The Rudolf Steiner Archive

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

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

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

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

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

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

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

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

But within there is a bright light.

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

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

Thus, Sorrow seems to say:

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

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

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

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

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

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

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

- attention is drawn to this! —

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

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

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

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

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

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

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

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

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

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

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

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

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

And if love has shared in him
from above,

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

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

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

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

- That's all there.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The lectures printed here were an immediate experience for the speaker and the audience, arising out of the dramatic eurythmy presentation of scenes from Goethe's “Faust”, which brought all the forces of the participants into action, from the development of an understanding of the given riddles to the creation of every scenic detail. The work of the intellect was only the bridge to grasping the essential reality that Rudolf Steiner opened up here, which stands behind the secrets of this work and seeks ways of expression for which the previously known artistic means are no longer sufficient. In eurythmy, Rudolf Steiner had created a means of expression through which the supersensible element can speak its own language: the language of movement, which is the form of expression of those worlds that have not hardened down to the physical. Secret laws of nature can be revealed again through the medium of a new art. And in his wisdom of man, in his science of initiation, Rudolf Steiner has opened the gate through which we can find access to those realms into which the Faustian poetry repeatedly transports us, and which must appear to us throughout as phantasmagoria if we cannot handle the key that opens that gate. Who then understands Faust? Commentaries and learned reflections cannot help us here. They do little more than weigh down, even stifle, the spirit that wants to speak to us through poetry. Although we owe a debt of gratitude to Schröer, because his diligent explanations enable us to refresh many things that would otherwise easily disappear into the depths of our memory, this work often reminds us of the pain we go through when example when reading the “Divina Commedia”, when one's soul is crushed by the commentaries that almost every spirited terzetto is accompanied by: a difficult-to-bear dissection into the pedantic-dry. The distance between text and commentary is not so enormous here. Schröer has an affinity with Goethe and enthusiasm, and so his scholarly work seems not so much drying as conscientious. You can put it aside without annoyance and then experience the text of the Faust poem directly. What is behind the poem speaks to us at first like a hunch. Something seizes us that no learned commentary could explain, that would be word and sound if it did not contain profound truths that are not accessible to us at first. The rushing of undercurrents becomes audible; secrets murmur in our inner ear. We are grateful to Schröer for not having drowned the voice of the deep, for only helping to imprint some mythological or historical elements more precisely on our memory. These explanations have not been able to lead us to the sources that pulsate through the poetry. The sources that Faust presses for, yearns for, so that he risks the salvation of his soul, they, which are supposed to give him back his lost humanity through the potion of life that he wants to drink from them, have not flowed into this scholarly existence either; they have only shaken his soul as a yearning and as a moral impulse. Faust, and through him Goethe, cries out for the sources of life; it is also the cry of today's humanity, which still fully deserves this name, which has not numbed its humanity with the noise of machines and the pressure of soul-crushing mechanics. It should hear this cry in poetry in its harrowing force, let it rummage in itself, react to it. On the stage, however, we usually see a jaded Faust, who talks to us about something that sounds very abstract and does not touch him strongly in his depths, only filled with endless boredom and disgust, which ultimately make him reach for the bottle of brown liquid; that makes him somewhat sentimental. It is hardly possible to feel a real relationship with the experience of the earth spirit. Then a piece of not quite well-founded, unreal, legendary romance takes place on stage, a medieval spook - and Faust only really comes to life when it comes to Gretchen; then he knows where he stands. But his game with her does not last long. He has to get back into the spooky romance. Then follows some remorse at the sight of Gretchen in the dungeon, who has gone mad. But he quickly forgets and wakes up refreshed and strengthened in a flowery meadow.

How harrowing reality and crazy superstition combine here to create an overall effect of inescapable grandeur is rarely thought about. Admittedly, the human aspect of this Gretchen tragedy is so grippingly expressed that it is enough to give the poem lasting value, even if one only perceives the other, the actual driving force in Faust, as an ingredient. But since the other material far outweighs the Gretchen episode in volume, at least when reading the work, where one cannot freely abridge or delete as in a stage presentation, one can still be amazed that the poem has become so established and is recognized for its high cultural value, which elevates it to the first place among the treasures of German intellect. The sparks that fly from the finely polished diamonds of thought, that flash out at us everywhere in the dialogues with Mephistopheles and in Faust's soliloquies, they have, along with the magic of the blossoms and the suffering of Gretchen, , in their colorfulness and luminosity, to save the entire work from obscurity, despite Goethe's own statement that his “Faust” could not become popular: it is too mysterious.

And we have to take this fact into account. Before Rudolf Steiner no one could lead into the deep shafts of Goethe's thought processes, his hunches and intuitions, into the world of those imaginations from which the finely honed words have received their wealth of images and eternal value. He alone makes it possible for us to go deeper into those layers of soul-forming human events from which today's insights derive their substance. They provide the carbon from which, through metamorphosis, the diamond is formed. And just as carbon could not become a diamond unless the sun's rays were captured and stored in it, so too does thought receive its light from the spiritual sun that underlies the archetype.

Rudolf Steiner has opened up the path to these deep shafts of emerging events, the path to the “Mothers”. Unlike Faust, created by Goethe, and like the Faust of legend, we should not seek this path with the means of medieval occultism, which had already become obsolete by the time Faustian figures were struggling between outdated, decadent alchemical research methods and newly emerging exact natural science at the dawn of the modern age. At that turning point in the age, people were working with many aberrant, murky means to penetrate the secrets of life: with faded magic formulas, with incantation experiments, with mediumship, hypnosis, tinctures and ointments that would also entice today's experimental psychologists to enrich their science. Rudolf Steiner showed us other ways to access the sources of life: the paths of pure thought, moral self-education, scientific and artistic work, and the free activity of the I in the service of humanity. But in order to do so, it was necessary to prepare ourselves by doing what has happened in the meantime: the renunciation of the last remnants of atavistic clairvoyance on the part of advanced European people, the immersion in the limits of natural science, the conquest of technology, the temporary severing of the personality from its spiritual source. Now we are standing before another turning point. We are on the verge of losing our personality, of letting mechanics kill the human being. The power of thinking must lead us back to our soulfulness, to the seizing of pictorial contemplation, to the understanding of the spirituality that rules in us and underlies all phenomena of life. In our striving towards the highest goal, the figure of Faust, as portrayed by Goethe, can be our example and incentive. We no longer need to be tempted by the aberrations of medieval sorcery. In spiritual science we are shown a sure path to knowledge.

The tragedy of the medieval occultists, standing at the threshold of modern times, was that through the tradition of the secret schools they still knew about the real spiritual intercourse of the most highly developed people with the intelligences of the cosmos, but they also knew that this path was now closed to them. They could not advance further than to communion with the powers of the intermediate realm. A gradual darkening, a turning away from the strict paths of spiritual research, was often the result of this experimental work with retorts and with the forces of the elements and their animistic natures. The striving went astray, grasped in desperation to the means of despair, chased after mirages. In this sense we have to understand what the soul of Faust was going through. Yet there was a strength in the intensity of striving of these researchers that awakened the I. Through suffering, their consciousness opened ever more to the alert impulses of the I. Through the conquest of matter, the human being strove toward the center of his being, where he would be able to find himself, which could bring him back to life in the spirit. In the smaller dome of the burnt Goetheanum, in which Rudolf Steiner had the representatives of the different cultural epochs of humanity created in image and color, one could also see this figure of Faust, the serious alchemist at the threshold from the Middle Ages to modern times, in a pensive gesture and with a deep gaze, raising his right hand to his face, behind whose eloquent finger gesture the word “I” appears; stretching out his hands to him, the higher, spiritual self of man hovers in the form of an angelic child. Below him looms the skeleton, the other pole of the human ego; above the figure of Faust, the inspiring genius bends towards him.

We cannot approach an understanding of Faust from a narrow-minded perspective; we must gain perspective. The lectures presented here provide us with a basis for understanding Faust. They are not commentaries written in the study, but an introduction to the fields of spiritual science based on a work of poetry inspired by them, the secrets of which can only be properly illuminated through this spiritual science. There is no other way to get to the heart of the Faust problem. And only then will this greatest poetry of the German spirit be able to become popular when spiritual science will have penetrated the cultural life of the people as much as natural science has done in the last few centuries.

Of course, there are many objections that could be raised to publishing a book like this, which seems to consist of fragments. The explanations were given on a case-by-case basis, depending on the work at the Goetheanum; the scenes in which Faust wrestles with the secrets of existence and moves into the supersensible realm were presented. The play was performed in the large carpentry workshop at the Goetheanum, where the columns of the burnt building had been constructed. The conditions were primitive, but the aim was to bring out the spiritual reality on which the play is based. The art of movement known as eurythmy, which is practised at the Goetheanum, was found to be the appropriate means of reproducing those scenes that take place in the supersensible worlds, whether in the upper or lower world. It was as if the Faust poem had been waiting for this form of expression in order to come to life on stage, to transform the otherwise unspeakable into artistic reality. What would otherwise have remained abstract and conventionally stereotyped found in eurythmy the appropriate living language. Rudolf Steiner helped and advised the actors in every detail of the performance. Our suffering consists in the fact that under the prevailing circumstances at the time, only partial performances could be given. However, they serve as a guide for us to grasp the whole. Therefore, we must not anxiously reserve this gift to a small circle. We must pass on to our contemporaries and to the future what we have received here for the formation of knowledge. Unfortunately, these are only inadequately transcribed lectures that arise from an immediately given situation, but they contain what no one else can give and what will further humanity's salvation. The people, whose task it is to conquer the spiritual, should be able to draw from the greatest work of German poetry, which at the same time aims to educate world views, the impulses that will give them strength and courage for their difficult task.

This lecture is the 1st of 15, in the lecture series entitled, Spiritual Scientific Note on Goethe's Faust Vol. I.

That which strives to enter our modern culture under the name of Spiritual Science claims to be nothing new and thereby differs from various current world conceptions and other spiritual movements which base the justification of their existence upon their claim of being in a position to bring something new regarding this or that question of spiritual life. But this Spiritual Science aims at emphasizing that the fountains of its knowledge and its life were available at all times when humanity has thought and striven after a solution of the sublime questions and problems of existence. This I have often emphasized in this city, when I had the pleasure of speaking to you in earlier lectures.

It must be especially attractive for man not only to examine, from this point of view, the many and various religious beliefs and world conceptions as they appeared during human evolution, but also to study personalities which have passed before us in history. For, if Spiritual Science is true, at least the nucleus of this truth must be present and discoverable in all those personalities who honestly and energetically strove after knowledge of the core of true human existence.

Whenever today Spiritual Science is spoken of, a variety of opinions are expressed from one side to the other, and anyone who has not penetrated this field sufficiently or formed a merely superficial idea of it from lecturers or brochures will certainly judge it from his own standpoint, as the fantasy or dreaming of a few people alienated from the world and its affairs, who indulge in curious notions about life and its foundations. It must be admitted that such a judgment is perfectly comprehensible if one does not go deeper into the subject; and though we cannot deal today with the deeper facts—having a special theme to speak upon—I nevertheless intended to bring to your notice several of the principal facts of this Spiritual Science. And even when such facts shall have been named and described, a feeling, quite honest, may easily arise within the minds of our contemporaries to the effect that all this is a most curious viewpoint.

Spiritual Science as a whole rests, in the first place, upon the preconception that all that surrounds us in the world of sense—all we can perceive through our senses and understand with our intellect—which is bound to the senses—is not the whole world, but that behind it all lies a spiritual world. And this spiritual world lies not in some undefined “beyond” but surrounds us here and now in exactly the same way as color and light phenomena surround a person born blind. But in order to perceive our environment we need an organ of perception. And just as a blind man cannot see color or light, so man of our age cannot, as a rule, perceive the spiritual facts and beings surrounding him here if he possesses only his normal powers of perception. But when we are lucky enough to perform a successful operation upon a blind person, there comes to him the moment of and “awakening” of the eye, and what previously did not exist for him—color and light, now flows into him. A new world is now perceptible to him. In a similar manner a higher awakening is possible on the Spiritual plane—that awakening which leads to initiation into the world of spirit. To use Goethe's words: there are spiritual eyes and ears, but human souls are not, as a rule, advanced far enough to use these. But when we apply the means and methods calculated to develop these powers, something happens within us similar to the new power given to the man born blind through the operation. A man becomes “awakened” when these new eyes and ears are opened; a new world surrounds him—a world that was always present, but remained invisible to him before his awakening. And now, when he has advanced thus far he learns to make his own the various sources of knowledge which illuminate life, give him power and security for his work and the ability to penetrate into the fundamentals of human destiny and the secrets of it.

One of these cognitions—one of those appearing to modern man, if not crazy, at best chimerical—shall now be dealt with, if only introductorily. It is the restoration or revival of a primeval process of perception, it's continuation upon a higher plane, pure truth which only comparatively recently has been attained for a lower plane. Humanity as a whole has a very short memory for great events in the world of spirit; hence little is thought to-day of the fact that in the 17th century not only the laity but also scientists believed that from riverslime lower animals, even worms and fishes, could develop. It was the great naturalist Francesco Redi who first said that no worm nor fish issues from riverslime unless a worm or fish germ has first been deposited therein. He said that life can spring only from life, and from this assertion we realize that it is only a superficial, inexact observation which can conclude that from lifeless slime can evolve life in the shape of fish or worm; accurate examination shows that we must go back to the living germ, and that this germ can only attract from out of its environment the forces contained therein in order to bring to the highest state of development all that reside as life within the germ or seed.

Redi's precept that life develops only from life is in modern science recognized as self-evident. But when Redi, in his day, gave utterance to it, he barely escaped the fate of Giordano Bruno. It is the same with the evolution of man. First, a truth pronounced thus brings accusation of heresy; then it becomes self-evident and common knowledge of humanity. What Redi did for natural science is to be done for the spiritual man through Spiritual Science by transferring Redi's precept through the cognition of the awakened spiritual eye and ear to the psychic sphere. And then this precept runs: the Psycho-Spiritual can develop only from the Psycho-Spiritual, in other words, it is an inexact method of observation that claims the genesis of a man being dependent only upon father, mother and ancestors. As we must return from the living worm to the living worm-germ, so we have to go back in the case of man, who has evolved from the germ to a definite being, to an earlier spiritual existence and realize that this being, which enters life through birth, only attracts from his physical ancestors the powers for his own development, as does the worm from his lifeless surroundings. And by corresponding extension of Redi's precept we get another: The present life, entering existence through birth, leads not only back to physical ancestors, but through the centuries to an earlier, psycho-spiritual condition. And if you delve yet deeper into this idea, you'll find it shown quite scientifically that there are not only one, but repeated earth lives; that that, which resides in us as life between birth and death, is a repetition of a psycho-spiritual condition already present in earlier stages of existence, and that our present life is, in its turn, the starting point for succeeding lives. The psycho-spiritual comes from the psycho-spiritual, returns to the psycho-spiritual which existed before birth and which descends from the spiritual world to exist in a physical incarnation. From this point of view we observe something very different when we, for example, study a child from the position of parent or teacher, and see the gradual development of inner powers. At birth we are confronted by something indefinite in its features; then we notice how step-by-step something is developed from within, becoming ever more and more definite—something not inherited, but issuing from a former life. We see how, from birth onwards, this psycho-spiritual center develops by degrees through the talents.

That is the message of Spiritual Science today in relation to repeated earth lives. Today it may be considered as dreaming—like the conviction uttered by Francesco Redi in the 17th century—but tomorrow, in the not-too-distant future, it will take its place as a self-evident truth, and the sentence: the psycho-spiritual comes from the psycho-spiritual will become the universal possession of humanity.

In our day the heretic is not treated as he was formally. He is no longer delivered to the stake, but looked upon as a dreamer and fool speaking from some fantastic imagination. He is made ridiculous by those who sit upon the lofty seat of science saying that all this is irreconcilable with true science, unaware that it is the true, pure science which is demanded by this truth. We could give hundreds of such truths that would show how Spiritual Science can illuminate life by demonstrating that an immortal germ resides in man, a germ which goes into the spiritual world at death, to return again to physical existence when its task in the higher world has been completed, so that new experiences may be gathered which are once again carried into the realms of spirit through the gates of death. We would see how the bond created between man and man, from soul to soul in every walk of life, those attractions of the heart uniting one soul with another—can be explained by their earlier creation in former life conditions; and how those new inner connections and sympathies formed today do not cease to be when death passes over physical life but are immortal like the human soul itself; how these accompany us through the world of spirit and later live again in future earthly conditions and new incarnations. And it is only a matter of further evolution for man to remember his former earth experiences—those psycho-spiritual events of earlier lives and conditions of existence.

These truths will, in a not very remote future, permeate, as necessary concepts, human life, and man will gain power, hope and confidence from these. Today we can only see that a few people in the world are, through their healthy sense of truth, attracted to what spiritual investigators can communicate of their experiences in the spiritual world. But true knowledge of the facts of spiritual science will become universal among men as a result of earnest search for the truth. And all those who have trodden the path of this research in the past have always given to mankind the profound wisdom and understanding which is today offered again them by Spiritual Science.

Let's consider an example taken from a time that lies very near to our own—the example of Goethe, and also the work which occupied him during his whole life as his greatest most comprehensive: his “Faust”.

