he sought a different path in Frankfurt, as he expresses so beautifully in Faust. He opened the book of Nostradamus and saw the sign of the macrocosm. [There he sees the working of nature before his soul, he sees:]

How everything is woven into a whole,
One within the other, working and living!
How heavenly powers rise up and down
And pass each other the golden buckets!
With wings that smell of blessing
From heaven through the earth they penetrate,
Harmoniously resounding through the universe!

This is a beautiful and wonderful description of what so fascinated Goethe. This is how he expresses what he feels when he sees the sign of the first spirit. Then he turns to the sign that only concerns the processes that take place on earth. He sees the sign of the earth spirit. Again it fascinates him. Before, he felt the stirring of the powers that are otherwise expressed as interest and feeling for objects. These powers should now develop in the earth spirit sign in such a way that they become powers of knowledge. Try to imagine the powers that come into question as powers of knowledge for the soul; first the objective powers of the mind, the powers of thinking. These are easy to access. But then the powers of feeling and perception, which can only be purified in the described way and can be awakened by the signs that evoke the spiritual world. Now Goethe had unlocked such a sign, and now he felt that he was not yet ripe for it. He did not feel ripe to understand the powers of perception that connect only with the earth either. Not ripe!

Now something rises in his soul. But at first only terror and fear, which are reflected to us where “Faust” turns away from the earth spirit, whom he calls “terrible face”, and whereupon the earth spirit then says to him:

You resemble the spirit you understand, not me!

Thus Goethe's insights are reflected in the first part of “Faust”. But Goethe was not a personality who could necessarily remain a “fearfully cringing worm”; he was a personality who was powerful enough to strive on. What did the personality say to itself? It did not speak like other personalities who believe that they are seekers of knowledge and say: There are limits to knowledge. It is easy and comfortable to dismiss all this as nonsense. No! Goethe said to himself: I am not yet ready for this! That is something we can learn from Goethe: he said to himself, “You are not ready yet; you must first begin to work on yourself in order to mature to what is possible for the soul.” [Now he worked on himself to get ahead.] To achieve this, he now immersed himself in life in order to get to know life and people and science in all its aspects. And we see this when, after his time in Frankfurt, he comes to Strasbourg, looks around at nature, in order to grasp the things that he, as a seven-year-old boy, placed on his father's music stand, in order to get to know the divine-spiritual forces of being through their knowledge. But not only the divine-spiritual forces of what is formed externally in nature, but also of human life and its manifold forms. And now we can already see how he has the favorable opportunity to get to know all the ups and downs of the human soul, the human soul in its infinite kindness and love – but also in all its malicious, spiteful and harmful qualities, with all its longings, torments and sacrifices. [He experienced the greatest satisfaction, but also tormenting doubts, in the souls of people.] There he met the great personality of Herder in Strasbourg, a personality who strove throughout her entire life to come close to the sources of life, who also felt that the powers of her soul were not ripe. A terrible mood was in Herder's soul at that very moment, when, despite his titanic urge for knowledge, he loses courage and says to himself, [You cannot strive higher]. One's own inability is a general human inability. Herder was close to such moods, such moods had gained control in him and caused a lifestyle that was harsh and rejecting – only bearable for a soul like Goethe's, which was benevolent. Goethe had recognized the greatness of Herder's soul. And no matter how much Herder might have belittled him, Goethe knew that he was in the presence of greatness. And Goethe had a great soul, great enough not to pay attention to the unimportant when faced with the important. When he climbed the stairs of the Gasthof zum Heiligen Geist and unexpectedly saw this personality, who Herder introduced in a somewhat brusque manner – with his coat fluttering, his coat-tails criss-crossed in his pockets – Goethe sensed at a single glance that this personality was Herder, and he said: “You are Herder.” From that moment on, his respect for him increased.

Deep ideas lived in Herder, as we can find them, for example, in his treatise “Ideas for a Philosophy of the History of Humanity”. But all this was not enough for him. Then Goethe got to know a tremendous striving that was on the verge of collapsing, and was held down by it. But Goethe had already learned from another personality the inadequacy of the ordinary mind: from his friend Merck. Of him, even the most well-meaning woman, Goethe's mother, said: “He can never leave Mephisto at home; he finds fault with everything.” Goethe saw these personalities, and he saw in them something that in turn had a significant effect on his soul: that they had particularly developed what he himself had in his own soul. As in a mirror, he saw his soul, himself! He saw the intellect into which error and superstition of the outer world creep. He sought to comprehend the spirit of the earth, which he has spoken in “Faust”:

In the flood of life, in the storm of action
I surge up and down,
weaving back and forth!
Birth and death,
An eternal sea,
A changing weaving,
A glowing life,
So I create at the whirring loom of time,
And work the living garment of the Godhead.

He had tried out of inner urge to grasp the spirit and soul that spoke to him in the forces of life, in the images of the “Aurea catena Homeri.” But he had also felt that he was not yet ready to soar to these heights of the mind. He had now realized why: because there was still too much of the sensual interests in him. Now he knew that the spirit to which he still resembled too much was the most evil, the Mephisto spirit.

You resemble the spirit you understand,

the Earth Spirit could speak, who saw the Mephistophelian in Goethe's soul.

Now a good part of the idea for Faust shone forth in Goethe: Why can't human beings, in their ordinary feelings and perceptions, achieve the same kind of clear insight as they do in their thinking? Why are desire and perception not as powerful as the powers of thought? Because there are forces at work within us that are not ourselves, but which have an effect on us. The forces that we embrace with our actions and desires, according to both ancient and new spiritual science, are the forces of Lucifer, and these bring our desires down to such a level that they cannot become an objective power of knowledge in this life. This is how Lucifer works.