Where we thus approach Goethe and try to illuminate his striving with the insight given us a Spiritual Science, we can begin very early. True it is, that from his predispositions one can discern the state of his soul and spirit. Everything within him which urged him to seek a spiritual background behind all the phenomena of nature was an early predisposition. We see the seven year old boy—Goethe—who could have absorbed quite ordinary ideas from his environment as any other boy would be able to do; but that did not satisfy him. He himself tells us so in his “Poetry and Truth”. There we see this boy begin something quite extraordinary in order to express his longing for the Divine. He takes a music stand from his father's effects and transforms it into an altar by placing upon it all kinds of minerals and plants and other products of nature from which the spirit of nature speaks. With a certain premonition this boy-soul builds an altar, places a candle upon it, takes a burning-glass, waits for the first rays of the rising Sun, gathers these with his glass and focuses them upon the candle 'til the smoke rises. And in advanced age he remembers how he, as a boy, sends his pious feelings to the great God of nature Who speaks through plants and mineral and sends us His fire through the rays of the Sun. All this develops further in Goethe. We see how it comes to expression, at a more mature age, after he arrives in Weimar and is called as advisor to the grand Duke—in the beautiful prosahymn, in which he says: Nature, we are surrounded and embraced by thee, unable to leave thee, and unable to enter deeper into thee. Unwarned and unmasked she takes us into the cycles of her dance, hurrying along with us until we fall exhausted from her arms. Not we, but she has done what is done; she thinks and meditates perpetually, looks with 1000 eyes into the world.—And again, later, he says in the book about Winckelmann “Antiques”: “When the healthy nature of man acts as one whole; when he feels himself in the world as in a great, beautiful, majestic and worthy whole; when that harmonious ease endows him with a pure, free rapture, then would this universe, could it perceive itself, feel itself at its goal and admire, joyfully, the culmination of its own being and evolution”. In this manner did Goethe sense how everything living and moving in outer nature celebrates a new resurrection in the human soul, and how a higher nature—a spiritual nature—is borne out of the soul and spirit of man. But only gradually does Goethe fight his way to full clarity of spiritual knowledge of nature. And in nothing else do we see plainer and clearer how Goethe during his entire life remained striving, with rest, to transform his knowledge again and again and so to rise to a higher stage than in his life's work—“Faust”.

In his earliest youth he began to incorporate into his poem all that filled his longing and feeling soul; and as aged man, in his last years, shortly before his death, he completed this work upon which he had spent fifty years of his life and laid into it the best fruits of his existence. At his death the second part lay there sealed, like the great testament to be bestowed upon humanity. It is a significant document, which we understand only if we follow Goethe in his efforts to win through to cognition. We find him, for example, a student at the University in Leipzig. He should have become a lawyer, but this occupied him only as a secondary interest. An unconquerable urge towards the secrets of the world—toward the spiritual—already existed within this young student, even in those days. He therefore absorbed all that Leipzig had to offer on natural science, and to hearken to the world for her problems of existence. But in order to transform what natural science offered him, into that urge which permeated all his inner forces, and aimed not at abstract knowledge, but a warm perception of the heart, he needed for its development a great experience—one that leads man to that knowledge in reality—the gate towards which we gaze with uncertain feelings and which shuts away from the normal human being of today the super physical, the invisible—the gate of death. Death passed him by at the end of his studies in Leipzig. A severe illness brought him near death's door. Hours, days, passed by where he felt that that mysterious portal would open to him at any moment and let him pass through. The exceptionally powerful urge towards knowledge demanded the higher degree of endeavor. And with this developed mood of perceptive he returned to his native city Frankfurt. There he found a circle of persons at whose head stood a woman of deep, extensive ability: Suzanne von Klettenberg. Goethe has erected a wonderful monument to her in the form of “The Confessions of a Beautiful Soul”. In it he showed that in this soul, which he at that time became spiritually intimate, something lived that cannot be expressed in any other way than to say: in Suzanne von Klettenberg lived a soul that endeavored to contain within itself the Divine and through this find the Divinity interpenetrating the world. Through this circle Goethe was introduced to studies which, were they applied today to any truly modern man, would appear crazy. They were medieval writings, and Goethe absorbed their contents. Anyone who today should study these could do little or nothing with them. When one observes the remarkable signs therein, one asks: what really is all this as compared with today's striving after truth by our science? At that time there was one book, The Golden Chain of Homer—Aurea catena Homeri. When opening this, one finds a remarkable symbolic drawing—a dragon full of life in the upper half circle bordering on another dragon, one which is dried-up and dying. Various signs are connected with this: symbolic keys, two intersecting triangles and the planetary signs. All this is mere fantasy for our contemporaries of a scientific bent, because they know not what to do with them. Goethe feels that they represent something. They do not express directly something to be found here or there in our world. But if these symbols are allowed to work upon us by, so to speak, becoming blind and deaf to our physical environment, letting only these signs act upon us, then we experience something highly peculiar—we feel, that the soul becomes aware of something that has been asleep—like a spiritual eye which has opened. And if one has sufficient perseverance, one takes to what is called meditation and concentration which so develop the soul that, as an actual fact, something like a spiritual eye operation is performed and a new world makes its appearance. Such a new world could not disclose itself to Goethe at that time, for he had not developed so far. But in his soul arose a presentiment that there exist keys for that spiritual world and that one can enter it. We have to realize this mood of Goethe's: The living sensation or feeling; something within me becomes active, compelling me to the belief that something exists which leads into the world of spirit. But simultaneously he feels his powerlessness to enter that world. If at anytime Goethe had been identical with Faust, we could say that he was in the same position as Faust when we see him at the beginning of the first part, where Faust, after studying the most varied departments of science, opens books containing those signs and symbols, feels himself encompassed by a spiritual world, but lacks the means of entry. But Goethe never was identical with Faust in that way; one part of him was Faust, but he himself grew beyond that part of himself. And so developed that which transcended Faust, through his disregard of any inconvenience, more and more and his continuous striving brought him to the conclusion that one cannot get behind the secrets of existence at one bound, not through formula and incantations, but through the patient and energetic effort to penetrate all that surrounds us in the physical world—gradually, step by step—with a true, psycho-spiritual perception. It is easy to say: this higher knowledge must arise in the soul. True, but it arises in its true form only if we are striving with patience and endurance to recognize, step-by-step, the real nature of the phenomena of the physical world and then, behind them, seek the spiritual. But Goethe could compress all this, could see it all in a different light, with what he had gained in his Frankfurt period.

Goethe came from Frankfurt to this city—Strassburg—we could indicate much that has here led him higher. Especially characteristic was the effect upon him of something that has so great a significance for this city—the Cathedral. The idea behind this building came to him and he understood why each single line must be as it is. With spiritual perception—gained during his Frankfurt meditations—he observed each triangle, each angle of this beautiful erection as part of the whole; and in his soul this great idea of the architect celebrated a resurrection and he believed he could recognize the thought, the idea, behind it. And so we could mention many instances where, so to speak, a marriage took place in his soul between his inner perception and the things it absorbed from the outer world. It is therefore not to be wondered at that, when later he returned to Weimar, he began to take up natural science from a new angle—botany, zoology, osteology, etc. and consider them all in the light of letters which together produce the book of life and lead into the secrets of existence. Thus originated his studies of the development of plants, of the animal world, in the same manner as he dealt with these subjects during his student days, except that everywhere he sought the spirit behind the sensual phenomena of existence. So we see him during his Italian Journey consider, on the one side, art, and nature's creations on the other, as he studied the plant world so as to recognize the spirit ruling within. Great and beautiful are the words he wrote to his friends who were familiar with this kind of spiritualized natural science: “Oh, everything here appears to me in a new guise; I would like to travel to India and there study, in my own way, what is already discovered ...” that is, study it in a manner demanded of him by his development. We see how he considers the works of art he meets with. He writes in one letter: "This much is certain, the old artists possessed a knowledge of nature and as sure a conception of what can be presented and how it must be presented as had Homer. Unfortunately is the number of works of art of first-class value much too small. But when one sees them one has nothing else to wish for as to understand them rightly and pass on in peace. These sublime artistic creations are, like the highest of man's natural works, built up in accordance with true and natural laws; everything imaginary, arbitrary collapses; there is only necessity—there is God”. Just as the great Spirit of Nature spoke to the boy of seven from his self constructed altar, so now did the great Spirit of Existence in the world of Spirit speak to him through the works of art which he looked upon as a unity. Thus did Goethe advance more and more towards the contemplation of the unity (of things) by energetic and devoted work. He could now quietly await the moment when, out of his observations, there should grow a real cognition of the world of Spirit, a true Spiritual Science, which we meet - transformed by the artistic treatment, in his “Faust”.

The first parts of “Faust” thus display the mood of a man who suspects the mysteries of existence but cannot penetrate them. We see then how Faust lets himself be influenced by those signs which surround him with the spiritual, and also that he is not yet ripe to really feel this spiritual environment. This is shown by the lines where Faust is acted upon by the symbolic signs of the macrocosm and the Earth spirit and the latter appears before him. With wonderful words Faust characterizes the Earth spirit. We perceive how he suspects that the planet Earth is not simply that physical globe which is described by natural science, but has within it a soul, as our physical body contains a spirit.

In the currents of life, and action's storm, I float and wave With billowy motion! Birth and the grave, A limitless ocean, A constant weaving With change still rife, A restless heaving, A glowing life—Thus time's whirring loom unceasing I ply, And weave the life-garment of deity.

That is the spirit residing in the Earth, as our spirit lives in us. But Goethe presents to us Faust as unripe, his spirit as incomplete. He must turn away from that fear-inspiring sign like a crooked worm. The Earth spirit answers him: “Thou'rt like the spirit thou dost comprehend, not me!” Goethe's soul knew, if only surmisingly, that we must not be satisfied with any of the steps we take, but strive ever higher; that we cannot claim to have achieved something but must go forward yet further. Goethe centers upon these mysteries his assiduous studies, and we now see him growing. The same spirit whom he first called and of whom he could only say “Dreadful Shape”, Goethe addresses through Faust after Goethe himself has attained a step higher, subsequent to his Italian Journey, regarding which I said that he endeavored to penetrate both nature and art according to his lights. Faust is now of the same frame of mind as Goethe himself. Faust now stands before the spirit and says:

Spirit sublime! Thou gav'st me, gav'st me all.
For which I prayed! Not vainly hast thou turn'd
To me thy countenance in flaming fire:
Gavest me glorious nature for my realm,
And also power to feel her and enjoy;
Not merely with a cold and wondering glance,
Thou dost permit me in her depths profound,
As in the bosom of a friend to gaze.
Before me thou dost lead her living tribes
And dost in silent grove, in air and stream
Teach me to know my kindred. And when roars
The howling storm—blast through the groaning wood,
Wrenching the giant pine, which in its fall
Crashing sweeps down its neighbor trunks and boughs,
While with the hollow noise the hill resounds:
Then thou dost lead me to some shelter'd cave,
Dost there reveal me to myself, and show
Of my own bosom the mysterious depths,
And when, with soothing beam, the moons pale orb
Full in my view climbs up the pathless sky,
From crag to dewy grove, the silvery forms
Of bygone ages hover, and assuage
The joy austere of Contemplative Thought.”

Here we see Goethe, and with him Faust, arrived at the height where he will not again turn away from the Spirit whom he had wanted to reach at one leap. Now this spirit faces him as one from whom he does not need to turn. Now he recognizes him in everything living, in all the kingdoms of nature, in the forest and water, in the still bush, in the giant pine, in storm and thunder. And not only in these. After his appearance in the magnitude of nature he knows him also within his own heart: his secret, profound wonders are revealed.

That is a step forward in Goethe's spiritual perception and he takes no rest, but endeavors to make still further progress. We then see how he, encouraged by Schiller, he tries to go still deeper, especially during the nineties of the 18th century. These years brought him the possibility of transcending that indefinite characteristic of consciousness of the spirit limited to the conception that in everything there is spirit. He succeeded in grasping this spirit in the concrete. But Goethe needed much preparation before he was able to present the life of the human spirit in the sense that the psycho-spiritual can arise only from the psycho-spiritual. That Goethe never neglected the effort to enter still further into this, is shown by various works created before the completion of the second part of “Faust”; and the degree of his progress in that direction is found in that second part. Many turned away from Goethe when they came to know him—an introspective Goethe—in the “Pandora”. Even today we hear it uttered: the first part of Faust is full of life, breathes direct naturalness; but the second part is a product of Goethe's advanced age, crammed with symbolisms and artificialities. Such people have no idea of the eternal wisdom embodied in this second part, a wisdom to which Goethe could attain only in the evening of his life, and leave it as testament behind him. And, because of this, we can understand Goethe, in connection with many works which already breathe the spirit of Faust, writing lines from which we see Faust presented as a contending soul—a soul into which a new element has penetrated. We realize it in his anger poured out over those who have called "Faust" and inferior work of age. He says of them:

My Faust some people praise
And what not else
That I in writings phrase
To their advantage tells.
The oldest tag-and-rag
Pleases the pit;
The rabble cannot see
There's more in it.

(My Translation. P.S.)

Here Goethe has for once clothed his opinion in words which he thought justifiable in reference to those who believed that only Goethe's more youthful accomplishments had any value; those who would not ascend to the work of his maturer years.

After Goethe has introduced his Faust to the life that closely surrounds us, has had him experiencing that wonderful Gretchen-tragedy, he leads him out into the great, exterior world—the world of the Emperors Court. Goethe here will show that Faust shall really enter in spirit into the secrets of this world. And then he was to be led into the true spiritual world—the Supersensual.

In the very beginning of the second part we see how Goethe has Faust surrounded by diverse spiritual beings in order to indicate that he was not only to be introduced into an exterior physical world, but should experience all that can be experienced by one whose spiritual eye is opened and whose spiritual ear sensitized. Hence does Goethe show us in the second part the essence of the human soul—of human evolution. What are Faust's experiences to be? The perception of the super-physical world into whose mysteries he is to be initiated. Where is this super-physical world?

Here is an opportunity—if we consider the spiritual content of Faust—in the first place to become occupied with Mephistopheles—that spirit who environs Faust from the beginning, who plays his part in everything Faust undertakes. But only in the second part, where Faust is to be introduced into the world of Spirit, can we realize the actual role Mephistopheles plays. After Faust has passed through the events in the Imperial Court, he begins to see that which is no longer a part of the physical world—the spirit of Helena, who lived many centuries ago. She has to be found for Faust. But that is impossible in the physical world; so Faust must descend into the spiritual world. Mephistopheles has the key to that world, but cannot enter there himself. He can describe it reasonably; he can say: you will descend, or we may say—ascend; and he then actually describes the world into which Faust is to submerge in order to familiarize himself with it and therein find the spirit, the immortal, the eternal, that remains of Helena. A word is sounded—a wonderful word—: Faust shall descend to the Mothers. Who or what are the “Mothers”? One could speak for hours to explain what they are. Here we need only say that the Mothers were for spiritual science at all times that which man learns to know when his spiritual eye is opened. When he looks into the physical world, he sees all things limited, bounded; when he enters the world of spirit he merges with something from which come all things physical, as does the ice from a pond. Just as someone unable to see water would say that there is nothing but ice which towers up out of nothing, so can a man who is ignorant of the spirit, claim that only physical things exist. He does not discern the spirit within and behind the physical, out of which all things physical are formed, as is ice out of water. There, at the foundation of physical things, no more discernible by the physical eye—there are the Mothers. Mephistopheles is that being which is to represent the kind of intelligence able to understand only the things formed in outer space, though aware of the existence of a spiritual realm, but unable to enter it. Mephistopheles stands at the side of Faust as today the materialistic thinker stands by him, saying: O, you Spiritual Scientist: you Theosophist: you want to look into a spiritual world? Why, there is nothing in it; you are only dreaming! And to this Materialist, who wants to build upon what the microscope and the telescope disclose, but denies all that lies behind physical appearance, the Spiritual investigator calls: “In your nothing I hope to find the All.” Thus the materialist thinker compared with the spiritual man who hopes to discover the spirit where the other perceives nothing. These two powers stand in opposition eternally. And from the very beginning Mephistopheles stands before Faust as the Spirit who can lead to the door, but no further. The Theosophist or Spiritual Scientist does not say that physical science is valueless and unnecessary, and possesses the key only. Instead he maintains: We must take this science earnestly and study it, and although the key is in its hand, it leads us to where the true spiritual life can finally be found.

Then Faust descends into the realm of the Mothers—the spiritual world; he succeeds in bringing up with him the spirit of Helena. But he is not ripe enough to unite this spirit with his own soul. Hence the scene where desire stirs in Faust, where he wishes to embrace the archetype of Helena with sensual passion. He is therefore thrust back. That is the fate of everyone who seeks to approach the Spiritual World harboring personal, egotistical feelings; he is repelled like Faust. He must first mature; must learn the real relationship between the three members of man's nature: the immortal spirit which goes on from life to life, from incarnation to incarnation; the body, commencing and ending its existence between birth and death, and the soul between the two of them. Body, soul and spirit—how they unite, how they mutually react—that is the lesson Faust must learn. The archetype of Helena, the immortal, the eternal, that passes from life to life, from one incarnation to the other, Faust has already tried to find, but was then immature. Now he is to become ripe so that he is worthy to truly penetrate into the spirit realm. For this purpose he had to learn that this immortality comes to man only when he can be re-embodied repeatedly within physical existence—have new lives extending from birth to death. Therefore must Goethe show how the soul lives between spirit and body, how the soul is placed between the immortal spirit and the body which exists only between birth and death. The second part of Faust shows us this.

Goethe conceals the soul in that wonderful form about which investigators of his Faust have little to say, while spiritual investigators who are experienced perceive therein the archetype of the soul. That form is nothing else than the Homunculus—the little man. It is a picture of the human soul. And what has this soul to do? It is the mediator between body and spirit; it must attract all the elements of the body out of all the kingdoms of nature in order to ally itself with them. Only then can it become united with the immortal spirit. In that way we can see how Faust is led by the Homunculus to the classical Walpurgisnight as far as the natural philosophers Anaxagoras and Thales who have investigated the origin of nature and life.

And there is given that true teaching of evolution which says, that not only is the animal at the foundation of man's development but a soul-element that gathers together the elements of nature and with them gradually commences to build. Hence Homunculus receives the counsel: You must begin with the lowest kingdom and rise higher and higher. The human soul is, in the first place, sent to the mineral kingdom. There man is informed that he has to pass through the vegetable kingdom: there the soul gathers all the natural elements so as to develop further. It is expressly said: “And up to man thou hast sufficient time.” There we see approaching the spirit of love, Eros, after the soul has formed the body from out of the kingdoms of nature. There the soul unites with the spirit. Body, soul and spirit are united. That which is the soul of the Homunculus, with its newly organized body, comes into union with the spirit of Helena who now, in the third act of the second part, can appear to us incarnate. The teaching of reincarnation we see artistically and practically interspersed in the second part of Faust. One cannot unite with Helena by approaching her with stormy passion, but must experience the mysteries of existence in reality—pass through rebirth.