But there is also another kind of force that makes us act, that our minds gain real knowledge when we direct our perception to this world. These are the forces that were first characterized by Zarathustra as ahrimanic. Thus the Ahrimanic forces, which are imbued with desire and would penetrate to the macrocosm, work in us. [They prevent feeling from becoming a power of knowledge in relation to the earth, just as the Luciferic spirits prevent desire from rising to cosmic knowledge.] The Luciferic entities work in us.

Goethe sensed what clouds the human gaze and leads to error, what is called the forces of Ahriman. For Ahriman is the same as what we are accustomed to calling Mephistopheles, after the one who characterizes human behavior as lying: from the Hebrew “Mephis” is liar and “tofel” is ruin. It means the same thing that Zarathustra calls Ahriman. But Mephisto does not mean Lucifer. He is the power that leads man to lie, to see outer life in deceptive forms, not in truth.

All these forces are at work where man passes through life and is led by his interests to see life in its deceptive forms.

Goethe, despite his most sincere efforts, could not penetrate to the sources of truth at that time because he still had too much of the Mephistopheles in him – You resemble the Mephistopheles, not me! And so [in the “Urfaust” immediately after the earth spirit] Mephisto appears suddenly, as if shot out of a pistol. [Sudden because Goethe only sensed the context, did not clearly recognize it.] Another deeply moving secret of the soul.

Thus we see how Goethe pours into “Faust,” as it were, what he experiences, how he tries to depict how Mephisto guides him to take pleasure in such stale stuff as in Auerbach's cellar, in many of the externalities of life, which he must call banal from a higher point of view. But this Mephisto leads him to something else as well. If we follow Goethe from Strasbourg to the time when he had passed the bar exam, a little later, we find two qualities that must have brought a deep and searching soul into strange conflicts. The first one comes to us when we seek him out as a legal scholar. He was not very good at the positive knowledge of the law, [he only knew a few legal paragraphs]. But when it was a matter of quickly grasping some case and penetrating it in no time, he was one of the very first, still admired today by experts who follow his processes. [He was a practical man who quickly found his way in practical life with his mind.] He is proof against the outrageous statement that those who seek access to the spiritual life must be impractical people in life. Goethe sought access to the spiritual worlds to the highest degree and at the same time was an eminently practical person compared to all those who are impractical because they are untalented. Some young poets think that it is part of being absorbed in the intellectual life that you have to be an impractical person. Such people are only talented up to a certain point. No one would ever dispute the special talent that Goethe showed in writing his “Iphigenia”. On his desk lay the lists for the recruitment of recruits. While the recruits were being drafted, he wrote the verses for his “Iphigenia” in between. That was a whole human being! Penetrating into the spiritual world never prevents one from finding one's way into the practical world. Goethe felt he was a practical person.

But he also felt this: when he was consulting with himself one day, he had to say something to himself that made a deep impression on his soul. There are many, many things in which you have not been at your own height in your life – and above all: you have become guilty! The self-knowledge: You have become guilty – in the face of such cases as the Frankfurt poet experienced in Sesenheim, in the face of the struggle of the most violent passions that confronted him there in Friederike. He also knew that they did not fit together, that he would be paralyzed in all his striving if he had sought a connection with her. But he knew that through the way he behaved, he had become guilty, knew that Mephisto had led him; as we are led by Mephisto when, instead of being led into clear circumstances, we are led into error and deception.

Goethe felt completely and in his deepest innermost being, because he grasped all these questions at their center, that this in the human soul, which guides everything in the human soul, that [this Mephistophelian power] can lead it far, to completely different self-confessions than what he had to clothe in words: You have become guilty. He knew that when these Mephistophelian forces intrude into the striving for knowledge, they can make a charlatan out of a person in the face of higher striving for knowledge! There he stood with his soul before something monstrous; there he stood [before a tremendous abyss] that he said to himself: You must go beyond what only the mind can experience, you must call upon the powers of feeling and emotion for knowledge, [those that Mephistopheles pulls down], but there is still something of Mephisto living in you. Another self lives in you besides. Only now did he clearly recognize a figure of the sixteenth century who [has interested and frightened so many people], who has instilled fear and horror in people. Now the “Faust” of the sixteenth century became clear to him. How did he become clear to him? We take a deep look into Goethe's psychological self-knowledge when we research it. Goethe said to himself, as many people could still say today: Man cannot help but seek access to the forces that transcend the sensual. That is why, in our time, which does so little for the deepest needs of the soul, we have so many currents that emanate from such people who seek access to the spiritual currents, to the spiritual foundations of the soul.

The first thing [that is necessary] for a person to find access [to the spiritual world] without harm, to purify and cleanse his soul, is that he free himself from everything that is now called, in Goethe's sense, Mephistophelian forces, from the merely negating, criticizing endeavors [that are directed only at the things of the outer world]. This is not easy; Goethe himself shows how difficult it is by being bound to Mephisto as to a spirit that makes up part of his soul.

If man listens to this Mephisto in him, then he does not tell his fellow human beings the truth, but rather what the Mephistophelian element, reinforced by the Luciferian element, incites him to, leading to arrogance, ambition, pride, charlatanry.

Truly, a very fine cobweb separates the charlatan from the true spiritual researcher. This can also be seen today. Theosophy or other spiritual movements arise because they correspond to the longing of our world. But it is not easy to become a messenger of the spirit.