Goethe, in his days, was as yet unable to express the idea of reincarnation as we do today; but he inserted it into the second part of Faust nevertheless. Hence he could say to Eckermann: I have written my Faust in a way suitable for the stage; and the illustrations presented are, exteriorly, sensually interesting for him who will see only the exterior—the sensual. But the initiated will at once perceive that profound spiritual truth has been included in the second part of Faust. And so has Goethe indicated that we can find his life conception—his spiritual attitude—in this work; and we can now understand that Goethe could demonstrate in this reunion of Faust with Helena the nature of true mysticism.

Faust unites with the spiritual world. Not an ordinary child is the result, but Euphorion who is just as true as he is poetic. Just as truthfully does he show, what comes to life in our soul when it unites with the spiritual world—when the soul penetrates into the secrets of the world of spirit—in it's evolution a moment arrives which is of enormously profound meaning for the soul. Before the soul progresses further, it experiences, only for short moments, its unity with the spiritual world; it knows, for quite short periods, what the spiritual world is. Then it is as if, from out of this spiritual perception, were born a spiritual child. But then again come the moments of ordinary life, when this child vanishes into the spiritual world. This one has to grasp vitally with one's whole heart, and one feels how Euphorion, the spiritual child of the mystic, and despite all poetic truths of life, sinks down into the realm of spirit into which Faust cannot, as yet, quite enter; but how he also draws across something else. It is an experience of the spiritual investigator, the seeker, when our soul has her hour of really feeling her relationship to the spiritual world, and where the knowledge, or perception, appears like the child of a marriage with the spiritual world. Then the soul has the profound experience—when returning to everyday life—of losing or leaving behind the best of her possessions. It is as though our own soul might altogether escape and remain in the spiritual world. If one has felt this, one hears the echo of the spiritual words of Euphorion who has descended and calls from out of the depths:

Leave me in realms forlorn,
Mother, not all alone!

This voice is known to the true mystic—the voice of the spiritual child calling to our soul as its Mother.

But this soul must go on. She must be severed from all that is only personal desire. Quite impersonally must we merge into the spirit existence. As long as there remains one selfish aim, one tinge of self-will, we will fail to perceive the spiritual world. That is possible only when every personal interest is eradicated. Only then can we really grasp the world of spirit permanently. But even then come various moments—after we have gone through the one that forces us back into the physical world—moments which deprive us of all mysticism for prolonged periods. They are those moments of which we must say: Yes, when we have overcome all that savours of selfishness and self-will, something still remains, as it did in Faust after he had said that “now I stand upon a free foundation; I will endeavor to gain from nature everything that I can use for the benefit of others.” But he has not advanced so far. As he gazes upon the hut of Philemon and Baucis and the sight attracts him, he shows that the egoism which wishes to experience pleasure through this view is not yet exterminated. He wanted, unselfishly, to create a place for himself within that realm, but could not yet bear the sight of what spoiled the view—the hut of Philemon and Baucis. And once more the spirit of evil approaches him. The hut is destroyed by fire. Now he sees what anyone sees who passes through this development: the anxiety which meets anyone still harboring selfish aspirations which present his ascent into the spiritual world. Here it faces us—this anxiety, here we learn to know it in its true form; and simultaneously it is something which can really lead us to the true spiritual perception. This does not mean that man shall become alienated from this world—feel any antagonisms towards it—but that he shall learn to know what it is that will not allow him to sever himself from it. Through wise self-knowledge we are to face this trouble so that we may become freed from the egotism of the anxiety, and not from the anxiety itself; from the feeling awakened and it is said that it slips through the keyhole. When we come to know this—trouble—not merely feel, but learn to bear it—then we attain that degree of development which opens our spiritual eye. This is presented to us by Faust's blindness in advanced age; his physical site has gone, but he can see the spiritual world. Night penetrates deeper and deeper, but within is a bright light—a light capable of illuminating the world in which lives the soul between death and birth—the realm of the Mothers. Only now can Faust commence his journey into the spiritual world, so beautifully presented by his ascension.

Now can Goethe compress all that Faust has achieved since the time of premonitory striving, the time when he despaired of science and turned away from it, till he gained his highest degree of spiritual perception. This he does in the chorus mysticus which, by its name alone, indicates that it contains something very deep. Here, in this chorus, is to be condensed in few words—paradigmatically—that which offers the key to all the world mysteries: how everything temporal is only a symbolism for the eternal. What the physical eye can see is only a symbol for the spiritual, the immortal of which Goethe has shown that he, when entering into this spiritual realm, even gains the knowledge of reincarnation. He will finally show man's entrance into the spiritual kingdom coincides with the knowledge that what was premonition and hope in the physical is truth in the spiritual; what was aspiration in the physical becomes attainment in the spiritual world.

It may sound almost pedantic if I mention something here which must be known if the final words are to be understood.

Goethe spoke rather indistinctly in his late years because of the absence of teeth. He dictated the second part of his Faust to a writer. As he still retained something of his Frankfurt dialect, several words and sounds were not quite clearly pronounced. Thus has a “G” been substituted for several “Ch's”. For instance, for “Erreichnis” (attainment) was written “Ereignis” (event). Goethe, in his final lines of Faust said “Erreichnis”. Here, the inadequate becomes something attainable or “erreichbar”—to be written with two “r”s and a “ch”. Everywhere, in all Goethe publications, we find “Ereignis”. So little can these Goethe-investigators enter into the sense of the work. The “inadequate” of the physical world becomes the “attained” in the spiritual; what here cannot be described, becomes there a living fact.

Finally we touch that Great Fact, which Goethe incorporated into his final words: the “ever-womanly.” It is a sin against Goethe to say that here he means the female sex. He refers to that profundity signifying the human soul as related to the mystery of the world; that which deeply yearns as the eternal in man, the ever-womanly which draws the soul to the eternally immortal, the eternal wisdom, and which gives itself to the “eternal masculine.” The ever-womanly draws us towards the ever-masculine. It has nothing to do with something feminine in the ordinary sense. Therefore can we truly seek this ever-womanly in man and woman: the ever-womanly which aspires to the union with the ever-manly in the cosmos, to become one with the Divine-Spiritual that inter-penetrates and permeates the world towards which Faust strives. This mystery of man of all ages pursued by Faust from the beginning, this secret to which Spiritual Science is to lead us in a modern sense, is expressed by Goethe paradigmatically and monumentally in those five words at the conclusion of the second part of Faust represented as a mystic Spirit Choir; that everything physical surrounding us in the sense world is Maya, illusion; a symbol only of the spiritual. But this spiritual we can perceive if we penetrate that which covers it like a veil. And in it we see attained what on earth was impossible of attainment. We see that, which for ordinary intellect is indescribable, transformed into action as soon as the human spirit unites with the spiritual world. “The ineffable wrought in love.” And we see the significance of the moment when the soul becomes united with the eternal masculine of the cosmic world. That is the great secret expressed by Goethe in the words:

All of mere transient date
As symbol showeth;
Here the inadequate
To fullness groweth;

Here the ineffable
Wrought is in love;
The ever-womanly
Draws us above ...

How could Goethe say: I have now completed my life's work. It is now almost immaterial what I may do during the rest of my life on Earth.—He sealed up the second part of Faust, and only after his death was it given to humanity, and this humanity will need to concentrate deeply upon Spiritual Science in order to penetrate the mysteries of this powerful work.

It was unfortunately impossible to do more than deal with this subject in a sketchy manner today. One could illuminate by all methods of Wisdom this testament of Goethe for hours and weeks. May humanity enter more and more into its contents! Seal after seal will fall if mankind has the will to penetrate the secrets of this second part. Dumb will be the voices that say: “you seek something which Goethe never intended.” Those who speak thus, know nothing of the depths of Goethe's soul. Only those realize these depths who can see the highest in this work and in all that he condenses in the mystic choir as meditations leading to the spirit.

Goethe's “Faust” undoubtedly belongs to one of those works in world literature to which one can, decade after decade, return to and find within it ever again, something new. This ever fresh insight may bring about the belief that we can benefit fundamentally ever more from the work than had been obtained on a previous occasion. Maturing with age this experience is indeed possible involving other works of world literature—however, with Goethe's “Faust” one has the impression, that ever new experiences of life are needed, as are offered by approaching age, in order to fully absorb certain secrets and inner aspects found within these works.

Discoveries made by delving ever deeper into Goethe's “Faust,” within the work itself, prompting a decisive wish to turn to Goethe's biography, to explore his life ever anew, because through the observation of Goethe's “Faust” one realizes that these rightful insights will enlighten this work. An objection is only natural that such a reference of the poet to his work begs incompletion. One may say a work of art must be grasped, as it stands, independent of the personality of its creator. One can also put aside some more or less pedantic tendencies and through the observation of Goethe's relation to his work hold him to it, that out of such a flood of power something higher must appear, more significant than each impression and suchlike. These are the thoughts from which this theme of today's lecture has grown.

I wish to speak now about the personal relationship of Goethe to his “Faust,” not in the narrow personal sense but regarding the relationship of the spiritual character of Goethe to his “Faust.” One could easily come to the conclusion, that by studying these relationships of Goethe's personality to his “Faust”—what Goethe mentioned about himself, regarding his life, his striving, his manner and way, his attitude to knowledge and questions about art—that these details could be particularly useful. Yet as one enters deeper and deeper into Goethe's life, one notices this is actually not so. Here exactly lie difficulties within the observation regarding Goethe's spiritual character. On the other hand there is something which penetrates not only into peculiarities of Goethe, but within one's soul life itself. One goes along with the idea of being convinced, through Goethe's statements, as expressed in letters directed to one or other individual, that these are useless in relation to the consideration just mentioned. One discovers, on looking at the way Goethe considered himself, that one can't really get the key to exactly that which had depth in the most meaningful work of Goethe, in “Faust.” When clearly stated riddles need truthful answers out of Goethe's work, from observation of his life, about that which lived in his soul, which he expressed in his work and particularly in his “Faust,” one realises that there was something so huge, so all-encompassing and with expansive enlightenment that Goethe himself, in his personal consciousness, within his knowledge, couldn't grasp what really was working in his soul. If not so much misuse of the expression “unconscious—subconscious” has been used during the last decades, I wish to apply it to Goethe with the eminent sense that that which is found within Goethe's creation, streams so gradually into our soul, that it becomes larger than all which Goethe can utter about it prosaically.

Exactly that which I express now, applies in a particular degree to the relationship of Goethe to his “Faust.” I can't allow myself, due to a time constraint, to closely discuss Goethe's relationship within the folk tradition in which appears the “Puppet Show” and such-like. I wish to restrict myself to the discussion regarding the relationship of Goethe to his “Faust” itself.

Before all else, it is necessary to enter into Faust as boldly as possible. Precisely out of Faust himself the insight is revealed related to Goethe and his “Faust.” What is most admirably Goetheanistic within this which is revealed through a lengthy observation of Goethe within it? What is Goethean in “Faust”? When looking at Faust—we see from the Prologue a tendency which doesn't exist at first—starting with the Monologue: “Philosophy—I have digested ...” the contemplation of “Faust,” then one usually gets involved in the following: within this lives Goethe's attitude against outer knowledge, against the drive for external knowledge. One sees the larger reference within the opening which leads Faust towards despair in the power of his four faculties and so on; it is noticeable then, how Faust, doubtful in the power of all four faculties, gropes towards magic, and so forth. However, working at length with “Faust,” one doesn't get the feeling that already within this Monologue specific Goetheanistic ideas are presented. That begins at a specific point. In this rebellion against the four faculties, this grope towards magic, Goethe opposes the Faust-tradition; it was not in this which Goethe's soul, in essence, wanted to reveal himself through Faust. The part of Goethe's soul revealing itself for the first time in “Faust,” encounters an opposition, where Faust, after he opened the Nostradamus book and the sign of the macrocosm, turns away towards the other sign which brings him to conjuring up of the Earth Spirit. Here unfolds, as Goethe writes this scene in his “Faust,” that which lives in Goethe's soul in a quite unique form, the world riddle. What is this, however? Goethe allows his Faust to open up a book on magic, called the Book of Nostradamus, at the sign of the macrocosm—expressing the connection between humanity and the almighty world powers. The sign of the macrocosm expresses the world as three-fold; that the earthly and heavenly separations are threefold, and that within the threefold world stands the occult connection with the threefold human being of body soul and spirit.

Upon this relationship Goethe arrived momentarily in his life. It dawned on him in such a way, that he allowed Faust to strive towards the revelation, and through the images of these signs, find the connection between humanity and the entire world. During this time Goethe was not tempted to consider that something acquired in this manner from spiritual knowledge, was satisfactory. Deeply, decisively we heard Goethe's words as he turned away from the sign of the macrocosm: “What spectacle! But oh! Only a spectacle, no more!” Within this lies Goethe's entire withdrawal during the seventies of the 18^th century, from what was generally recognised as the connection of humanity with the entire world, the universe. Goethe believed he had reached clarity in the thought that everything within imagination—acquired through ideas—was nothing other than a mirror-image of reality. Thus Faust turned away from the symbol and its revelation to another sign, which directed him to reveal the Earth Spirit. Look closely now within the depths of Goethe to understand why he turned away from the macrocosm and towards the microcosm. Goethe already belonged to the world view of those who didn't in the ordinary sense relate to the history of specific knowledge, constructed from an accumulation of ideas about the laws of nature and of humanity. No, in fact Goethe didn't strive in this sense for knowledge, he strived for knowledge in so far as the result of this knowledge would empower the human soul, in order that each human being's striving in his becoming, may result in crystallization. Goethe also belonged to those in spirit who, to a certain sense, I might say, in order not to be misunderstood, harbour a particular nervousness, a fear for that which is taken up by the soul in the form of conceptual knowledge. By this is meant: whoever has really struggled once with conceptual knowledge, with an idea through which one in reality can penetrate into the world, would know how unsatisfactory the result can be, that one can't thus, through this idea, express everything which has been thus penetrated and which had been revealed in the depths. One wants to always, when one has acquired knowledge, say to oneself: yes, you have brought about this or that in your thoughts, you know however, what lives in the soul and is revealed from the depth of the soul world is only partly incorporated in these ideas. There is a worry that something had been lost along the way between life and this knowledge. One has a constricted feeling in this situation. Once a conceptual idea is taken up, there is the possibility to regain, later, through the spirit, that which had been lost. One must doubt, when one has once had an idea which was not fully expressed, to once again bring it into a lively representation. This worry lay in Goethe's soul. With this he was always occupied—with world riddles rather than expressing riddles in a pure and strong way and thereby giving a superficial elucidation and satisfaction. He had a shyness, a respect for knowledge. He said to himself: that which you entreat as knowledge to the human soul, can only be a spectacle, only a spectacle ... oh, only a spectacle!—thus Goethe turned away from that which the universe revealed to him, and allowed himself to turn to the sign which is not revealed by the universe but that which rises from the depths of the soul itself.

Thus Goethe allows Faust to doubt that within the immense universe he may perceive the manifestation of reality, and thus turns him to search for a revelation from the depths. Goethe's Faust encounters the Earth Spirit in such a form as it appears in the hidden depths of the human being, in the subsoil of the human soul as the case may be. Approaching the great All, we approach the spirit of revelation, and so we come to that which lives in the soul's depths, and arrive closer to spiritual revelation. In this moment however we discover the danger which accompanies every approach to knowledge. This danger within the striving human being's soul during earthly life is what Goethe now confronts and this he mystifies into his “Faust.” Before Goethe's Faust stands the direct revelation of his individual inner being. Faust has to turn away from it. That which lives in consciousness, which expresses itself clearly within Faust's soul, cannot grasp what lies in the depths of his very own being. For most of humanity, that which is unknown, that in us which we could lightly deny, scares Faust and he falls back, dazed. He has to turn away. “Not you? Who then? I, replica of the image of God! Not even you!” The Spirit responds: “You match the spirit you comprehend, not me!” Who then is this spirit Faust understands? Towards whom must Faust turn at this moment?

Right here is one of the dramatic moments in Goethe's “Faust.” One need relinquish all revelations of ideas which one usually seeks to interpret “Faust”; one needs to look at the drama, at the artistic elements themselves, at the presentation. Giving oneself over to this without comment, explanations or considerations, one steps into this place of a real mighty opposition. Who is his match? Here Wagner steps in. “You match the spirit ...”—which spirit? Wagner matches him. That is the dramatic knot. One is not allowed to see the traditional interpretation which is always given, where Faust is presented as the higher striving, spiritual idealist and Wagner hobbles in on the stage as insignificant, even gesturing a bit in Faust's manner. Wagner may be allowed to appear as Faust's mask, because it is self-knowledge which Goethe wants to represent: You are no more than what resides in Wagner's soul. Whoever explores the dialogue between the two, discovers a certain philistine air in Wagner; he has a locked personality, a character which has brought a conclusion to his striving. One only sees him once as unabashed, which happens in this scene when Faust meets Wagner and reveals that he doesn't go searching for rain worms and suchlike. In this scene, considered as dramatic, artistic and not philistine, self knowledge appears to Faust. What was it then ultimately, which Goethe made his Faust recoil from, and to what did he turn?

Goethe's soul stands in a time, when this scene was written, during the seventies, when a duality existed between—which I wish to phrase as—“world knowledge” and “self knowledge.” Faust turns away from world knowledge as he does from the sign of the macrocosm. Goethe didn't desire world knowledge. He believed everything can be found within self knowledge acquired through striving for a worthy existence. This is the route to self knowledge. In this Faust-Wagner scene we encounter in Goethe's striving something quite extraordinary, bringing self knowledge of human fulfilment into expression and to revelation. When both impulses, world knowledge and self-knowledge are considered, it must be pointed out that in both, specific human dangers are connected.

With world knowledge it is thus: trying to penetrate ever more into world knowledge, demanding human imaginative capabilities to penetrate ever more into what is offered in a spiritual sense perception, one arrives at a percept which can be called the “temptation of illusion.”