If the researcher is not free from these Mephistophelean forces, then he is not a real researcher, but a charlatan who incites vanity in the field of knowledge. — Here a fine sense is really necessary to distinguish between noble striving for higher knowledge and charlatanry. And it is difficult for the one who does not penetrate deeply into the spiritual life to distinguish the charlatan from the spiritual researcher. This danger also exists in Theosophy. It is not easy to satisfy the longings. He who wants to penetrate into the spiritual world is in danger of falling into charlatanry. It is therefore only too understandable when the charlatan and the spiritual researcher are confused. The reproach of the outer world is only too justified: “One cannot distinguish the charlatan from the true spiritual researcher”. This, which can confront us so vividly in life, confronted Goethe in his soul. The Mephistophelean brings you so close in an entity, as it is to Faust, whom people fear, of whom one can say that he has united with the devil, has fallen prey to the forces that lead to lies and deception. And now the question arose in Goethe's soul: How can man save himself from the danger of charlatanry, so that Mephisto does not lead him down into the abyss? Thus the Faust question had become a matter of the heart for Goethe.

The first thing a person must say to himself when this question arises in his soul is: [You must become simple and humble]. You have to go through something, where you look for the individual thing in you; from the smallest experience, from the smallest observation, to find the divine in every single experience. Goethe embarked on this path. On this path we see him wandering through Italy, modestly, humbly collecting all the details. In the inconspicuous coltsfoot, he seeks to clarify the different effects of plant forms, [observing the difference in its appearance here and elsewhere]. We see him hurrying from picture to picture, from work of art to work of art, in an intimate, selfless way. Although he has read Spinoza at home to uplift himself, he does not dwell on it because he is humble. [He goes to the works of art and says to himself,] When I look at them, I know that the ancients created like nature, by raising forces to a higher level. There is necessity in this, there is God. He does not seek to build a worldview in a rush, from thing to thing, humbly seeking the smallest thing in order to modestly seek the divine-spiritual in the smallest thing. [Perhaps you sometimes find it inconvenient when someone who talks about spiritual science speaks of details.] The human quest for knowledge is not modest enough, does not want to go from detail to detail, wants to go straight up; one would like to span the whole world at once with one word. For example, in the theosophical movement, emphasis is placed on going from detail to detail in each step, so it is sometimes said, “I want to go straight to the highest levels of the Logos,” although the person in question does not understand more about the Logos than that the word “Logos” is composed of five letters. (Above all, modesty is needed; Goethe achieved this necessary modesty).

Goethe learns from detail to detail. That was what Goethe did. In doing so, he achieved the purity and refinement that he had after he had been on this path for a while, so that he can now speak in a different way about [his encounter with those spiritual forces like the earth spirit, from whom he had previously turned away, curled up in terror like “a timid worm curled up in terror”], of his encounter with the earth spirit, who experiences what is happening on the earth. At that time he had to listen to:

You resemble the spirit you comprehend, not me!

The spirit had appeared to him out of the fire. So now, after he had gone from piece of nature to piece of nature through modesty, through prudent research, so that he could incorporate the piece he wrote in Italy into “Faust,” now he addressed this spirit of the earth differently, as characterized in that beautiful monologue in “Forest and Cave”:

Sublime Spirit, thou gavest me, gave me everything,
why I asked. Thou didst not in vain
turn thy face to me in fire.
Gavest me the glorious nature of a kingdom,
strength to feel, to enjoy. Not
coldly marvelling visit thou only allowest,
allow me to look into her deep chest
As into the bosom of a friend.
You lead the line of the living
Before me, and teach me my brothers
In the silent bush, in air and water know.
And when the storm roars and creaks in the forest,
The giant spruce toppling neighbor branches
And crushing neighbor trunks,
And the hill muffled hollow thunders,
Then you lead me to the safe cave, show me
Then myself, and my own chest,
Secret deep wonders open up.

That was the progress Goethe had made through his endeavors. Now, after he had humbly followed in nature's footsteps step by step, he no longer felt like a sluggard of knowledge, and closer to the spirit that had previously rejected him. Now he was allowed to look into his soul with a different kind of satisfaction and bliss. What he had once sought to grasp in a single flight, he had now recognized in the most diligent study of detail. He had ascended in humility. Now he was face to face with the spirit that lives not only as an earth-spirit in the outer world, but also lives in the human soul. It led him to the secure cave within, to self-knowledge. He had gained a view of nature that now really allows the spirit to recognize nature:

You lead the line of the living
Before me, and teach me my brothers
In the silent bush, in the air and water.

Now he had ascended – albeit always with the powers that had triggered his Frankfurt aspirations back then – but he had ascended in humility. And now what lived in his own soul presented itself to him as the eternal, the immortal. With what he was able to connect, after he recognized this “spirit of the earth” in the outer world, the spirit led him to self-knowledge. Now he felt ready to find within himself the strength that he had previously sought by storming. And so we learn from the great Goethe how we, with him, should mature in the depths, carefully and humbly, and say: This cannot affect our soul now, but it wants to wait patiently and let it mature. Those who do so will say: It is good that you have done so, and have also opened up many things, because that had to mature in you first and then flourish. We can learn from Goethe: faith in the development of the human soul, faith in the necessity of maturing, so that we can believe in the immortality of the eternal, [so that we gradually grow into the spiritual world];

At the time when he found a cave in his inner soul in which the secrets of his own heart were revealed, he did not believe he was finished, but strove ever higher. And we will see how “Faust”, which appeared in fragment form in 1790, rises ever higher.

At that time, much of what he experienced was only external. But more and more, he connected with the experiences of the inner soul: he penetrated into the mystical. [After Goethe had seen the living earth spirit in the outer world, he also found his inner strength: “And the deep shafts of my own spirit open up” - the Goethe of 1790 strives deeper and deeper. Humbly and modestly, he looks up.] Thus he came to feel intensely in his deepest soul: There is something immortal, and the human soul can recognize it because it can recognize in itself that which is immortal. That was the testament that he left behind, sealed, in the completion of his “Faust”; which was expressed in the final words:

All that is transitory is but a parable.

Not long before the completion of the second part of his “Faust,” Goethe told his faithful Eckermann that he had taken great care to ensure that this work, in particular, met theatrical and artistic standards so that those who merely wanted to enjoy it with their senses would get their money's worth. And Goethe himself adds that those who are initiated into the secrets will indeed find the deeper meaning behind these images.

But everything is sensual and, conceived for the theater, will catch everyone's eye. And that's all I wanted. If it's just that the crowd of spectators enjoys the appearance; at the same time, the initiate will not miss the higher meaning, as is the case with The Magic Flute and other things.

This, my honored audience, can be an indication of how justified it is to look for deeper secrets in this, Goethe's most mature work. And he himself knew that not everyone could easily succeed in understanding these deep secrets. For another time he said to Eckermann:

I will confide something to you that will help you in many ways and will benefit you for the rest of your life. My works cannot become popular; anyone who thinks or strives for this is mistaken. They are not written for the masses, but only for individual people who want and seek something similar and who are moving in similar directions.

However, on the path that we characterized here yesterday, which Goethe himself had to ascend from decade to decade to a certain human perfection, only a few can follow; and if everyone had to go through this lengthy path of life in spirit, then the understanders of the second part of “Faust” would indeed be few and far between. But through theosophy, which seeks to penetrate into the depths of life, there is the possibility that the soul first summons its innermost powers in order to see spiritually what it can see with the senses. When man penetrates into the results of spiritual research, he certainly arrives at a quicker understanding of what personalities of such rich content as Goethe have to say.

Yesterday we saw how Goethe ascended to perfection, as the stages of this appear to us in his “Faust”. We also pointed out that the first part of Faust was actually only published in its completed form in 1808. We pointed out what a personal, individual work Faust was at first and how it becomes more and more impersonal, talking more and more about matters of the human soul that are more or less meaningful to every human being.

In this way, Goethe removes his Faust from the narrow confines of the individual and into the struggle of the objective powers of the world. That is why he has to organize what you know as “Prologue in Heaven”. There it is not only the inner powers of the soul, but the objective world spirits, which are behind the worlds, that begin their contest for the soul of Faust. There [Goethe shows us how deeply he has penetrated in understanding that it is a mistake] when man regards himself as a separate being; how it is an illusion. Our finger does not do that. It would say to itself: the moment I am cut off, I am no longer a finger. If it wanted to succumb to the same delusion as a human being, it would disintegrate. It would disintegrate if it could walk around on our body – cut off. A human being can walk around on the earth, which is why he succumbs to the delusion of being a separate being. If only he would devote himself with all his soul to the fact that he can no longer live physically just a few miles above the earth, he would not give himself over to this delusion, would feel how the forces not only of the physical but also of the spiritual world play into his own soul. For Goethe, this happened visibly from decade to decade. Thus the powers of the human soul grew into world powers. And in his poetry, he shows us the representatives of the good spirits confronting the representatives of the evil spirits. And it seems to him, Goethe, that man is not just a “fearfully cringing worm”, but someone who understands how, from millennium to millennium, human affairs go through the process of becoming earthly and take hold of the individual human being. Hence the marvelous similarity to the old Biblical record where he has God say to Mephistopheles: “Do you know Faust?” — Mephistopheles: “The doctor?” — The Lord says: “My servant,” as we find it again in the Old Testament Book of Job, where Satan appears before the Lord and the Lord asks him:

Have you taken care of my servant Job?

[Now it seems to us that not just any human being appears to us in Faust; now Goethe appears to us as one who understands how, from stage to stage, human affairs pass through the evolution of the world.] Thus, as Goethe matured, Faust gradually became a world poem. It could only become one because Goethe, through his own development, was able to experience more and more in his inner life how the forces that he had sensed back then in Frankfurt could really be there, developing out of the depths of the soul. In his restless striving, he finally brought them out of himself. And so he knew that man can look into the supersensible world, that there are spiritual eyes as there are sensory eyes, that there are spiritual ears as there are sensory ears.

As early as 1808, he speaks as one knowing about all the things that were still closed to him when he first stood before the Earth Spirit: He speaks as one knowing about the phenomenon that the Pythagorean school recognizes under the name “music of the spheres”. [There, the soul foundations appear to man as harmonies. It is not music, but it is something that can be compared to it, something real that becomes the inspiration of the soul.

When the soul draws from the depths what lies dormant there, the inner tones appear to it as harmonies, as something that is heard with spiritual ears.

It is what is expressed in inspiration. Then the human being feels what this spiritual music is. Then he no longer looks through external vision and admires the appearance of light, but then the soul feels that something behind it is inspired. This is what Goethe expresses in the prologue:

The sun sounds in the old way.

And may those who believe that they are standing on the ground of realistic aesthetics say: the poet allows himself such images. A poet like Goethe, who only gives what he has experienced, does not write nonsense, as in the external realistic sense, when speaking of the sounding sun. He speaks of it only when he has experienced it as something spiritual and real, when he knows that such a resounding exists for the human being who enters into the higher spheres of existence. Therefore, he sticks with this image when he lets Faust ascend to a real insight into the foundations of this world (after the impetuosity and sin of the first part). When Faust, at the beginning of the second part, is to look deeper into the spiritual world, we read the words:

Hark! listen to the storm of the hours!
For the ears of the spirit
The new day is already being born.
Rock gates creak and clatter,
Phoebus' wheels roll and clatter,
Light brings a mighty roar!
It trumpets, it trompets,
Eyes blink and ears are amazed,
the unheard do not hear.

Goethe already presents his Faust as someone who listens to the deeper essence of things. And Goethe truly expresses that he wants to say that “Faust” has ascended from the point of view where he longed for these things but could not grasp them. There he had only one certainty:

The spiritual world is not closed;
a sense is closed, your heart is dead!
Rise up, bathe, disciple, undaunted,
the earthly breast in the dawn!