There exists for instance in human culture, and Goethe felt it, such diversity in world knowledge, that it offered, through the tangling of its laws, an illusion, (which the Indians term Maya) ever accompanying us in life, insofar as it forces itself into life and so places the personality in the wide world. We are, in our search for a relationship to things, subject to illusion. Only through this, that we strain with all our all power to protect our consciousness, disallowing it to be charmed, as Faust does after his oath with the Earth Spirit—only in this way can we work our way through illusion. It can appear to one with the deepest discernment in this form before the soul, as Goethe describes later, calling it the Mephistophelean force. Danger in this world knowledge exists in such a secretive way precisely so we don't notice it, in all our worldly thoughts and every experience, in simple indications of life, emotionally intertwined, that it finally does not originate within us. Closer observation shows that, that which is so emotionally inter-mixed does not come from within us, but from other forces. What the human being can conclude in the illusion of a Mephistophelean danger comes down to the so-called intermixing of instinct, of a kind of willing and of desire into this outer knowledge. We often believe we have objective knowledge, but we only have it when we admit to giving in to no illusion, that the aforementioned is mixed into outer knowledge.

When we, however, try to throw out all we have as knowledge, derived from feeling, willing, from passion, the remainder is what Goethe allows Faust to call: “A spectacle! Oh, only a spectacle!” No one needs to search for other ways to discover reality. What we are led to believe is suffused with illusion. As Faust stands before the sign which calls his soul to awaken to such a observation of the world, where everything connected to the will and passion is thrown out, he finds a mere spectacle, a show. This he doesn't want. He wants to dive into self knowledge. He believes the human being can be driven down to the core of the world. Here another danger threatens. While illusion acts as a threat towards world knowledge, due to us delving into the depths of the soul, so another threat finds us in as much as so-called knowledge leads us to wishes, feelings, affectations, towards world riddles, yet they do not allow separation from wishes and will.

It keeps pace with our constitution. We seek in us, through a false mysticism, the everlasting and only find the most recent with a vague mix of the everlasting within it. Acknowledging that, we know that every moment we dive into ourselves, we are confronted with a vision threatened by a void, appearing more as a facade than mere fantasy, which merely drives us into wasted error. Goethe was well known regarding these secrets of human existence, that we, when we don't constantly correct ourselves with common sense and dive into the mystical and encounter deep contemplation, we may get involved in visions. We don't need disease to be a visionary, we enter into a life which becomes a visionary life when it turns ill.

Thus these two elements which are found in life stand out in another way. Goethe didn't proclaim it. It stood before his soul, when we keep everything in mind, which appears as illusion in world knowledge. What does it come to when one considers these illusionary things in a philistine or pedantic manner? To what are we continuously led, away from reality? This illusion is linked with everything which we grasped during our quite normal development. Not continuously coming to terms with the danger of illusion in our soul-life, we may not be defeated by that underlying development which we allow in growing, sprouting, prospering not only during child development, but also in mature development. This however connects to that which, from the age of thirty five, indicates the descending human existence.

This backward directed development is connected to all which lives in our soul. We couldn't become wise or clever through life's experiences if we didn't develop from birth, that which during the descending development brings in an extraordinary existence. We actually live from forces which direct us towards death, not towards growth. We die from birth onwards, and at the moment of death everything is drawn together which worked through our entire life. It works in such a way that that which develops forwards carries that which withdraws, bringing our soul qualities to the fore. If the Mephistophelean, the life of illusions, weren't bedded into world knowledge, we couldn't develop as human beings; these descending forces couldn't live in us. Through this illusion, everything is connected to that which we bring as disturbances into the world, which leads some individuals to destruction and which is connected to the origins of our forces.

It's different with elements arising out of self-knowledge. As we descend into our inner soul, we certainly reach into the spiritual part of our being. We seize hold of ourselves in our personal kernel which connects to the kernel of the world where, in an unconscious way, we forcefully experience will forces and desires living within us. As a result we can develop a specific influence on those around us; we just tend not to study this properly. This disturbance influencing our contemporaries, those we are living with, causing impairment, originates in fact from the descending forces, out of which we could only have grown, if we had grasped them in a proper, spiritual manner. These forces are Luciferic. It is extraordinary that Goethe had within his feelings this duality, the Ahrimanic-Mephistophelean and the Luciferic. Originating within a western spiritual development and western tradition he did not manage to make a clear distinction between the Mephistophelean and the Luciferic. Out of this Goethe unfortunately created the single Mephistopheles. When commentators frequently emphasized that Mephistopheles was an actual character, Goethe continued to sense, subconsciously, that Mephistopheles had to be presented as a duality, as ahrimanic and luciferic. Therefore it is a given that, the moment Faust must turn away from the Earth Spirit, where he doesn't show himself mature in his knowledge, that which moves within his own soul, be it in the soul of man as a whole, Mephistopheles appears as Lucifer to Faust. This results in the merger linking our wishes, feelings and desires within our depths. This follows in other words in the totally wonderful, magnificent, vivid tragedy of Margaret. It also makes it possible for Faust to explore the connection between wishes and will; it results in the most part to that which we go through in the first part of Goethe's “Faust.” Here we experience everything which appears as a luciferic element. However, everything originates from what Goethe actually explored during the seventies and eighties as carrier of human knowledge: people didn't want to know anything about the relationship between themselves and the wider world. However, the feeling remained in him, prompting him to find a solution.

It is interesting that everything which turns towards the luciferic element, results in dissatisfaction. We can only reach satisfaction when we try to find the relationship with the luciferic on the one side and ahrimanic on the other side of the Mephistophelean, which rises from world knowledge. It is interesting that from the beginning of the combination of Mephistopheles with Faust, Goethe left this unresolved. He felt that there had to live a deeper level which flowed between Mephistopheles and Faust, which he however didn't know through his everyday consciousness. Later he wanted to bring it out in a disputing scene. That is the ahrimanic character which lived in Mephistopheles and came to expression when Mephistopheles installed himself and argued about world riddles. In this very discussion, actually, lives illusion. In this way Goethe wanted to introduce something which had brought out another element before his spiritual eye.

Now we observe something extraordinary in Goethe's personal development. He had treated Mephistopheles as an individual character, bringing Faust to a poetic expression. In 1790 he offered “Faust” as a fragment. Schiller stimulated him to continue and what is remarkable, is the manner in which Goethe declined. He saw himself as old, finished and done, couldn't go any further. What actually happened there? The personal relationship Goethe had to his “Faust” became something quite different.

This change can only be understood through insight into the world view Goethe had built for himself during the nineties. What did this knowledge of nature become? It was much spoken about; here and there even justice was done but really penetrating the moving target was hardly achieved. In essence, Goethe wanted to build a bridge, with the help of the knowledge of nature, between self knowledge and world knowledge. When one looks at Goethe's method of nature observation, one discovers that singular results and their discoveries are hardly the main issue. The manner and method, how thoughts unfold, is what matters. How was this? It was so, that Goethe searched for a complete different kind of comprehension and types of ideas to which we are accustomed. When we don't want to focus on this point, we will never understand Goethe's nature observation. Right into the colour teachings we can't understand Goethe, if we fail to focus on what Goethe wanted. He wanted to reach such concepts with his metaphysical teachings, which did not follow one imagination to another, from one idea to the next idea in an outer way, no, by contrast, he wanted us to dive into the reality itself in order for the idea to unfold itself in our soul life, which is actually sufficiently unselfish to share in world experience at the same time. He wanted, in this way, to reach, though his nature observation, what really lies behind reality; he wanted to join self knowledge and world knowledge. Goethe couldn't, because of that which scientifically confronted him, deepen a satisfactory nature observational method, according to him; he had to bring forth a world view from within his being; this he had to achieve honestly and only then the possibility would be given to connect self knowledge with world knowledge. Earlier he had believed that through self knowledge something could be accomplished. But only, diving so deeply down into self knowledge, that the depth of the world is understood in the same manner as we understand Goethe's nature ideas, then the bridge can be built, to find the illusionary element of the world.

So Goethe was stimulated by Schiller to take “Faust” up again.

Here self knowledge could come to its full right. However, now it was one-sided and had to be linked to world knowledge, to the macrocosm. Faust had to turn again to the sign of the macrocosm, from which he had turned away earlier. It had to be placed within the universe of good and evil forces. The forward and backward moving forces had to take up the striving of Faust from the fields of world knowledge. This was what came to him as a necessity. Mephistopheles had to accept the ahrimanic character. That is why Goethe developed his Mephistopheles more and more in this manner. That is why there's such a contradiction in this characterization. Goethe placed Faust in the universe through writing the Prologue in Heaven. The good and the evil forces are at war, and Faust stands in the middle of it.

Occult scientific development had not advanced to such a degree that Goethe could be clear about this. From his single Mephistopheles he could not have created two characters. In his sub-consciousness however, they lived. From this Goethe became ill during the nineties. This is what made Faust so difficult, so heavy. Frequently the second part of “Faust” is left unrecognised, while within this second part only allegory is looked for. When really searching for insight, the second part presents nothing more full of life, nothing more direct and more lively than all the characters! Why do they appear as allegorical? We, as single individuals, place ourselves in the world with our life's work and our individual ideas—we are urged to withdraw somewhat from this reality as an abstraction—but this is what we should surely learn from, in the present! We live in a present time, in which we should ponder the relationship of human beings who are so taken with reality, giving us the most fruitful illusions. Right within ideas, be it in social or political fields, lives abstractions, the allegorical. We live with them. It is the very manner in which the Mephistophelean element enters into our worldly experience in our own lives.

This is depicted vividly and with endless humour in the Emperor scene of the second part, where outer associations of reality with illusion are presented in a grandiose and humoristic way: stupidity and cleverness, as they appear side-by-side in life. In a wonderful, clear way they come to meet us. We then see how Faust, in the thorough way in which he has positioned himself in the world where illusionary elements exist and where they combine with stupidity, he finds it necessary to once again delve down into his own soul.

Now self knowledge is expressed in a yet higher sense. It links to the moment when Faust bows to the mothers with: “The mother! Mother! It sounds so wondrous!” Quite wonderful it sounds when we shift into our own depths, as Faust delves into himself. Now Goethe needs to give Mephistopheles, while he has two figures within him—Lucifer and Mephistopheles—a kind of minor role. In order to understand him fully, Faust sinks down into the worlds where Lucifer's power grips one in loneliness. That which he had experienced in the depth of soul, lived out in a dream, he goes through in such a way that we see: from it flows whatever he has brought up from the depths of his soul and out of self knowledge, and now self knowledge within world knowledge is transformed. There had to be something here regarding science, which links to self-awareness. That which we discover in the depths of our souls, numbs us, only allows us to dream, when we can't bring it out of our depths.

Had we had the chance in Goethe's time, or do we have an opportunity in our time, to develop such spiritual knowledge? What Faust took from the mothers, no, that wouldn't have made it. Human knowledge appeared to be an artificial product, understood like a mechanism. No Homunculus bulges forth out of lively reality. Now comes that towards which Goethe strives for within the entire depth of his soul. That which has grown out of world knowledge, must now unite itself with self knowledge. They had to become so blended together that they become one. This is what Goethe achieved: his wonderful knowledge of nature, biological and other metamorphosis-knowledge, brought together in a bond, equally including what Faust brought from the mothers on the one side, and on the other side, what could be given to him in his time as outer world knowledge.

Through this striving Goethe steered into the Greek era. His quest wasn't towards a one-sided spiritual abstraction or life abstraction—but to the consummation of the soul. This exact perfection, living in the Greek soul, cannot be restored, yet some vestige must have been left which can be won again, something similar to Hellenism which can be experienced again in later times. In Italy Goethe had experienced this in Greek art. He regarded the Greek artist as one who had solved nature's mysteries. As he observed the Greek civilization, perfection dawned on him. In his time they hadn't reached as far as solving the split between world knowledge and self knowledge. Faust had to, through that which incorporates an inner becoming within Hellenism, take up this power and use this to amalgamate self- and world knowledge. Now Goethe tried, towards the end of the second part of his “Faust,” to depict, as much as modern art allowed at that time, Faust as he appears amid all that had been brought from the mothers, towards that which the great universe revealed to humanity. Precisely from this basis, because he wasn't split within his consciousness in the depth of his soul, he had to—what he justifies in his way—adapt traditional form. He places Faust into the traditional form of the Christian church, in order to, after he had brought forth the deep elements in his soul derived from the mothers, direct him again towards that which he had turned away from in the beginning: the possible revelation in the sign of the macrocosm. We see Goethe at the close overcome what he as younger man had rejected: one-sided self knowledge. Faust is introduced into the universe, in the steams of the world-all, into secrets, where the ahrimanic world combines with the physical.

This is the great tableau at the closing of “Faust,” where Goethe strove to introduce Faust into the macrocosm. We can't understand Goethe's “Faust” when we fail to have this insight into the work which had accompanied Goethe during nearly sixty years of his life and had shared his own destiny, but in a higher form, as is usually meant. Goethe had as a younger man turned to mere self knowledge and refused to be bothered by world knowledge. His struggles with nature's manifestations and nature's powers expressed in his nature observation, led Faust into the wide world. At the end Faust stood there, saying: “A spectacle, oh, but not only a spectacle, but an element which man lives through and through into which every human life flows in all the streaming which courses through the macrocosm, through the universe!”—Faust turns back to that which the sign of the macrocosm had wanted to reveal to him.

It looks bad when we only quote “Faust” in one or the other facet. We have to admit, Goethe had conquered what he had mixed up in his youth. I don't believe that Goethe, due to a gradual contradiction in his advancing age, belittled that part of “Faust” which he created in his youth. Precisely as a result of this, he stands there largely because he is so honest in his personal relationship to “Faust” while he shows how he had struggled and strived to find the way, from self knowledge to world knowledge.

Whosoever participates in these steps, really penetrating into the single elements in which “Faust” lives, will judge him differently.

To descend into his own soul, Faust again turned to Bible translating. He didn't stick to the traditional translation: “In the beginning was the Word,” but tried: Sense, power, deed. “In the beginning was the deed!” Just this manner of translation invites Mephistopheles to enter; he is the diminutive of superficiality in which Faust, at this point of his development arrives at the trivial: “In the beginning was the Deed” from the deeper: “In the beginning was the Word.” However, through this, because Faust finds himself within all the illusions of world knowledge, through this he can overcome Mephistopheles. It is a great work in world literature which allows us to lay our eyes on a relationship so close to the bone.

“Faust” has become no lesser work of art. It is more accomplished through the fact that great power flowed into a single soul, a person of the highest ranks, who strives and struggles with the spiritual riddles of mankind. This I believe anyway, that in Goethe's “Faust” stands a work towards which mankind must return, repeatedly.

It made an extraordinary impression on me when I read a critique written in English, translated from a French work by a Spaniard, a harsh criticism, exercised on Goethe's “Faust” from the standpoint of taking everything within it as that which must be combated against within by central European people. I believe, that all man's weaknesses, all that which doesn't allow one to get along, wherever one is, be recognised, that in Goethe's “Faust” not only the central Europeans but the entire world has appeared in a work, containing specific meaning, which shouldn't only be given to mankind, but is continuously being sought by mankind. While Goethe's own search is so closely connected with the search in mankind, I also believe that Goethe, through his “Faust” has given mankind a most precious gift, because the greatest good is that towards which mankind should come, because when you really understand yourself, you have to search for this good, without end.

My dear friends,

Today I should like to link on what I am about to say to the laboratory scene in Goethe's Faust just represented, and to connect it in such a way that it may form a unity, as well as a starting point for more thorough deliberations tomorrow.

We have seen that the transition from the fourteenth and fifteenth centuries to the sixteenth and seventeenth forms a remarkably significant and suggestive incision into the whole course of human evolution—a transition from the Greco-Latin age to our fifth post-Atlantean epoch in which we are now living, out of which flow the impulses for all our knowledge and all our action, and which will last until the third millennium. Now, from all that you know of Goethe's Faust, and of the connection between this Faust and the figure of Faust originating in the legend of the sixteenth century, you will see that not only this sixteenth century Faust but also what Goethe has made of him is most closely connected with all the transitional impulses introduced by the new age, both from a spiritual and from an external, material point of view.

Now for Goethe the problem of the rise of this new age and the further working of its impulses was something very powerful, and during the sixty years in which he was creating his “Faust” he was wholly inspired by the question: What are the most important tasks and the most important trends of thought of the new man? Goethe could actually look back into the previous age, the age that came to an end with the fourteenth, fifteenth centuries, of which now so little is known even to science. As I have often said, what history tells of man's mood of soul, of his capacities and needs in former centuries, is indeed nothing but colourless theory. In the souls of men in the earlier centuries, even as in the centuries immediately preceding the age of Faust, things looked completely different from how they appear to the soul modern man, to human souls in the present epoch. And in his Faust Goethe has created a figure, a personality, who looks back in the right way on man's mood of soul in former centuries, in centuries long past, while at the same time he looks forward to the tasks of the present and those of the future.

But although at first Faust looks back to an era preceding his own, he can actually only see the ruins of a culture, a spiritual culture that has come to an end. He can look back only on ruins. To begin with we must always keep in mind the Faust of the sixteenth century, the historical Faust who actually lived and then passed into folklore. This Faust still lived in the old sciences that he had made his own, lived in magic, in alchemy, and mysticism, all of which was the wisdom of former centuries, and also the wisdom in particular of pre-Christian times. In the age, however, in which lived the historic Faust of the sixteenth century, this wisdom was definitely on the decline. What was accepted as alchemy, as magic, as mysticism, by those among whom Faust lived, was already in a state of confusion. It all originated in tradition, the legacy of older ages, but it was no longer possible to find one's bearings in it. The wisdom contained there was no longer recognisable. There were,all kinds of sound formulas here from past ages, and much real insight, but these could hardly be understood. Thus the historical Faust was placed into an age of decaying spiritual life. And Goethe constantly mingled the experiences of the historical Faust with those of the Faust he was creating, the Faust of the eighteenth century, of the nineteenth and indeed of many centuries to come. Hence we see Goethe's Faust looking back to the ancient magic, to an older type of wisdom, mysticism, that did not deal with chemistry in the modern, materialistic way, hoping to make contact with a spiritual world through its dealings with nature but no longer having the knowledge enabling it to do so in the way that was right for an earlier age. The art of healing, as it was looked upon in centuries long past, was by no means so foolish as modern science sometimes makes it out to be, but the real wisdom contained in it has been lost. It was already to a great part lost in Faust's time and Goethe knew this well. He knew it not only with his intellect but with his heart, with those soul forces that have specially to do with the well-being, the soundness, of man. He wanted to find an answer to the questions, the problems, arising from it; he wanted to know how a man, continually advancing, could arrive at a different kind of wisdom with regard to the spiritual world, a wisdom adapted to the new age, as the ancients had been able to attain their kind of wisdom which in the natural course of human affairs had now to die out. For this reason he makes his Faust a magician. Faust has given himself up to magic like the Faust of the sixteenth century. But he is still unsatisfied for the simple reason that the real wisdom of the old magic had already faded away. It was from this wisdom that the old art of healing sprang; all dispensing, the whole science of medicine, was connected with the ancient chemistry, with alchemy.