But the “timidly coiled worm” was then far from bathing the “earthly breast in the morning dawn”.

In the second part, we see how Faust awakens; and how wonderfully described it is, how he bathes in the dawn, how revelation comes to him from the very foundation of things! Such is the inward artistic consistency of Goethe in the continuation of his “Faust.” And Faust is now to be introduced to the great world, to learn to recognize in it all that comes from the Mephistophelian power. Since man is a part of the whole human essence, the power that - as we have characterized - creeps into the human soul and permeates it with deception and lies, will also show itself [not only where man is alone with himself, but also where] man creates without having raised himself above the ordinariness of existence. Therefore, Faust must be led from the small world to the imperial court, must be led to where the great world destinies are decided for his time. It must be shown how the power of Mephisto also leads from error to error there. Therefore, Faust appears with Mephisto at the imperial court. He intervenes in world-historical events. With exquisite humor and precisely for that reason, Goethe describes the scene of Mephisto's hand in the invention of paper money. In the history of literature, it has hardly ever been described with such delicate humor how these forces intervene in world history. There is also this Mephisto in it.

People have often scoffed at the masquerade that is enacted in the second part. If one could take the time to interpret each individual figure from Goethe's mind, one would see how every thought is realized down to the smallest detail, and each would show us the way in which the powers play into everything. [They show us the reflection of Mephistophelean power.] This can be shown in a palpably realistic way. That is why Goethe shows it in a masque. There Goethe showed how the Mephistophelian powers work. He wants to take this even further, showing how Faust and Mephisto relate to each other by moving forward, awakening more and more of the slumbering powers of his soul. He wants to show at court that not only the outwardly sensual appears in the masque plays [but also the ancient, not belonging to the sensual present]: one demands to see the ancient figures of Paris and Helen. There we are led out of a realm that belongs to the sensual present into something that is not in the present in any sense.

But Goethe shows very clearly that he has insight into the conditions of existence. He knows that there is not only something transient but also something eternal in human life, and that something of what has lived as a human being in times as old as can be is present in the world: that the spirit can be found in the spiritual world. And in his picture, Goethe wants to tell us that those people who connect with their own eternal in the soul can penetrate into the realm that lies beyond what eyes can see and ears can hear. [This spiritual realm is not theoretical.] This realm is an experience for those who prepare themselves in an appropriate way. [It is] very real. And it was there for Goethe too, very present.

However, this realm differs quite significantly for the student from what the eyes can see outside. Let us first point out one difference between the two worlds: in our world, things appear with sharp contours, so that we have, so to speak, quite a bit of time to get an idea of how things are. It is different when the soul enters the spiritual world. Then a realm appears to us that shows us the entities that are there in continuous transformation. Just as our feelings change from moment to moment in our own soul, and our passions change from hour to hour, so in the spiritual world there is a continuous transformation.

Formation, transformation,
eternal sense's eternal entertainment,

as Goethe [characterizes it]. He knows that the sensual is born, crystallized out of the spiritual [world], which lies behind our world. He seeks an understandable expression for what the soul sees behind this sensory world. He found the expression.

He had once read in Plutarch. He read about the city that was in the possession of the Carthaginians and that Nicias was supposed to win back for the Romans. Therefore, the Carthaginians considered him a traitor and he was to be imprisoned. As Plutarch recounts, he then behaved as if he were possessed; he ran through the streets shouting: “The Mothers, the Mothers are pursuing me!” Thereupon no one dared to lay a hand on him. The expression ‘the Mothers’ made a special impression on the ancients. ‘The Mothers’ were goddesses who were supposed to represent those powers of the soul that were to lead into the spiritual world, to crystallize out of it like a crystal from the mother liquor. Therefore, Goethe found the name and called this realm ‘the realm of the Mothers’.

What then remains of Paris and Helen after their earthly personalities have sunk into the realm of decay? In the realm of the supersensible world, in the realm of the Mothers. Therefore, if Faust is to bring forth what is demanded of him, he must bring forth the immortal and imperishable in Paris and Helen. To do so, he must descend into the realm of the Mothers. He knows that this realm of the mothers exists and that he can find the immortal in human beings there. But how does he get there? He has not yet banished all Mephistophelian forces from himself; so Mephistopheles must give him advice on how to find the entrance, how to get from the outer world into the realm of the mothers. At his stage of development, Faust cannot yet enter the spiritual realm, although he is certain of its existence. Mephisto belongs to the spiritual world, but is not in fact an externally visible being. He rules in the sensual world, but does not belong to it. Therefore, he has understanding and even the key to lead Faust there; but he does not know what it looks like there. Where he rules, there is no understanding for the supersensible world. Mephisto is the power that presents the external world to us as an illusion: He rules in the realistic world. [This Mephistophelian power also rules today in the materialistic mindset. The error that the material world is the only true one is an influence of Mephisto, who prevents the soul from recognizing the reign of the supernatural. Realism is therefore only possible if Mephisto rules in the soul. And he can only go as far as the external material man can come. But he provides the key to the supernatural world, but can only come to the gate himself. [Thus one can go far through the outer science, up to the gate of the supersensible world, but one cannot enter through it.] Because he has no sense for the supersensible forces, Mephisto only delivers the key. This allows Faust to enter the realm of the mothers. For anyone who experiences the realm that is behind our sensory world, this is an appropriate representation.

And now the dialogue between Faust and Mephistopheles unfolds, which shows how far Goethe was able to penetrate into the relationship between the sensual and the supersensible world. Mephisto describes the realm of the mothers, where the eternal beings of Paris and Helen are, in such a way that he says: You may swim across the sea as far as you like, you see the sun, moon and stars moving; but when you enter the realm that you now want to enter, you see nothing, space seems empty to you, time seems empty. Mephistopheles sees nothing in the realm of the mothers, just as materialism sees nothing where the supernatural world is. But Faust replies to Mephistopheles, as always the spiritual researcher does to the materialist:

In your nothingness, I hope to find the all.