Now in touching on such a question we come at the same time to one of the deepest secrets of humanity—these secrets going to show that no one can heal diseases without also being able to produce them. The ways leading to the healing of disease are the same as those leading to its production. We shall shortly hear how completely in the ancient wisdom the principle prevailed that he who healed diseases was likewise able to produce them. Thus, in olden days, the art of healing was associated in men's s minds with a profoundly moral conception of the world. And we shall also shortly see how little what is called the new freedom in human evolution would have been able to develop in those days. Actually this freedom was not taken hold of until this fifth epoch of ours, the epoch following the Greco-Roman. We shall see what it would have been like if the ancient wisdom had persisted. But in every sphere this wisdom had to disappear so that man might make, as it were, a fresh start, striving towards freedom in both knowledge and action. This he could not have done under the influence of the old wisdom. In such times of transition as those in which Faust lived the old is passing away, the new has not yet come. Then arise such moods as may be seen in Faust in the scene preceding the one produced today. Here we see clearly that Faust both is and feels himself to be a product of the new age, in which the ancient wisdom still existed though it was no longer fully understood. We see how Faust accompanied by his famulus, Wagner, goes out from his cell into the green world where, to begin with, he watches the country people celebrating the Easter Festival out-of-doors in the meadows, until he himself is affected by the Easter mood. We see at once, however, that he refuses the people's homage. An old peasant comes forward to express this homage, for the folk think that Faust, as son of a former adept in the art of healing, must be distinguished in the same way, and be able to bring them health and blessing:

“Nay, of a truth, it is but meet
Our joyful day should see you here.
You proved a very friend in need,
In evil days when death was near.
And many a man stands here alive
Whom your good father, wrestling yet,
Snatched from the fever's burning rage,
When for the Plague a bound he set.
And you yourself, a young men then,
In every stricken house were found,
And corpse on corpse was carried forth,
But you came out, aye, safe and sound.
Steadfast in trials did you prove;
Helped was the helper from above.”

Thus speaks the old peasant, remembering Faust's connection with the ancient art of healing, not only the healing of physical diseases in the people but also the healing of their moral evil. Faust knows that he no longer lives in an age when the ancient wisdom could be really helpful to humanity, for it is already in decline. Humility begins to glimmer in his soul, and at the same time despondency over the falsity he is opposing. He says:

“Yet a few paces onward, up to yonder stone;
Here a brief while we'll rest us from our straying.
Here have I often sat and mused alone,
And racked myself with fasting and with praying.
For rich in hope and staunch in faith,
With tears and sighs and frenzied wringing
Of aching hands, to stay the Death
I thought, Heaven's Lord to mercy bringing.
And now the crowd's applause rings in my ears like scorn!
O could'st thou read what in my heart is hidden.
Father and son, no more than babe unborn,
Merit the fame that seeks them thus unbidden.
My father was a worthy gentleman,
To fame unknown, who sought with honest passion,
Yet whimsical device, as was his fashion,
Nature and all her holy rounds to scan;
In the Black's Kitchen's murky region,
Cloistered with masters of the craft.
He, guided by prescriptions legion,
Concocted nauseous draught on draught.
There a red lion with lily wedded,
A wooer bold within the tepid bath,
From bridal bower to bridal bower was speeded,
Racked by the naked fire's flaming wrath.”

After the manner of those days Goethe had thoroughly studied how the “red lion” (mercury-oxide, sulphurated mercury) used to be dealt with, how the different chemicals had been combined, what the results of these processes were, and how medicines had been manufactured from them. But all that no longer represented the ancient wisdom. Goethe also knew their mode of expression; what was to be shown was put into pictures; the fusion of substances was represented as a marriage. Hence he says:

“From bridal bower to bridal bower speeded,
And, thereupon, in gorgeous hues attired,
Shone the young Queen within the glassy cell.”

This was a technical expression; just as modern chemistry has its technical terms so in those days, when certain substances had reached a definite condition and colour, the result was called the young Queen.

“Here was the medicine, but the patients died”; they died in the days of Faust as they still die today in spite of many medicines.

“Here was the medicine but the patients died.
None asked the question: Who got well?
Thus have we wrought among these hills and valleys,
With hellish lecturaries, worse havoc than the malice
Of that same desolating pest.
Myself to thousands have the poison given;
They pined away—and yet my fame has thriven,
Till I must hear their shameless murderers blessed.”

This is Faust's sell-knowledge. This is how ho sees himself, he of whom you know that he has studied the ancient magic wisdom in order to penetrate into the secrets of nature. And through all that he has become spiritualised. Faust cannot remain satisfied like Wagner his famulus. Wagner contents himself with the new wisdom, relying on manuscripts, on the written word. This Wagner is a man who makes far fewer claims on wisdom and on life. And while Faust tries to dream himself into nature in order to reach her spirit, Wagner thinks only of the spirit that comes to him from theories, from parchments, from books, and calls the mood that has come over Faust a passing whimsy:

“I too have had my whimsies and my fancies,” (says Wagner)
“But no such freaks as that by any chances.
On woods and fields I soon have looked my fill.
I never shall begrudge the bird his pinion.”

He never wants to fly out on the wings of a bird to gain knowledge of the world!

“How elsewise flit we through the mind's dominion
From book to book, from leaf to leaf at will?”
Such snug delights the wintry eve console;
A blissful warmth in every limb comes o'er you;
Some venerable parchment then if you unroll
Ah, then, all heaven opens out before you!”

A thorough bookworm, a theory-monger! And so the two stand there after the country folk have gone—Faust, who wishes to penetrate to the sources of life, to unite his own being with the hidden forces of nature in order to experience them, and the other, who sees nothing but the external, material life, and just what is recorded in books by material means. It does not need much reflection to see what has taken place in Faust's inner being as the result of all the experiences which, as described by Goethe, he has passed through up to this moment. When we consider all that we meet with in Faust, we can be sure of this, however, that his inner being has been completely revolutionised, a real soul-development has taken place in him and he has acquired a certain spiritual vision. Otherwise he would not have been able to call up the Earth-spirit who storms hither and thither in the tumult of action. Faust has made his own a certain capacity not only to look at the external phenomena of the outside world, but to see the spirit living and weaving in all things. Then from the distance a poodle comes leaping towards Faust and Wagner. The way the two see the poodle—an ordinary poodle—the way Faust sees and the way Wagner sees it, absolutely characterises the two men, After Faust has dreamed himself into the living and weaving of the spirit in nature, he notices the poodle:

“Dost thou see yon black dog ranging through shoot and stubble?”

Wagner: “I saw him long ago; he struck me not in the least,”

Faust: “Look at him narrowly. What mak'st thou of the beast?”

Wagner: “A poodle who like any other poodle breathing
casts for the scent strayed from his master's heels.”

(The poodle goes circling round them.)

Faust: “Mark how, a mighty spiral round us wreathing,
Nearer and ever nearer yet he steals,
And see! unless mine eyes deceive me queerly,
He trails a fiery eddy in his train.”

Not only does Faust see the poodle but something stirs within him; he sees something that belongs to the poodle appearing as if spiritual. This Faust sees. It goes without saying that Wagner cannot de so; what Faust sees cannot be seen by the external eye.

Wagner: “I see a poodle, a black poodle only.
’Tis but some sport, some phantom of your brain.”

Faust: “Meseemth he softly coileth magic meshes
To be a future fetter round our feet”

Wagner: “He frisks in doubt and fear around us, lest ungracious
The strangers' welcome be. He thought his lord to greet.”

In this simple phenomenon Faust sees also something spiritual.Let us keep this firmly in mind. Inwardly struck by a certain spiritual connection between himself and the poodle, he now goes into his Laboratory. Naturally the poodle is there dramatically represented by Goethe as a poodle, and so it must be; but fundamentally we are concerned with what is being inwardly experienced by Faust. And in Goethe's every word he shows us in a most masterly fashion how in this scene Faust is passing through an inner experience. He and Wagner have stayed out of doors till late in the evening, till outwardly the light has gone, the dusk has fallen. And into the twilight Faust has projected the picture of what he spiritually wishes to see. He now returns home to his cell and is alone. When alone, such a man as Faust, having been through all this, is in a position to experience self-knowledge, that is, the life of the spirit in his own ego. He speaks as though his inmost soul were stirred, but stirred in a spiritual way:

“Now field and mead have I forsaken,
Which night enshroudeth, deep and still,
In us the better soul doth waken,
with a presaging, holy thrill.
Now stress of deed and storm of yearning
Sleep, at her all-compelling nod;
The love of man now bright is burning,
and burning bright the love of God.”

The poodle growls. But let us be quite clear that those are spiritual experiences; even the growling of the poodle is a spiritual experience, although dramatically it is represented as external. Faust has associated himself with decadent magic; he has associated himself with Mephistopheles, and Mephistopheles is not a spirit who can lead him to progressive spiritual forces. Mephistopheles is the spirit whom Faust has to overcome, and he is associated with him just in order that he may overcome him, having been given him not for instruction but as a test. That is to say, we now see Faust standing between the divine, spiritual world that bears forward the evolution of the universe, on the one hand, and on the other the forces stirring in his soul which drag him down into the life of the ordinary instincts, and these divert a man from spiritual endeavor. Directly anything holy stirs in his soul, it is ridiculed, the opposing impulses ridicule it. This is wonderfully presented now in the form of external events—Faust striving with all his knowledge towards the divine spiritual, and his instincts growling, as the materialist's mind growls, at spiritual endeavor. When Faust says: “Be quiet poodle,” he is really saying this to himself. And now Faust speaks—or rather, Goethe makes Faust speak—in a wonderful way. It is only when we study it word by word that we realise how wonderfully Goethe knows the inner life of man in spiritual evolution:

“When in our narrow chamber kindled
The lamp its cheerful radiance throws,
Bright gleams the light that erst had dwindled
Within the heart itself that knows.”

This is self-knowledge; seeking the spirit within itself.

“Reason again begins to speak”

A significant line, for whoever goes through the spiritual development Faust passes through during his life, knows that reason is not merely something dead within man, not only the reasoning of the head, but he realises how reason can become living—the weaving of an inner spirit that actually speaks. That is no mere poetical image:

“Reason again begins to parley
And hope to bloom that seemed dead.”

Reason again begins to speak of the past, of what is left alive out of the past. “Hope, blooms again that seemed dead,” that means that we find our will transformed, so that we know that we shall pass through the gates of death as spiritually living beings. Future and past are dove-tailed together in a wonderful way. Goethe now makes Faust say that through self-knowledge he can find the inner life of the spirit.

“Then for life's fountains long we dearly,
Ah, dearly, for life's fountain-head.”

And now Faust seeks to come nearer that towards which he is being pressed—nearer life's fountain-head. To begin with he seeks the path of religious exaltation; he picks up the New Testament. And the way in which he does so is a wonderful example of the wisdom in Goethe's drama. He picks out what contains the deepest wisdom of the new age—the John Gospel. He wants to translate this into his beloved German; and it is significant that Goethe should have chosen this particular moment. Those who know the workings of the deeply cosmic and spiritual beings realise that when wisdom is being put from one language into another, all the spirits of confusion make their appearance, all the bewildering spirits intervene. It is especially in the frontier regions of life that the powers opposed to human evolution and human well-being find expression. Goethe purposely chooses translation, to set the spirit of perversity, the spirit of lying (still inside the poodle) over against the spirits of truth. If we look closely at the feelings and emotions to which such a scene may give rise, the wonderful spiritual depths concealed in it become evident. All the temptations I have characterised as coming from what is inherent in the poodle, the temptation to distort truth by untruth, these go on working, and now they influence an action of Faust's which gives ample opportunity for such distortion, Yet, how little it has been noticed that this is what Goethe meant is still today made evident by the various interpreters of “Faust”; for what do these interpreters actually say about this scene? Well, you can read it; they say: “Goethe is indeed a man of external life, for whom the Word is not enough; he has to improve upon John's Gospel; he has to find a better translation—not: In the beginning was the Word, the Logos, but: In the beginning was the deed. That is what Faust after long hesitation decides on. This is a piece of Goethe's deep wisdom!” But this wisdom is not Faust wisdom, it is pure Wagner wisdom, genuine Wagner wisdom! Just like that wisdom quoted over and over again when, later, Faust speaks such beautiful words to Gretchen about the religious life:

“Who, then, can name Him? who thus proclaim Him? ...
The All-embracing, the All-sustaining ...”

And so on. What Faust says to Gretchen then is quoted repeatedly and represented as deep wisdom by the learned gentlemen who quote it:

“Who can name Him?
Who thus proclaim Him:
I believe Him?
Who hath that feeling,
His bosom steeling,
Can say: I believe Him not?
The All-embracing,
The All-sustaining,
Clasps and sustains He not
Thee, me, Himself?
Springs not the vault of Heaven above us?
Lieth not Earth firm—’stablished ’neath our feet?
And with a cheerful twinkling
Climb not eternal stars the sky?
Eye into eye gaze I not upon thee?
And floats in endless mystery
Invisible visible around thee? ...

These words of Faust's are often represented as deep wisdom! Now if Goethe had meant it to be accepted as such deep wisdom, he would not have put the speech into the mouth of Faust when he was trying to instruct the sixteen-year-old Gretchen. It is Gretchen-wisdom! We must take things seriously. The pundits are under a misapprehension and have mistaken this Gretchen-wisdom for deep philosophy. Faust's suggestion for the translation of the Bible is also taken for especially profound wisdom, whereas Goethe simply means to represent how men bandy about truth and error when they undertake much a task. Goethe has represented the two souls of Faust very profoundly indeed, here in this scene of the translation of the Bible.

“It is written: In the beginning was the Word.” We know that this is the Greek Logos. That actually stands in the John Gospel. In opposition to it there rises up in Faust what is symbolised by the poodle and it is this that prevents him from reaching the inner meaning of the Gospel. Why does the writer of the John Gospel choose precisely the Word, the Logos? It is because he wishes to emphasise that the most important thing in the evolution of man on earth, what really makes him externally man in this Earth-evolution, has not evolved gradually but was there in the primal beginning. What is it that distinguishes man from all other beings? The fact that he can speak, whereas no other being, animal, vegetable or mineral, can do so. The materialist thinks that the Word, Speech, the Logos, through which thought vibrates, was required by man only after he had passed through animal evolution. The Gospel of John takes the matter more deeply and says: No, in the primal beginning was the Word. That is to say, man's evolution was planned from the beginning; he is not in the materialistic Darwinian sense, simply the highest peak of the animal world; in the very first design of Earth-evolution, in its primal origin, in the beginning, was the Word. And man can develop on Earth a ego, to which animals do not attain, only by reason of the Word being interwoven with human evolution. The Word stands for the Ego in man. But against this truth the spirit of falsehood which has entered Faust rebels; he must go deeper to understand the profound wisdom of John's words,

“Already I am held up!”

But actually it is the poodle, the dog in him and what dwells in the dog, that is holding him up. He can get no higher; on the contrary he sinks much lower.

“Already I stick, and who shall help afford?
The Word at such high rate I may not tender;
The passage must I elsewise render,
If rightly by the Spirit I am taught.”

Seeing Mephistopheles coming to him he thinks that he is being “enlightened by the Spirit,” whereas in reality he is beclouded by the Spirit of darkness, and sinking lower.

“ ’Tis written: In the beginning was the Thought.” What is not higher than the Word. Sense, as we can easily prove, plays its part in the life of animals also, but the animal does not attain to the human Word. Man is capable of sense, thinking, because he has an astral body. Faust descends from the Ego to the astral body more deeply into himself.

“... In the beginning was the Thought. (Sinn)
By the first line a moment tarry,
Let not thine eager pen itself o'er hurry!”

He thinks he is rising higher but he is sinking lower.

“Does Thought work all, and fashion all outright?”

No, he is descending lower still, from the astral body to the dense, more material etheric body; and he writes:

“... In the beginning was the Force.”

(Force is what dwells in the etheric body.)

“Yet even as my pen the sentence traces,
A warning hint the half-writ word effaces.
The spirit helps me!”

(The spirit dwelling in the poodle. )

“From all-doubting freed,
Thus write I: In the beginning was the Deed.”

And now he has arrived at complete materialism; now he has reached the physical body through which the external deed is performed.

(Logos) Word.........Ego
Thought..................Astral Body
Force......................Etheric Body
Deed.......................Physical Body

Thus you have Faust living and weaving in self-knowledge. He translates the Bible wrongly because the several members of man's being of which we have so often spoken—the ego, the astral body, the etheric body, and the physical body are working together in him, through Mephistopheles' spirit, in a chaotic way. And now we see how these impulses prevail, for the external barking of the dog is what stirs him up against the truth. In all his knowledge he cannot yet recognise the wisdom of Christianity. This is shown the way he connects Word, Thought, Force, Deed. But the impulse, the urge, towards Christianity is already alive in him, and by making use of the living force of what dwells there as the Christ, he overcomes the opposing spirit. He first tries to do this with what he has received from ancient magic. But the spirit does not yield, does not show himself in his true form. He then calls up the four elements and their spirits—the salamanders, sylphs, undines and gnomes, but nothing of all this affects the spirit in the poodle. But when he calls upon the figure of Christ, “the shamefully Immolated, by Whom all heaven is permeated” then the poodle has to show its true shape.