Thus the two stand facing each other: the eternal question of materialism and that world view that seeks to penetrate the supersensible – formulated in this dialogue. Faust even suggests that precisely because Mephisto is the power we characterized yesterday, he must also lead to lies and deception with regard to the supersensible world, and so Goethe has Faust say to Mephisto:

You speak as the first of all mystagogues,
who has ever deceived faithful neophytes
Only the other way around.

I have shown how easily one becomes entangled in error and lies when entering the spiritual world while still embraced by Mephisto, how one becomes a charlatan instead of a spiritual researcher. How justified, therefore, is the fear wherever the charlatan is near the spiritual researcher. Faust calls him a “mystagogue,” because the term used for the leader of the Eleusinian mysteries is rightly used for the charlatan who, without having made the journey, wants to point the way to the spiritual world. [This is the charlatanry that is only separated from the noblest spiritual research by a fine cobweb.] So Faust calls the mystagogue, who speaks of error from the spiritual powers that he cannot recognize – only the other way around, you speak, he says to Mephisto. While they speak of the many things they have seen, you speak of nothing. Mephisto speaks in the opposite, lying way to the spiritual world, just like those deceitful mystagogues. He speaks of it as a nothingness; they fantasize about some kind of spiritual world.

Goethe expresses himself so precisely because he speaks from the innermost experience. But that is why he also shows us what is necessary to penetrate into this world. One can, of course, if one penetrates unworthily – if one has not yet banished from one's soul everything that works as selfishness and egoism – one can indeed see many things in the spiritual world and penetrate, as Faust is now penetrating; but Goethe wants to make it clear that he is not yet inwardly mature, wants to show how difficult the path is to rid the soul of all Mephistophelean influences, wants to show how selfish passions still prevail in Faust. To be worthy, one needs a soul completely cleansed of selfishness. In Faust, personal passion still asserts itself. He wants to possess Helena for himself; but in that moment, the apparition becomes a danger to him. Even his consciousness becomes clouded – the [Helena] figure disappears into the realm of mothers.

Faust must seek another way to free himself from Mephistophelean powers, must develop his soul in such a way that he does not want to conquer the spiritual world at a double march [as in the first part]. [And even not at a single step, as he now entered the spiritual mother realm, he is not allowed to enter there.] He must conquer it in slow inner soul life, so that he follows step by step the inner spiritual conditions. If he really wants to go to Helena, then he must first himself attain full knowledge of how one can ascend again when one has descended, and must look into the secrets of how man really comes into existence. [He must look into those processes that accompany man's entry into life.]

Here, Theosophy shows that it is justified to present man as a threefold being. [How man consists of three bodies: the physical body, the soul body and the spiritual body. He who truly looks into the spiritual world with dignity sees how these three parts of man are combined.] And there, first of all, what we can see with our eyes and hear with our ears presents itself: his physicality. Then his soul shows itself. Thereupon spiritual science structures further and higher up. Today we are only interested in the spirit; so these three: body, soul, spirit. These three are here together. But anyone who looks into the spiritual world must know how they are structured out of the supersensible, these three. Only when it is shown how the immortal spirit of Helena unites with a soul and the connection from soul to body takes place, only then can Faust approach Helena, who is re-entering humanity, [then he is worthy for the spiritual world]. And from this man can see – for spiritual research shows him, but what Goethe knew: the view of the re-embodiment of the innermost human being.

It may seem quite strange when people today speak with certainty of the fact that Goethe had the idea of re-embodiment. But it is indeed the case that what lives in us returns not once, but often and often. Gradually, our time is approaching what will once be of the greatest satisfaction to our time, what will give the greatest satisfaction [where this idea, which will give people the greatest comfort, will appear to them as truth, where it will become popular. Truths only come gradually]. In Goethe's time, people had to lock such truths deep within their souls, for this and another reason: because they knew how infinitely many-faceted and ambiguous truth is [as soon as we approach the spiritual world], and how human words are so easily suited to present this truth with outlines that are too sharp. Therefore, Goethe could not but express in hints what lived in the depths of his soul. He expressed it in the second part of “Faust”. In his “Wilhelm Meister's Journeyman Years” he also expresses what man's innermost being is, the reappearance to be of use to one's great-grandchildren in this world:

[...] we hope that such an entelechy,

that is, the innermost essence of man,

will not leave our solar system entirely, but, when it has reached the boundary of it, will long to return in order to have an influence on earthly life and well-being again for the benefit of our great-grandchildren].

He does say it with great significance, but he hides his deepest conviction because people were not yet ready for [this idea, which will gradually and consistently emerge from natural science as well].

He expressed this idea poetically in the second part of Faust. He shows that there is a part of the human being that must join with, or be added to, the physical part in order to place the whole person in the sensory world: that there is a soul. And he was familiar with the term for this, which stands between spirit and body. The old terminology recognized it. In medieval literature it was called the “little man” in the big man, the same as what is called “purusha” in Indian literature, the little being that permeates the human being in countless personalities. It is the soul, not yet the spirit. Therefore, one who has not yet risen to the spirit can also penetrate to this soul. [To symbolically conceal this, Goethe has Wagner, who

greedily digs for treasure and is happy when he finds earthworms,

find the homunculus.

Goethe speaks very precisely, much more precisely than people are accustomed to reading. It should be explicitly pointed out that [with the homunculus] one is not dealing with something that belongs to the sensory world, but rather something that is added to it. Therefore, he coins a special image for the creation of the homunculus. All coming into being is called a creation. Here he coins a word himself, [as he had already done in “Faust” for the man striving beyond himself in the earth spirit scene, the word “superman” (Übermensch)]: “Überzeugung” (Über-zeugung) and means by Über-zeugung what extends beyond the ordinary man. That is what the scene with Wagner is about. Read the passage:

It will! The masses are stirring more clearly,
the conviction of the true, the true.

[Read what is usually written about this in the commentaries.] Goethe wanted to point out that the creation of the soul is a conviction. Such writings, which arise from inspiration, must be read carefully; they stand up to scrutiny.

[So now we have the soul.] Helena is to appear to Faust on earth. Faust wants to have her in his possession on earth. We only have the soul of Helena in the Homunculus. This soul must first unite with the body before the spirit can enter.

Now it is shown how the physical is stored in the soul. For this purpose, the homunculus must be guided into a world where it is known how the soul can be incorporated.

[He is not lacking in spiritual qualities,

— Spiritually, it is used in a trivial, soul-like way.

But it is used too much in a tangible, efficient way. So far, the glass alone gives it weight, but he would like to be more embodied.

He should be embodied by taking the natural path of how man develops; developing himself in the sense of the wisdom taught by Thales, for example. This leads him to Proteus. He must be taught and led to where the elements prevail, so that they can integrate into his soul. [He must be led into the classical Walpurgis Night, where the elements prevail, so that his soul can integrate into them.] Thales advises him

to start creation from the beginning

— to go through it —, and advises the homunculus to start with the mineral kingdom, then continue through the plant kingdom. [This is how he comes to Anaxagoras first. Then he seeks to classify the laws of the plant kingdom.] Goethe finds an expression for going through the plant kingdom:

It grunts so.

This describes the soul's passage through the plant element;

until you reach man, you have time,

it is said. [From the beginning, through the kingdoms of nature, the homunculus must embody himself.

The whole process that takes place on Walpurgis Night is the incorporation of the physical body into the soul, so that at the end we have before us the connection between the soul and the body. The soul or homunculus is characterized in such a way that when Faust, [still paralyzed by Helena], is lying in bed, he has a dream. The homunculus can look into the dream of “Faust” and describe the events. [Because he still belongs to the soul world, he could see him.] Every word in the second part of “Faust” could be a clue for the soul to merge with the body. Once this connection is made, the spirit that was present in previous embodiments can be absorbed. [At the end of the second act, the soul is connected to the body.] In the third act, the reincarnation of Helen appears to us, [after Faust had recognized in full detail how body, soul and spirit are joined together]. Now Faust has her before him as he can have her before him as an external human being.

At the same time, however, this poem shows us how Faust's soul forces are increasingly stirring. [When the mighty event of reincarnation presents itself to him, so that he recognizes it, his soul forces grow.] The characteristic of such a poem is that, alongside what is shown externally, there is an inner soul experience at the same time. By recognizing and seeing, his soul forces grow. What unfolds becomes a process of developing his soul. He makes mystical progress. We are presented with a mirror image of what Faust experiences in his soul.

From the union between Faust and Helena, Euphorion is born, the child of Faust and Helena. The aim is to show how Faust's soul has entered into a marriage, as it were, with the spiritual world. By increasing its powers, the soul feels something like a spiritual marriage. And what then arises in him appears to him as an image of the external spiritual world. [The soul feels supersensible knowledge as a child of itself with the universe. Thus Euphorion is like an image of mystical inner knowledge.]

Thus we are shown an image of the spiritual experience of Faust himself. [And at the same time, the stage at which Faust now stands is to be indicated]. He has not yet reached the stage of one who can permanently hold on to his supersensible experience; he can only catch certain glimpses of the spiritual world, then he must return to ordinary external life. And this is the experience of the developing mystic. [In a moment of celebration, the spiritual world opens up to him.] He knows how the descent from spiritual experiences affects the soul, knows that mood of the soul when what was knowledge sinks again and the soul calls for it. This is echoed in the words of Euphorion, who dies young and cries out [from the realm of shadows]:

Let me in the dark realm,
Mother, not alone!

That is the mood that our soul feels: it must, according to its insights, which have once again disappeared.

In a wonderful way, Goethe describes in the events what can appear as an inner soul experience of man as he progresses into the spiritual world. But Faust must go further when what he experiences fades away again. [The soul must regain what it once saw.] This is shown in the fact that the veil and the dress of Helen remain behind for him, Faust. Thus, such a personality retains only the memory of the spiritual experience. Faust must go further. These steps, too, are fully characterized by Goethe. First, it is shown how difficult it is – even for someone who has gained deeper insights into the spiritual – to guard against what still works in the world as the last Mephistophelian forces: Faust becomes a military leader in the [fourth] act, to accomplish a humane deed. He is not yet so far advanced that he can lead purely spiritual forces into the field. The Mephistophelian still mingles with what is around him. [It is not yet possible to see through what forces are leading Faust into the world.] Here the armor from old armories is presented. [Not only the natural, but also history], the historical appears here. The path that a person has to take to mature and to face nature is long. When contemplating nature, the powers of deception can interfere. [Yes, you can go very far with knowledge of nature and history]. The Mephistophelian powers interfere with what is presented as armor. We do not face the phenomena with pure knowledge, the fourth act should also show that.