All this is fundamentally self-knowledge, a self-knowledge that Goethe makes quite clear. And what appears now? A travelling scholar! Faust is genuinely practising self-knowledge, he stands actually facing himself. Now for the first time the wild impulses in poodle-form, which have been resisting the truth, are working, and now he sees himself with a clearness that is still not clear! The travelling student stands before him but this is only Faust's other self, for he has not become much more than a travelling student with all a student's errors. Only now that he has learnt through his bond with the spiritual world to recognise the impulses more accurately,the travelling scholar—his own ego as up to now, he has developed it—confronts him as something more definite and solid. Faust has learnt like a scholar; he has given himself up to magic and through magic scholastic wisdom has been bedevilled. What has developed out of the old, good Faust, the old travelling student, is merely the result of his having added ancient magic to his learning. The travelling scholar is still present in him and meets him under a changed form; it is only his other self. This travelling student is himself. The struggle to be free of all that confronts him as his other self, is shown in the ensuing scene.

Indeed, in the different characters whom Faust meets, Goethe is always trying to show Faust's other ego, so that he may come to know himself better and better. Many of the audience may remember how in earlier lectures I explained that even Wagner was to be found in Faust himself, that Wagner was just another ego of Faust's. Mephistopheles, also, is only another ego. It is all self-knowledge; self-knowledge is practised for knowledge of the universe. But, for Faust, none of this is yet clear spiritual knowledge; it is all wrapt in a vague, dull spirit seership, impaired by the old, atavistic clairvoyance. There is nothing clear about it. It is not knowledge full of light, but the knowledge of dreams. This is represented by the dream-spirits fluttering around Faust—really the group-souls of all the beings that accompany Mephistopheles—and represented also by his final waking. Then Goethe says, or makes Faust say, clearly and unmistakably:

“What! am I once again then cheated?
And vanishes the spirit-foison thus?
That but a dream the devil counterfeited,
A poodle from my room broke loose?”

Goethe employs the method of directing attention over and over again to the truth. That he is representing a spiritual experience in Faust, is clearly enough expressed in the above four lines. This scene shows us too how Goethe was striving for knowledge of the transition from the old era to the new in which he himself lived, that is, from the fourth post-Atlantean epoch to the fifth. The boundary line is in the fourteenth, fifteenth, sixteenth centuries. As I have said before, whoever thinks as men think today can hardly picture—unless he makes a special study of it—the soul-development of past centuries. In the days of Faust only the ruins of it remained. How often we experience today that men are not trying to come to the new spiritual research for which we are striving; they are trying to renew the old wisdom. Many indeed think that by renewing what was possessed by the people of old they will be able to find a deeper, magical and mystical wisdom about nature. There are two errors closely connected with all human spiritual striving. The first is that men buy ancient books and studying them come to prize them more highly than the newer science. They generally prize them more highly simply because they do not understand them, the language in which they are written being actually no longer comprehensible. Thus, the content of old books that has become double-Dutch being often put forward when spiritual research is under discussion is the one mischievous thing. The other is that whenever possible old names are given to new endeavours in order to justify them. Look at many of the societies calling themselves occult, or secret, or something of the kind; their whole endeavour is to give themselves an early origin, to talk as much as possible about a legendary past, and they delight in the use of old names. That is the second mischievous error. We do not have to do all this if we really see into the needs and impulses of our own age and of the inevitable future. If we pick up any book where traditions still existed, we can see from the way they were presented that, through the legacy of the past, the memory of an ancient wisdom formerly possessed by man, was still there, this wisdom had fallen into decay. Its modes of expression, however, continued for a considerable time.

I have at my disposal a book printed in the year 1740, that is, in the eighteenth century, from which I should like to read you a short passage, and we may be sure that many seeking spiritual knowledge today, coming upon such a passage will say: What depths of wisdom we have here! Indeed, there are many who believe they understand a quotation of this kind. Let me read you the one I am referring to:

“The King's crown should be of pure gold, and he must be married to a chaste bride. Now, if thou desirest to work upon our bodies, take the Greedy Grey Wolf who, according to his name, is subject to the warlike Mars but by birth is a child of ancient Saturn, and found in the hills and dales of the world, obsessed by hunger. Throw him the body of the King that he may feed upon it.”

This is the way chemical processes were described in olden days, the way to which Faust alludes when he talks of how Red Lion is married to the Lily in the glass. We should not make fun of such things for the simple reason that the way we speak of chemistry today will sound to those who come later just as this sounds to us. But we must be quite clear that this particular passage belongs to a late period of decline. Allusion is made to a “Grey Wolf.” Now this “Grey Wolf” stands for a certain metal found everywhere in the mountains, that is then subjected to a certain process. “King” is a name given to a condition of substances; and the whole paragraph describes a chemical process. The grey metal was collected and treated in a certain way; then this was called the “Greedy Grey Wolf”, and the other the “Golden King”, after the gold had gone through a process. Then an alliance was made and this is described: “And when he had devoured the King. ...” It comes about, therefore, that the Greedy Grey Wolf, the grey metal found in the mountains, is amalgamated with the Golden King, a certain condition of gold after it has been treated chemically. He represents it as follows:

“And when he has devoured the King, then make a great fire and throw the Wolf into it.”

—thus the Wolf who has eaten up the Golden King is thrown into the fire.

“So that he may be completely burnt up and the King released again.”

The gold once more makes its appearance.

“When that has happened three times the Lion will have overcome the Wolf, and will find nothing more of him to consume. Then our body is ready to begin our work.”

In this way then he makes something. To explain what he makes, we should have to describe these processes in greater detail, especially how the Golden King is made; but that is not told us here. Today these processes are no longer used. But for what does the man hope? He hopes for what is not entirely without reason for he has already made something. For what purpose exactly has he made it? The man who had this printed will certainly not have done anything more than copy it from some old book. But for what purpose was it done at the time when such things were understood? That you may gather from the following:

“And know that this alone is the right way thoroughly to purify our bodies; for the Lion cleanses itself by the blood of the Wolf; for the tincture of this blood delights marvelously in the tincture of the Lion's, for the two kinds of blood are closely allied.”

Thus he praises what he has been the cause of producing. He has invented a kind of medicine.

“And when the Lion is satiated, its spirit becomes stronger than before, and its eyes dart forth a gleam of pride, bright as the sun.”

(This describes the properties of what he has in the retort.)

“Its inner being is then able to do much, and is useful for all that is demanded of it. When it is made ready, children of men attacked by severe sickness and many diseases are grateful to it; the lepers run after it, hankering after its soul's blood, end all who have infirmities rejoice heartily in its spirit; for he who drinks of this golden spring, experiences a complete renewal of his nature, the removal of evil, strength in the blood, force in the heart and perfect health in all the limbs.”

This, you see, indicates that we are concerned with a medicine, but it is also sufficiently indicated that this also has to do with man's moral character. For naturally if a healthy man takes it in the right quantity then what is here described will make its appearance. This is what he means, and this is how it was with the men of olden days who understood something of these matters.

“For he who drinks of this golden spring, experiences a complete renewal of his nature”

Thus, by means of the art he describes here, he strives to discover a tincture that can arouse an actual stirring of life in man.

“Thanks to the strength of the heart's blood, and the perfect healthiness of all the limbs, they are either enclosed within or sensitive outside the body, for it opens all the nerves end pores so that evil can be driven out and good can peacefully take its place.”

I have read this aloud chiefly to show how in these ruins of an ancient wisdom one may find the remains of what was striven for olden times. By external means taken from nature men strove to stimulate the body, that is, to acquire certain faculties, not only through inner moral endeavour, but through the medium of nature herself, applied by man. Keep this in mind for a moment, for from it we shall be led to something of importance which distinguishes our epoch from earlier epochs. Today it is quite the thing to make fan of the ancient superstitions, for then one is accepted in the world as a clever man, whereas this does not happen should one see any sense in the old knowledge. And all this is lost, and had to be lost, for reasons affecting mankind; for spirit-freedom could never have been attained through what was thus striven for in ancient days. Now you know that in books of an even earlier date than this antiquated volume—that indeed belongs to a very late period of decline—you find Sun and Gold indicated by the same sign ⊙; and Moon and Silver by the sign ☾. To the modern man the application of the one sign used for Sun and Gold, and the other used for Moon and Silver, two faculties of the soul he necessarily has himself, is naturally sheer nonsense. And it is sheer nonsense as we find it in the literature that often calls itself “esoteric”. For the most part the writers of such books have no means of knowing why in the olden days Sun and Gold, Moon and Silver, were characterized by the same signs.

Let us start from Moon and Silver with the sign ☾. Now if we go further back in time, say a few thousand years before the Mystery of Golgotha, before the Christian reckoning of time, men did not only possess the faculties later in ruins; at the time when such things came into existence they possessed still higher faculties. When a man of the Egypto-Chaldean culture said ‘Silver’ he did not mean only what we mean when we say ‘Silver’. In the language of that time, the word signifying a ‘Silver’ was quite differently applied. Such a man had the spiritual faculties, and he meant a certain kind of force-activity found, not only in a piece of silver that actually spread over the whole earth. What he wished to say was: We live in Gold, we live in Copper, we live in Silver. He meant certain kinds of living forces were there, and these flowed towards him especially strongly from the Moon. This he felt that something sensitive and delicate that was in its coarsest, most material form in the piece of silver. He really found these forces flowing from the Moon, but also spread out over the whole earth, materialized in a particular way in the piece of silver. Now, the enlightened man of today says: Yes, of course, the Moon shines with a silvery light so they believe that it consisted of silver. It was not so, however, but rather men had an aerosol experience, lost today, in connection with the Moon, in connection with something dwelling as a force in the whole terrestrial globe, and materialized in the piece of silver.

Thus, the force lying in the silver has to be spread out over the whole earth. Naturally when this is said today it is regarded as absolute nonsense, yet, even from the point of view of modern Science it is not so. It is not nonsense at all, quite the contrary. For I will tell you something that science knows today although it is not often mentioned it. Modern Science knows that rather more than four lbs of silver, finally distributed, is contained in a cubic body the length of an English knot that you may imagine out of the ocean. So that, in all the seas surrounding the earth, there are two million tons of finally distributed silver. This is simply a scientific truth that can be proved today. The oceans of the world contain two million tons of finely distributed silver—distributed in an extreme homeopathic degree, one might say. Silver is actually spread over the whole earth. Today this must be substantiated—if one does so in the way of ordinary Science, by taking water from the sea and testing it by the most exact methods of investigation; then, with the means of modern Science itself it is found that there are two million tons of silver contained in the oceans. It is not that these tons of silver have been somehow dissolved in the ocean, or anything of that kind; they belong to it, belong to its nature and being. And this was known to the ancient wisdom through those delicate, sensitive forces originating in the old clairvoyance, at that time still in existence. The old wisdom also knew that the earth should not be looked upon merely in the way of modern Geology, but that in this earth, most finally dissolved, we have silver.

I could go further; I could show how gold is also dissolved, how, besides being materially deposited here and there, all these metals finely dissolved are really present. Ancient wisdom, therefore, was under no misapprehension when it spoke of silver; it is contained in the sphere of the earth. It was known, however, as a force, a certain kind of force. The silver sphere contains certain forces, the gold sphere other forces, and so on. More still was known of the silver that was dispersed throughout the earth-sphere; it was known that in the silver lies the force controlling the ebb and flow of the tides, for a certain force animating the whole body of the earth lies within this silver and is relatively identical with it. Without it there would be no tides; this movement, peculiar to the earth, was originally set in motion by the silver-content. It has no connection with the Moon, but the Moon is connected with the same force, and hence ebb and flow appear in certain relation with the movements of the Moon, because both they and the tides are dependent on the same system of forces. And these lie in the silver-content of the universe.

Even without clairvoyant knowledge we are able to see into such things, and to prove with a certainty unattainable in any other sphere of knowledge, unless it be Mathematics, that there used to be an old science knowing these things and knowing them well. With this knowledge and what it could do the ancient wisdom was connected, the wisdom that actually controlled nature has to be regained only through spiritual research, as it is today and as it goes on into the future. We live in the age in which an ancient kind of wisdom has been lost and a new kind only beginning to appear. What arose out of this ancient wisdom? Those consequences I have already indicated. If we knew the secrets of the universe we could make man himself more efficient. Think of it! By external means we could make man more efficient. It was possible simply by concocting certain substances and taking them in appropriate quantities, to acquire faculties which today we rightly assume to be innate in a man, such as genius, talent, and so forth. What Darwinism fantastically dreamed was not there at the beginning of earth-evolution, but the capacity to control nature existed, and from that to give man himself moral and spiritual faculties. You will now see that, for this reason, man had to keep the handling of nature within limits; hence the secrecy of the ancient Mysteries. The knowledge connected with these Mysteries, the secrets of nature, did not consist merely of concepts, ideas and feelings, nor merely of dogmatic imaginations. Whoever wished to acquire it had first to show himself wholly fitted to receive it; he had to be free from any wish to employ the knowledge selfishly, he was to use both knowledge and the ability derived from it solely in the service of the social order. This was the reason why the knowledge was kept so secret in the Egyptian Mysteries. In preparation for such knowledge, the one to whom it was to be imparted gave a guarantee that he would continue to live exactly as he had lived before, not taking to himself the smallest advantage but devoting the efficiency he would acquire, by his mastery over nature, exclusively to the service of the social order. On this assumption initiation was granted to individuals who then guided the ancient culture, of which the wonderful works are still to be seen, though, because men do not know their source, they are not understood.

But in this way men would never have become free. They would, through their nature-influences, have been made into a kind of automata. An epoch had to supervene in which man would work through inner moral forces alone. Thus, nature becomes veiled for him because in the new age, his impulses, his instincts, having become free, he has desecrated her. It is at most since the fourteenth, fifteenth, centuries that his impulses have been thus freed. Hence the ancient wisdom is growing dim; there is nothing left but the book-wisdom and that is not understood. For no one who really understood such things as the passage I have just read you would refrain from using them for his own advantage. That, however, would call forth the worst instincts in human society, worse instincts than those produced by the tentative progress of what today is said to be scientific, where, without insight into the matter, it is in a laboratory, without being able to see deeply into things, they obtain some result or other, perhaps that one substance affects another in a certain way—well, just what goes on today in chemistry. They go on trying this and find that but it is spiritual science that will have to find a way back into the secrets of nature. At the same time it must found a social order quite different from that of today, for men to be able, without being led away into a struggle with the most unruly instincts, to realize what nature conceals and her inmost depths.

There is meaning and there is wisdom in human evolution; I have tried to show you this in a whole series of lectures. What happens in history happens—although often by means of most destructive forces—in such a way that meaning runs right through historical evolution. It is often not the meaning man imagines and he has to suffer much on the paths history takes to its ends. Everything that happens in the course of time is sure to make the pendulum sometimes swing towards evil, sometimes towards the lesser evil; but by this swinging a certain condition of balance is reached. So then, up to the fourteenth, fifteenth centuries, a certain number of the forces of nature were known at least to a few; but this knowledge is now lost because the men of the newer age have not been attuned to it.

You see how beautifully it is pictured in the symbol standing for the forces of nature in the Egyptian legend of Isis. This image of Isis—what a deep impression it makes upon us when we picture it standing there in stone, but covered from head to foot with a veil, also of stone—the veiled Isis of Sais. It bears the inscription: “I am the Past, the Present in the Future; my veil no mortal man has yet lifted”. That has given rise to an unusually clever explanation—and a very clever people have accepted this clever explanation. We are told that the image of Isis is the symbol of a wisdom that can never be attained by man. Behind this veil is a being must remain eternally hidden, for the veil can never be lifted. Yet the inscription is “I am the Past, the Present and the Future; my veil no mortal man has yet lifted”. All the clever people then say: no one can fathom this being—are speaking about as logically as anyone who was to say: “I am John Miller you shall never know my name”. To say this is on a par with what you thus always hear said about the figure of Isis. To interpret the inscription: “I am the Past, the Present in the Future; my veil no mortal man has yet lifted” in this way, is as complete nonsense as to say: “I am John Miller, you will never know my name”. For what Isis is, stands written—Past, Present and Future; Time in its flight. Something quite different, therefore, from the clever explanation referred to is expressed in the words: “By veil no mortal man has yet lifted”. It means that this wisdom must be approached as those women are approached who have taken the veil, the vow of chastity; it must be approached with the same reverence, with a feeling that excludes all egoistic impulses. This is what is meant. It is like a veiled nun, this wisdom of ancient days. This is the feeling behind what is said about the veil.

Thus we see that in the days when the primal wisdom was a living thing, then either approached it in the proper way or had no access to it at all. But in the newer age men had to be left to themselves. They could no longer have this wisdom of old days, nor the forms of that wisdom. The knowledge of certain forces of nature was lost, those forces only to be known if experienced within—if they were at the same time lived inwardly. And at the time when materialism was at its height in the nineteenth century, at the beginning of the century, a force of nature appeared, the characteristic of which is recently expressed as follows: We have this nature-force but no one can understand it; it is even a secret for science.—You know how the force of electricity came to be used by man, and that electric power is such that no one can experience it inwardly through his normal forces; it remains an external force. And to a greater degree than one thinks that all the greatness of the nineteenth century arise through electricity. It would be quite easy to show how infinitely much in our present civilization depends upon electric power, and how much more, how very much more, will depend upon it in the future—even if it is employed in the present way without any inward knowledge. For in the evolution of human culture electric force has been put—as something by which man will be matured morally—in the place of the old, known force. Today in making use of electricity there is no thought of anything moral. There is wisdom in the progressive historical evolution of humanity. Man will mature by being able for a time to develop in his lower ego-bearer, in his uncontrolled egoism, what is deeply harmful—and in all conscience there is sufficient of this, as our own times clearly show. This would be quite out of the question should men have retained the ancient forces. It is electricity as a force in civilization which makes this possible. It is to a certain extent true of steam-power but to a lesser degree.