Faust must be purified more and more, that he may be freed from all that still adheres to our desires of Mephistophelian power. That is difficult. It is the fact that he does not see them that makes it so difficult for man to free himself from these powers. [Again and again, things approach us in which Mephisto is hidden.] Faust does not yet see how the elements that can lead to deception are mixed into the actions of the mountain people. As long as we cannot see into these powers, we cannot free ourselves from them. We must bring it to the point where we are face to face with Mephisto in the flesh. Then he appears in the form in which he is depicted in all religious documents, then he appears as the tempter. Then we know what has power over us. Thus Mephisto must present himself to Faust as tempter, must emerge from unconsciousness into consciousness. Only then does Faust know what Mephistophelian power is. He must confront that power as a tempter. Goethe also indicates that in the course of his supersensible development, Faust confronts Mephisto in the form of the tempter, in that he lets him say:

But, that I may at last speak quite understandably,
Didst thou not favor anything on our surface?
In immeasurable expanses thou overlooked
The realms of the world and their glories.
But, insatiable as thou art,
Didst thou not feel any desire?

The Riches of the World and their Splendor: In the same sense as he speaks in the Gospels, Goethe has Faust face the tempter and be offered the glories of the world. [Man wants to possess them as long as the Mephistophelian power has power in him.] Man must renounce what things are. [That too is only possible in stages.] Faust learns to renounce. He has come so far that he rejects these glories [as immediate possessions; he takes them as a fief, not because he wants to possess them, but because he wants to make them fruitful]. He wants a piece of land that he can win from the sea; he wants

to stand on free ground with a free people,

wants to realize:

Action is everything.

He wants to work selflessly, not for his personal possessions, not for his own selfishness. This is the answer he gives to Mephisto, who offers him

the riches of the world and its glories.

He rejects it, even in the form of a small piece of land.

But [only one step on the way to shedding selfishness has been taken, and there is still something selfish about him]. He cannot yet renounce the unobstructed view. He still wants what he wants from the sea to appear free before his external gaze. The hut of Philemon and Baucis hinders him from this free view. This is a sign that he has not yet overcome the last stage of selfishness. But for Mephisto to once again make such a mistake, [the last remnant of Mephistophelian power must intervene in him, so to speak]: it is he who burns down the hut belonging to the old people.

Now Faust encounters something that even the advanced student knows from experience. [He falls prey to a final danger.] [He who can renounce sensual possessions but not yet miss the view.] The things of the outside world cannot harm him; not harm, want, guilt. He is freed from the fetters of these things. But that which is the last to depart from our soul and which clings until the last remnant of selfishness has vanished, that is worry. He will not be rid of it until the last remnant of selfishness has vanished. Worry! There is a far, far higher form of it, a far, far more heavenly form than the one we encounter in ordinary life. When a person tosses and turns in bed at night and cannot sleep because of worry, [this is also a sign that he has not entered the spiritual world, where he should be at night]. In the symbol, it appears: how he is not allowed into the spiritual world, the higher power of worry. Worry exists as long as he is chained to the sensual world. Man can find the key and block his way down from the spiritual world into the sensual world. If he has not yet separated himself from everything in the sensual world, then worry creeps into his life. [It blocks his access to the spiritual world. And so it happens to Faust as well.] Then it also shows that man still has something to overcome in his nature. Goethe expresses this by making Faust physically blind. Now he can no longer express this selfishness, outwardly he has gone blind. But

inside a bright light shines

– a brighter one. Now Faust is ready to enter the spiritual world.

Because Goethe knew these secrets, he spoke the word at the sealing of his package, which contained the second part of “Faust,” which contains Goethe's testament to humanity. He was satisfied because he could say to himself: I have expressed the abilities that I brought with me into this life as much as I could in this incarnation. He had come so far. Since most people will find it difficult to understand this word of the inner soul-becoming of man, from physical to spiritual vision and the possibilities that the soul must go through to ascend to such spiritual vision, Goethe had to depict in pictures what can only be expressed in words today: what he knew about the secrets of existence, about the supersensible powers of the soul life.

Now he had so much of what he desired during the Frankfurt period. But he could only present it to humanity in images because he knew how few words are suitable to express it. Because first people have to shape their words — as spiritual science is now trying to do — to express the tremendous content of the supersensible world.

Goethe was aware of the soul's inner progress. He expressed it in images. If we understand the term “mystical” correctly, this experience of the soul is called the “mystical life”. And because Goethe expresses this mystical life in his mighty testament to humanity, he allows what he has to offer humanity to fade away in the “Chorus mysticus”. That the soul has dormant powers within it, through which it can become aware of the eternal. For Goethe, this substantiates the saying that everything sensual in the world is an image, a parable for the immortal. What Goethe felt, that it is difficult to characterize the comprehensive things of the soul with words, he wanted to suggest by depicting in images what people cannot grasp. He presents what cannot be described, only seen, as an inner deed of the soul, in a very realistic way. What can be illustrated for the outer senses is done here in the second part of “Faust”. [Everything that is transient is only a parable for the immortal, everything sensual only an image for the supersensible. He felt that it is difficult to describe these transcendental phenomena in their fleeting movements with words. What is inadequate for ordinary life, he made an event in “Faust”.

The soul is certain that such a realm exists and that it can work its way up. It feels that it is something like a feminine that allows itself to be fertilized by the spiritual masculine forces of the universe. When it unites with all such creative forces of the universe, it feels itself to be the eternal feminine in relation to these forces. It is a sin against the great nature of Goethe to accept profane explanations of this sentence. [The eternal feminine of the soul allows herself to be fertilized by the cosmic forces in a cosmic marriage.] What the fertilizing of the universe brings forth is the feminine, that is what Goethe wants to say. This is what is presented to us only through experiences, what he himself has experienced - what man can experience in his mystical experiences. [Only when we have fully understood and experienced Goethe's Faust do those words resound powerfully in our ears.] Goethe's “Faust” ends with the mystical choir depicting this experience. [What a person can achieve in mystical development through spiritual research is summarized in the magnificent sentences that apply to every striving soul.

All that is transitory Is but a parable The inadequate, Here it becomes an event; The indescribable, Here it is done;