Now this is how the matter stands as I have explained to you. The first seventh part of our culture-period, that will last on into the third millennium, has passed; the peak of materialism has been reached. The social framework in which we live, that has brought about such lamentable occurrences in our days, is such that man cannot be subjected to it for another half-century without a fundamental change taking place in soul. For those having spiritual insight into world-evolution, this electoral age is, at the same time, the challenge to seek greater spiritual depth, a genuine spiritual deepening. For, to that force which remains outwardly unknown to sense-observation, there must be added in the soul the spiritual force line as deeply hidden as the electrical forces that also have to be awakened. Think how mysterious electrical power is! It was first drawn out of its secret hiding places by Galvani and Volta. And what dwells in the human soul, what is explored by Spiritual Science, that, too, lies hidden. The two like poles must meet each other. And as surely as the electric force is drawn out as the force hidden in nature, so surely will the force hidden in the soul,the force that belongs to it and is sought by Spiritual Science, also be drawn forth. This will be so, although today there are still many who look upon the endeavors of Spiritual Science as—well, almost as they might have looked upon the experiments of Galvani and Volta in the days they prepared their frogs and observed in the twitching of a leg that some force was at work. Did Science know that in the frog's leg lay the whole of Voltaic electricity, of Galvanism, all that is known today of electricity? Think back to the time when Galvani, it his primitive laboratory, was hanging his frog's leg to the window-latch; think of the moment when it began to twitch, and for the first time he was sure of this! It is true that it is not a question here of electricity itself being stimulated, but of contact electricity. When Galvani established this for the first time, could he suppose that the force that moved the frog's leg would someday be used by railways as a means of transport all over the world, or that with its aid thought would someday encircle the globe? It is not so very long since Galvani noticed this force in his frog's leg. If anyone had been expected such results to flow from this knowledge, he would certainly have been considered a fool. Thus, in our day, a man who presents the first beginnings of a spiritual science is considered a fool. A time will arrive when all that comes forth from Spiritual Science will be as important to the world, the moral world of soul and spirit, as a result of Galvani's experiment with the frog's leg for material civilization.

It is thus that progress is made in human evolution. It is only when we are aware of the things that we develop the will to collaborate in what can only be a beginning. If that other force, the force of electricity, which has been drawn out of its hiding place, has direct significance only for external, material culture, and only an indirect significance for the world of morality, what comes out of Spiritual Science will be of utmost importance in terms of its social significance. For the future, social institutions will be regulated by what Spiritual Science can give to humanity. Moreover, the whole of external, material culture will be indirectly stimulated by this Spiritual Science as well. I can only point to this today in closing.

Today we have seen Faust standing, as I said today, half in the old world and half in the new. Tomorrow we will expand this picure of Faust into one that will be a sort of worldview.

I should like, my dear friends, to make a few remarks about the Walpurgis-night performed yesterday, which we shall be playing again tomorrow, because it seems to me important to have a correct idea of how this Walpurgis-night fits in with the whole development of the Faust poem. It is indeed remarkable that, having brought such calamity upon Gretchen—her mother killing herself with a sleeping-draught, her brother coming into his end through the fault of Faust and Gretchen—Faust should then flee, leaving Gretchen completely in the lurch, and knowing nothing himself of what is happening.

An incident of this kind has naturally made no small impression on those who have studied the Faust poem with most sympathy. I will read you what was said on the subject by Schröer who certainly studied Faust with great warmth of heart. (You will find a note on Schröer in my recent publication Riddles of Man.) He says concerning the “Walpurgis-Night”:

“We are to suppose of Faust urged on by Mephistopheles, has fled, leaving Gretchen behind in misery. Her mother was dead, her brother killed. Close upon all this followed her confinement. She lost her reason, drowned her child, and wandered around until she was arrested and thrown into prison. Although Faust could not have known what befell Gretchen after Valentine's death, yet he had parted from her in circumstances that make it appear very unnatural to see him now, two days after, strolling—as it appears in the text—at his ease on the Brocken. It is obvious, however that the Walpurgis-night was not written in close coordination with the poem as a whole. The poet is clearly no longer in a pathetic vein, but attacks his subject with a touch of irony. The underlying idea of linking this scene with the whole is quite clear. Mephistopheles takes Faust away to the Brocken to bewilder him and make him forget Gretchen. But the love in Faust is stronger than Mephistopheles can understand. The witch-apparitions did not attract him; in the midst of the frenzied confusion the image of Gretchen rises before him—this thought certainly does not arise with sufficient insistence in the whole Walpurgis-night take too great a place in relation to the dramatic action. It grew to an independent whole becoming all the more excessive by reason of the addition of the “Walpurgis-night Dream”. This of course applies only to the Walpurgis-night as part of the tragedy.”

Thus, even a man having a real love for Faust cannot explain to his own satisfaction how it comes about that, two days after the calamity, Faust is to be seen full of vigour walking with Mephistopheles on the Brocken.

Now I should like your here to set against against this, something purely external—that the Walpurgis-night belongs to the most mature part of Goethe's Faust. It was written in 1800–1. As a quite young man Goethe began to write his Faust, so for that we may go back to the beginning of the seventies of the eighteenth century—1772, 1773, 1774; it was then he began to write the first scenes. In 1800 or so he was all that older and had passed the great experiences, recorded, for instance, in the story of the Green Snake and the Beautiful Lily written before the Walpurgis-night that he now adds to his Faust. The Walpurgis-night Dream was actually written a year earlier than the Walpurgis-night itself. We may therefore suppose that Goethe took it very seriously the fitting of the Walpurgis-night mysteries into Faust. But the difficulty of understanding it can never be overcome unless we bear in mind that Goethe's meaning was really of a spiritual nature.

I have a pretty considerable knowledge of the commentaries on Faust written up to the year 1900, but not so much of those that were later; but up to 1900 I know them almost all, though since that I have not gone so deeply into what has been written on the subject. This I do know, however, that no one has taken it from a spiritual point of view. It may be objected, no doubt, that is asking too much of us to suppose that, two days after such a great misfortune, Faust should have gone off on a ramble in this carefree way. But Goethe was really not the commonplace, imperturbable Monist he is often pictured; he was a man, as the details of this Walpurgis-night themselves show, deeply initiated into certain spiritual connections. Anyone familiar with these connections, can see that there is nothing dilettante about the Walpurgis-night; everything in it shows deep knowledge. To speak rather trivially, you can see that there is something behind it, that it is not an ordinary poem but written out of understanding for what is spiritual. Anyone with the certain knowledge, can easily judge by details whether realities are spoken of, whether a poet's description is the result of spiritual understanding, or whether he is just thinking out something about spiritual worlds and their connections—for instance, the world of witches. O ne must cultivate a little observation in such matters.

I will tell you a simple story—I could tell you hundred of the same time—to illustrate how it can be seen from details whether, in what one is dealing with, there is anything behind. It goes without saying that sometimes one may be mistaken; it depends on the way the matter is presented.

I was once in a gathering of theologians, historians, poets, and so on. In this assembly the following story was told. (This was all long ago, nearly thirty years, in the eighties of the nineteenth century). Once in a church in Paris a Canon was preaching in a very fanatical way against superstition. He would only concede what the Church conceded. Above all he wished to prevent people from believing things that were objectionable to him in particular. Now this Canon in his fanatical sermon tried to convince his hearers that Freemasonry was a very evil thing. (Catholic clergy, you know, very often preach about Freemasonry and its potential dangers). He now only wished to maintain that it is a very reprehensible doctrine, and that those connected with that are thoroughly bad men. He would not allow that there was anything spiritual in many of such brotherhoods. Now, a man is listening to this who had been taken there by a friend, and it seemed to him very strange that the Canon of a great community should be speaking thus to a large congregation, for he himself believed that spiritual forces do work through such societies. The two friends waited for the preacher after the sermon and discussed the matter with him. He, however, fanatically persisted in his opinion that all this had nothing to do with what is spiritual, that Freemasons were just evil men with a very evil doctrine. Then one of the two, who knew something about the matter said: I suggest, Your Reverence, that you should come with me at a fixed time next Sunday. I will put you in the private seat in a certain lodge, from which you can watch what is going on unseen. The preacher said: very well. But may I take sacred relics with me?—he was beginning, you see, to be frightened! So he took the relics with him and was led to the place where he could sit in concealment. At a given signal he beheld a very strange-looking individual with a pale face moving towards the presidential chair, and he moved without putting one foot before the other, but making himself glide forward.—this was all described very exactly and the man continued: now he set his relics to work, pronounced the blessing, and so on, so that there immediately arose a great disturbance in the assembly, and the whole meeting was broken up.

Afterwards, a very progressive priest, a theologian, who was present, declared that he simply did not believe in the thing, and another priest alleged that he had heard in Rome that ten priests there had taken an oath vouching for the Canon's veracity. But the first priest replied: I would rather believe that ten priests had taken a false oath than that the impossible is possible. Then I said: the way in which it was told is enough for me. For the way was the important thing with regard to the gliding.

You meet with this gliding in the Walpurgis-night also; Gretchen, when she again appears, also glides along. Thus with Goethe even such a detail is relevant. And every detail is presented in this way, nothing is irrelevant from a spiritual point of view.

What is it then we are dealing with? We are dealing with something which shows that, for Goethe, the question was not whether it would be natural for Faust, two days after the catastrophe, to be going for a pleasant country ramble on the Brocken. No, what we are dealing with is a spiritual experience coming to Faust during Walpurgis-night, an experience he could not avoid which came to him as the definite result of the shattering events through which he had passed. We must realize, therefore, that his soul has been snatched out of his body, and has found Mephistopheles in the spiritual world. And it is in the spiritual world that they wandered together to the Brocken, that is to say, they meet with those who are also out of their bodies when they go to the Brocken; for naturally the physical body of those who make this journey remains in bed.

In the days when such things were intensively practiced, those who wished to make this journey to the Brocken (the time for it is the night of April 30) rub themselves with a certain ointment whereby—as otherwise in sleep—the complete separation of the astral body and ego is brought about. In this way the Brocken journey is carried out in spirit. It is an experience of a very low type, but still experience that can be carried out. No one need think, however, that he can obtain information about the mixing of the magic ointment any more easily than he can obtain it about the way in which van Helmont, by rubbing certain chemicals into parts of the body, has contrived consciously to leave it. This leaving of the body has happened to van Helmont. But this kind of thing is not recommended to those who, like Franz in Hermann Barr's Ascension,¹ find it too tedious to do the exercises and to carry out the affair in the correct way. But I know well that many would consider themselves lucky were methods of this kind to be divulged to them!

Well then, my dear friends, Faust, that is, Faust's soul, and Mephistopheles, on the night of April 30, actually find themselves together with a company witches also outside their bodies. This is a genuine spiritual occurrence, represented by Goethe out of his deep knowledge. Goethe is not merely showing how one may have a subjective vision; to him it is clear that when a man leaves his body he will meet with other souls who have left theirs. Mephistopheles indicates this conclusively when he says:

In the realm of dreams and glamour
as it seems we now have entered.

They have actually entered another realm, they have entered the soul-world and there meet with other souls. And we naturally find them within this world as they have to be in accordance with the after effects of their physical life. Faust has to go back into his physical body. So long as the conditions are there are for man to go back into his physical body, that is, while he is not physically dead, so long does he bear about with him, on going out with his astral body, certain inclinations and affinities belonging to his physical existence. Hence, what Faust says is quite comprehensible, that is, how he is enjoying the Spring air of the April night just passing into May; naturally he is perfectly conscious of it since he is not entirely separated from his body, but only temporarily outside it. When a man is outside his physical body, as Faust was here, he can perceive all that is fluid and all that is of an airy nature in the world, though not what is solid. Of solid things he can only perceive the fluid in them. Man is more than 90% fluid, a column of fluid, and has in him quite a small percentage of what is solid. Thus you need not imagine that when outside he is unable to see another man; he can only see, however, what is fluid in him. He can perceive nature too, for nature is saturated with fluid. All that is here pictured that shows deep knowledge. Faust can perceive in this way. But Mephistopheles, that is Ahriman, as an Ahrimanic being has no understanding of the present earth; he belongs relate to what has lagged behind, and hence he feels no particular pleasure in the Spring. You remember how I explained to you in one of my last lectures that in winter a man can remember what is connected with the Moon. But what is connected with the present moon, now that it is Earth-Moon, does not particularly appeal to him. What has to do with the Moon, that unites itself with the former Moon-element, when fiery, illuminating forces issued from the Earth—that is man's element; the Will-o'-the-wisps not the moonlight. This reference to the Will-o'-the-wisps, issuing from the moon element still in the Earth, it is in accordance with the exact truth.

I draw your attention in passing to the fact that the first part of the manuscript of the Walpurgis-night is not clear owing to some negligence; in these editions there is everywhere something almost impossible. It did not occur to me until we were rehearsing that corrections would be needed even in the Walpurgis-night. In the first place, in these copies, the alternated song between Faust, Mephistopheles and the Will-o'-the-wisps, the alternate singing and the alternate dancing, are not assigned to the several characters. Now the learned people have made various distributions that, however, do not fit the case. I have allotted it all in such a way that what we so often find given to Faust belongs to Mephistopheles:

“In the realm of dreams and glamour,
As it seems, we now are entered.
Lead us truly through the clamor (this is said to the will-o'-the-wisps)
Thither where our aims are centered
Through the wide and desert spaces.”

Even in Schröer's version I find this given to Faust, but it really belongs to Mephistopheles—as it was spoken, you will remember yesterday. What comes next belongs to the Will-o'-the-wisps:

“Lo now! Lo! how swiftly races
Tree past tree! How the gigantic
Crags lean over, and the antic
Rocky snouts that stand in cluster
How they snort and how they bluster!”

Then it is Faust's turn where reference is made to these things reminding him of the shattering experience he has passed through:

“Through the stones and turf what lustre,
Stream and streamlet downward springing.
Hark! ’tis murmurs! Hark! ’tis singing.
Hark! ’tis love-plaints sweet and olden,
Voices from yon-days all golden!
All our hope, and love and longing
Echo, too, like tales once told in
Far-off times, comes faintly ringing.”

Then, strangely enough even Schröer assigns what comes next Mephistopheles: it belongs, of course, to the Will-o'-the-wisp:

Woo hoo! shoo-hoo! nearer hover
Cry of screech-owl, jay and plover.” and so on.

Schröer gives these lines to Mephistopheles, that is obviously wrong. That last lines should go to Faust:

“Nay, but tell me, are we biding
Still, or are we onward riding?
Cliffs and green trees are sliding,
Will-o'-the-wisps their number doubles,
Blown up like transparent bubbles.
All in giddy whirls are gliding.”

I will here point out that there are still mistakes in what follows. Thus after Faust has spoken the words:

“Now through the air the wind doth howl and hiss,
And with what buffets beats upon my shoulder!”

You will find a long speech given to Mephistopheles. But it does not belong to him (though assigned to him in all editions). Only the first three lines are his:

“Clasp thou the cliffs old ribs! Cling to the boulders!
Else will it hurl thee headlong into the deep abyss!
The night is thick with rack.”

The lines following are Faust's:

“Hark how the groaning woods do crack.
Startled fly the solemn owls ...” and so on.

Not until the final line does Mephistopheles speak again:

“... Hear'st thou voices o'er us?
Far and dear that sing in chorus?
All the magic mount along
Wildly streams the wizard song.”

This had to be corrected, for things must stand in their right form. Then I have taken upon myself to insert just one line. For there are some things, especially where witches are concerned, that really cannot be put on the stage, and so have thought fit to introduce a line that does not actually belong.

Now I must admit that it has distressed me a good deal to see how corrupt the rendering is in all the editions and how it has occurred to no one to apportion the passages correctly. It must be kept clearly in mind that Goethe wrote Faust bit by bit, and that much in it naturally needs correction, (he himself called it the confused manuscript). But the correction must be done with knowledge. It is not Goethe, of course, who is to be corrected, but the mistakes made publication.

From what has been said it will be clear that Mephistopheles makes use of the Will-o'-the-wisp's as a guide, and that they go into a world that is seen to be fluctuating, in movement, as it would be perceived were everything solid away. Now enter into all that that is said there. How much real knowledge is shown in the way all that is solid is made to disappear! How all this is in tune with what is said by the Will-o'-the-wisps, Mephistopheles and Faust, as being represented by Goethe as out of the body. Mephistopheles indeed has no physical body, he only assumes one; Faust for the moment is not in his physical body; Will-o'-the-wisps are elemental beings who naturally, since it is solid, cannot take on the physical body. All this that proceeds in the alternated song shows that he wishes to lead us into the essential being of the supersensible, not into something merely visionary but into the very essence of the spiritual world.

But mow our attention is drawn to how, when we are thus in the spiritual, everything looks different; for in all probability any ordinary onlooker would not see Mammon all aglow in the mountain, nor the glow within it. It is hardly necessary to explain that all here described shows that the soul pictured is outside the body. It is a real relation then between spiritual beings that we are shown, and Goethe lets us see what unites him with knowledge of the spiritual world. That Goethe could placed Mephistopheles so relevantly into his poem at all, proves that he has knowledge of these matters and that he knew perfectly well that Mephistopheles is a being who has lagged behind. Hence he actually introduces other retarded beings of that ilk. Notice this—a voice comes:

“Which way, comest thou here?”

A voice from below answers (and this means a voice proceeding from a being with sub-human instincts):

Over the Ilsensteep.
In the owlet's nest I took a peep
She had eyes like moons!”

Voice: to hell with a wanion!
Why so hot-foot thou ronyon?

Voice: She hath well-nigh flayed me!
See the wounds she hath made me!

Now notice that later the answers given by a voice above.

“Come with us, come, from the Felsenmere.”

Voices from below: “We would climb with you the mountain sheer.”

Voice from above: “Who calls from out the rocky cranny?”

And then we hear the voice of one who has clambered for three hundred years. That means that Goethe calls up spirits who are three hundred years behind. The origin of Faust lies three hundred years back; the Faust legend arose in the sixteenth century. The spirits left behind from that time appear, mingling now with those who come to the Brocken as witches in the present—for these things must be taken literally. Thus Goethe says: Oh, there are many such souls with us still, souls akin to the witch souls, for they are three hundred years behind. Since everything in the Walpurgis-night is under the guidance of Mephistopheles, it would be possible for young Mephistopheles beings to appear among the witch-souls. And then comes a present-day half witch, for the voice that earlier cried:

“Take me with you, take me up!
Three hundred years I've clambered zealous.”

is not that of a half-witch but of a being who is really three hundred years old. The witches are not as old as that although they go to the Brocken.—The half-witch comes slowly trotting up the mountain. Here then we meet something genuinely spiritual, something that has overcome time, that has remained behind in time. Many of the words are positively wonderful. Thus, one voice, the voice of the one who has been clambering for three hundred years, says:

“Yet I cannot reach the top.
Fain would I be beside my fellows!”

In these words Goethe very beautifully expresses how the witch-souls and the souls belonging to the dead who, in like manner, have remained so very much behind, are akin. These souls remaining behind would fain be with their fellows—very interesting!

Then we see how all the time Mephistopheles tries to keep Faust to the commonplace, the trivial; he tries to keep him among the witches' souls. But Faust wants to learn the deeper secrets of existence, and therefore wants more, wants to go farther; he wishes to get to what is really evil, to the sources of evil:

“Up yonder, though, I'd rather be!
The smoke with lurid splendour lit
Rolls on. The crowd streams to the devil,
What riddles there one might unravel!

For this deeper element Faust is seeking in Evil, Mephistopheles has no understanding; he does not want to take even Faust there because there things will naturally become rather—painful. It is all very well to be taken to the witches as a soul; but when a man like Faust, having been received into this company, goes still farther towards evil, he may discover things highly dangerous to many. For, in Evil, is revealed the source of much that exists on earth. That is why it was better for many people that the witches should be burnt. For although no one need practise witchcraft, yet by reason of the existence of witches and their being used to a certain extent for their mediumistic qualities, by certain people wishing to fathom various secrets, if their mediumistic powers went far enough the source of much that is in the world could be brought to light. Things were not allowed to go to these lengths, hence the witches were burnt. It was definitely to the interest of those who burned witches, that nothing could be divulged of what comes to light when those experienced in such matters probe deeper into witch secrets. Such things can only be hinted at. The origin of all sorts of things would have been discovered—no one who had not this to fear has been in favour of burning witches.

But, as we have said, Mephistopheles wishes to keep Faust more to trivialities. And then Faust becomes impatient, for he had thought of Mephistopheles as a genuine devil, who would not practice trifling magic arts upon him but, once he was out of his body, would take him right into Evil. Faust wants Mephistopheles to show himself as the Devil, not as a commonplace magician able to lead him only to what is trifling in the spiritual world. But Mephistopheles shirks this and is only willing to lead him to the trivial. It is exceedingly interesting to notice how Mephistopheles turns aside from actual Evil; that is not to be disclosed to Faust at this stage, and he directs his attention once more to the elemental. The following is a wonderful passage:

“See where yon snail comes creeping
She with her groping face hath nosed
Some inkling of my secret out.”

Wonderfully to the point is this jolt down into the sphere of smelling! It is actually the case that in the world into which Mephistopheles has led Faust, smelling plays a bigger part than seeing. Her ‘groping face’—a wonderfully vivid expression, for it is not the same sense of smell as men have, neither is it a face; it is as if one could send out something from the eyes to touch things with delicate rays. It is true, the lower animals have something of the kind, for the snail not only has feelers, but these feelers lengthen themselves into extraordinarily long etheric stalks with which an animal of this kind can really touch anything soft, but only touch it etherically. Think what deep knowledge this all is—in no way dilettante.

And now they come to a lively Club. We are still in the spiritual world, of course, and they come to this lively club. Goethe understood how to be one of those who can talk of the spiritual world without a long and tragic face, and how to speak with humour and irony when these are necessary and in place. Why should not an old General, a Minister (His Excellency), a Parvenu and an Author, discussing their affairs together while sipping their wine, find themselves by degrees so little interested in what is being said that gradually they fall asleep? Or, when they are still under the particular influence of what is going on at the Club—a little dicing perhaps, a little gambling—why then should not these souls so come out of their bodies that they might be found in a lively Club among others who have left their bodies? At a Club—the General, His Excellency the Minister, the Parvenu, and now the Poet as well; why not? One can meet with them for they are outside their bodies. And if one is lucky, one can really find such a party, for it is something like that in this sort of assembly, that they fall asleep in the midst of amusing themselves. Goethe is not ignorant of all this, you see. But Mephistopheles is surprised that here, through nature herself, through nothing more than a rather abnormal occurrence of ordinary life, these souls have come to be in this position. He is so surprised to come across it in this way, that he has to recall a bit of his own past. For this reason he becomes suddenly old on the spot, or in his present form he is not able to have this experience. The human world is meddling with him and this he does not want. He tells the will-o'-the-wisp it should go straight not zigzag, lest its flickering light should be blown out. The will-o'-the-wisp is trying to ape man kind by going zigzag. Mephistopheles wants to go straight—men go zigzag. So it disturbs him that, merely through an abnormal way of proceeding in life and not through any hellish machination, four respectable members of human society have appeared on the Brocken scene.

But then things begin to go better. First there enters the Huckster-witch, naturally also outside her body. She arrives with all her arts—so beautifully referred to here:

“No chalice but into the healthy frame
Hath poured the poison's slow-consuming flame;
No jewel but to shame beguiled some winsome woman,
No sword that hath not stabbed i’ the back the foeman.”

So now he feels himself again. This witch has certainly been properly anointed; he wants more feels quite in his element, addresses her as ‘Cousin’, but tells her:

“Nay, thou dost read the times but badly, Cousin,
For done is past, and past is done!
Only for novelties we clamour,
Should'st lay in novelties alone.”

He want something of more interest to Faust. But Faust is not at all attracted. He feels that he is in a very inferior spiritual elements and now says—what I asked you to notice, for it is wonderful:

“If only I don't take leave of my senses!”

(If only I don't loose consciousness!) That means he does not wish to go through the experience with a suppressed consciousness, in an atavistic way; he prefers to have the experience in full consciousness. In such a Witches' Sabbath the consciousness might easily be blunted, and that should not be. Think how deep Goethe goes!

And now references made to how the soul element has to leave the body, and how a part of the etheric body too must be lifted out, and what I might call a kind of Nature-initiation, that during the whole earth-evolution only happens in exceptional circumstances. Part of Faust's etheric body has gone out; and because a man's etheric body, as I have often told you already, is feminine, this is seen as Lilith. This takes us back to times when man was not constituted at all as he is now. According to legend Lilith was Adam's first wife and the mother of Lucifer. Thus we see here how Mephistopheles is making use of the luciferic arts at his disposal, but how something lower also enters in that, in the following speech amounts almost to a temptation. Faust moreover is afraid he may lose consciousness and losing consciousness he would fall very low—so that Mephistopheles would like to promote this. He has already brought Faust to the point of having part of his etheric body drawn out, which makes him able to see Lilith appear. But Mephistopheles would like to go still farther, and thus tempts Faust to the witch-dance, when he himself dances with the old witch, Faust with the young. But it all results in Faust not being able to lose consciousness—he is unable to lose it!

Thus we are given an accurate picture by Goethe of a scene taking place among spirits. When souls have left their bodies they can experience this, and Goethe knew how to represent it. But there are other souls who can enter such an assembly, and they to bring their earthly qualities with them. Goethe knew that in Berlin lived Nikolai, a friend of Lessing's. Now this Nikolai was one of the most fanatical, so-called enlightened men of his time; he was one of those who, had a Monist society then existed, would have joined it, would indeed have directed it, for men were like that in the eighteenth century, they made war upon everything spiritual. A man of that kind is like the ‘Proktophantasmist’. (You can look this word up in the dictionary). Thus Nikolai not only wrote The Joys of Young Werther in order from a free-thinkers point of view to make fun of Goethes's sentimentality in The Sorrows of Werther, but also wrote for the Berlin Academy of Science—to prove himself, one might say, a genuine monist—Concerning the Objectionable Nature of the Superstitious Belief in a Spiritual World. And he was in a position to do that, for he suffered from visions—he was able to see into the spiritual world! But he tried the medical antidote of the time; he had leeches applied to a certain part of his body, and low and behold the visions disappeared. Hence he was able to give a materialistic interpretation of the visionary in his discourse to the Academy of Science, for he could prove by his own case that visions can be driven away by the application of leeches; therefore everything is entirely under the influence of the material.

Now Goethe knew Nikolai, Friedrich Nikolai, bookseller and writer, who was born in 1733 and died in 1811, he knew him very well. So perhaps he was not blindly inventing. And that there should be no doubt that Nikolai is meant, he makes the Proktophantasmist say, after he has been drawn in as a spirit among the spirits, and has tried to talk them down:

“Are you still there? Well, well! Was ever such a thing?” They ought to have gone by now for he hoped to drive them away by argument.

“Pack off now! Don't you know we've been enlightening!” Today he would have said: we have been preaching Monism.

“This crew of devils by no rule is daunted.” Now he must see, for he really can see, since he suffers from visions. Such men are quite fit to join in the Walpurgis-night.

Again it is not as an amateur that Goethe has pictured this; he has chosen a man who, if things go favourably, can enter even consciously into the spiritual world on this last night of April, and can meet the witches there. And he must be such a one. Goethe pictures nothing in a dilettante way; he makes use of thoroughly suitable people. But they retain the bent, the affinities, they have in the world. Therefore even as a spirit the Proktophantasmist wants to get rid of the spirits, and Goethe makes this very clear. For as a sequel to the treatise about leeches and spirits, Friedrich Nikolai had also conjured away ghosts on Wilhelm von Humboldt's estate in Tegel. Wilhelm von Humboldt lived in Tegel, in the neighborhood of Berlin and the Friedrich Nikolai had fallen foul of him also, as one of the enlightened. Hence Goethe makes him say:

“We're mighty wise, but Tegel is still haunted.” Tegel is a suburb of Berlin; the Humboldt's any property there and it was there that the ghosts appeared in which Goethe was interested. Goethe also knew that Nikolai had described it, but as an enlightened opponent.

“I've swept and swept at this vain fancying,
Yet cannot sweep clean! Was ever such a thing?”

So even in the house of the enlightened Wilhelm von Humboldt in Tegel there are apparitions. Nikolai cannot endure this spirit despotism; it refuses to follow him and will not obey him:

“My spirit cannot discipline it.”

And to make it perfectly clear that with full knowledge he is describing just such a personality as Nikolai, Goethe adds:

“Alas, today 'tis useless. Now I know it.
At least I'll take a journey with them though.
And still I hope, ere my last step, to show
My mastery alike o'er devils and poet.”

For at that time Nikolai had taken a journey through Germany and Switzerland, of which he had written a description where was recorded everything noteworthy he came across. And there one can find many shrewd and enlightened remarks. Everywhere he contended particularly against what he called superstition. Thus even this Swiss tour is alluded to:

“And still I hope, ere my last step, to show
My mastery alike o'er devils and poet.”

‘Devils’ because he attacked the spirits; ‘poet’ because he attacked Goethe—in the “Joys of Young Werther”.

Mephistopheles is quite clear about such people, and says:

“To seek relief, as usual in a puddle
He'll seat himself, and when the leeches feast
Upon his rump, from all his brains that muddle
From phantoms and from fancy he's released.”

Also a reference to Friedrich Nikolai's leech theory. (You may read about it in the Transactions of the Academy of Sciences in Berlin. Nikolai delivered the lecture in 1799).

But now, when this affair is over, Faust sees a very ordinary phenomenon—a red mouse jumping from the beautiful witch's mouth. That is a very common phenomenon and a proof that Faust has remained completely conscious; for had he not been conscious but only dreaming, it would have remained a red mouse, whereas now he is able to change this vision called up by sense-instinct into what it should really be for him. Everything is transformed—I think this is most impressive—and the red mouse becomes Gretchen. The blood-red cord is still about her neck. The Imagination has grown clear, and Faust is able to pass from a lower imagination to the vision of the soul of Gretchen who, by reason of her misfortune, now becomes visible to him in her true form.

You may think as you like, my dear friends, the connections of the spiritual world are manifold and perhaps bewildering—but what I have just shown you in this changing of a lower vision of a red mouse into something lofty, true and deep, is pre-eminently a spiritual fact. It is highly probable that Goethe originally planned the whole scene quite differently represented. A little sketch exists in which it is differently represented—in the way Mephistopheles might have conjured up the scene before Faust. But Faust has been sufficiently conscious to elude Mephistopheles here, and to see a soul to whom Mephistopheles would never have led him. To Mephistopheles himself she appears as Medusa, from which you see that Goethe is wishing to show how two different souls can quite differently interpret one and the same reality—the one way true, the other in some respect false. His own base instincts giving colour to the phenomenon, Mephistopheles flippantly utters:

“Like his own love she seems to every soul.” And here again we find that this is a spiritual experience through which Faust had to pass. He is not just a vigorous man enjoying a walk, he is a man undergoing a spiritual experience; and what he now sees as Gretchen is actually what lives within him, while the other serves merely to bring this to the surface.

Now, Mephistopheles, wishing to lead Faust away from the whole, from what is now the deeper spiritual reality, takes him to something which he just introduces as an interlude, and which we must regard as the conclusion of the Walpurgis-night—a kind of theater and simply a stroke of Mephistopheles' magic art. This is “The Walpurgis-night's Dream”, that will be performed, but the whole of it is inserted into the Brocken scene to show how Mephisto wishes to get hold of Faust. This Walpurgis-night's Dream—about which I shall say no more today—was introduced by Mephisto in order to turn Faust's thoughts in a quite definite direction. But here we have a remarkable kind of poetical paraphrase. You remember how Mephistopheles says:

“Go to! slight Reason, now, and Science slight,
Wherein doth lie man's greatest might!
Let but the spirit of lies enamour
Thy soul of sorcery and glamour
And, pact or none, I hold thee tight—”

In the Walpurgis-night Dream everything is reasonable, but Faust has to be shown how to enjoy this reasonableness. Goethe has translated the Italian dilettare into the German dilettieren that is actually to divert; and Servilibus, a servant of Mephistopheles invented by Goethe, is to persuade Faust to find diversion in what is reasonable, that is, to treat it in a low and flippant way. Hence though the Walpurgis-night Dream is to be taken seriously it is said:

“We're just about to begin
A brand new piece. T'is the last of the seven;
To give so many is the custom here.
A dilettante wrote it. Even
The players are dilettante too.
Excuse my vanishing. As dilettante t'is my diversion
To pull the curtain up.”

This then is the way Mephistopheles tries to tempt Faust to despise the reasonableness of the Walpurgis-night Dream. That is why he places it before him in this kind of aura. For it suited Mephistopheles cunningly to introduce the rational into the Brocken; he finds that right for in his opinion it is where it belongs.

So you see in Goethe's poem we are dealing with something that really rises above the lower spiritual world and shows us how well Goethe was versed in spiritual knowledge. One the other hand, it may bring to our notice the necessity of acquiring a little spiritual science—for how else can we understand Goethe? Even eminent men who love Goethe can otherwise merely conclude that he is a bit of a monster—they don't say it, they are silent about it, and that is one of the lies of life—such a monster that he takes Faust, two days after causing the catastrophe with Gretchen's mother and brother, for a pleasant walk on the Brocken. But, we must constantly repeat, Goethe was not the commonplace, happy-go-lucky man he has hitherto appeared. On the contrary, we must accustom ourselves to recognise more in him than that, something quite different, and to realise that much concealed in Goethe's writings has yet to be brought into the light of day.

• 1. See lecture 10th December, 1916. Also Cycle XLIII, lecture 3

(Representation of a scene from Faust, Part II, Act II High-vaulted, narrow Gothic Room—Laboratory.)

It is to be hoped that the scenes just witnessed may have effect and meet with a really intelligent reception in the widest circles today. For these scenes contain many germs of the evolution within which also flows the stream of Spiritual Science. We can say that, in writing these scenes out of his long and varied experience, Goethe foreshadowed much that like a seed will spring up through Spiritual Science. These scenes from the second part of “Faust” stand before our souls not only as a record of cultural history, but also as an expression of deep knowledge. To help us to a full understanding in our approach to this deepest manifestation of Goethe's spirit we may now call to our aid the already familiar ideas of Spiritual Science. For, in these ideas, all that Goethe's inner imagination develop out of the experiences of his time is formulated and brought to full consciousness.

In the first of these two scenes, above all, we have an important document of cultural history. Goethe had been matured by all that he had absorbed from natural science, and by the deepening of all his concepts through his studies and mysticism as well as what he received from Grecian art. And, at the very time when he was giving form to the ideas thus living in him, the spirits of men were seeking with infinite enthusiasm for knowledge to grapple with the highest problems of existence. Something that should not, cannot, surprise people in our circle is the fact that a really intensive striving towards the spiritual world should actually promote caricatures of itself. Both mystical striving and the deeper striving after philosophical knowledge produce their caricatures. In Goethe's immediate circle a really important endeavor, that might be described as both philosophical and theosophical, was developing at the time when the scenes were living in unfolding in Goethe's mind. It was then that Johann Gottlieb Fichte was teaching with an immense enthusiasm for knowledge. From the brief account given in my book, and from what is said about Fichte both in the development of the “Riddles of Philosophy” and in the more recent “Riddles of Man,” you can see by all that is said there about him how he strove an elemental way to formulate the divine spiritual dwelling in man's innermost soul, in such a way that, by developing this in his soul, man may become conscious of his divine spiritual origin. Fichte tried to grasp the full life of the ego in the soul of man, the active, creative ego, and also the ego filled with God. By this means he sought to feel the union of the inner human life with the whole life of the cosmos. And out of this enthusiasm he spoke. It is very easy to understand how such a spiritual thrust should meet with opposition. Naturally Fichte could not then speak in the concrete way of Spiritual Science, the time was not yet ripe for this. We might say that he tried by abstract, all-round concepts, to give life to the feeling that can then be wakened to full life in man by the impressions of Spiritual Science. Hence his language has often much about it that is abstract; this is penetrated, however, by living feeling and experience. And for what Fichte had to say to be taken seriously at all, the strong impression was needed that a personality such as his could produce. He often expressed himself strangely and in paradox—to even greater degree than is necessary in Spiritual Science, for, to those unaccustomed to it, what is true often appears foolish. This is why such a great spirit as Fichte, who had at that time to express the truth in abstract form, was thought ridiculous.

On the other hand, those who had been strongly impressed by Fichte might easily have exaggerated things, as happens often in life. Then came caricatures of him, caricatures of others as well who, inspired by the same convictions were also teaching in Jena at the time. Among these was Schelling who, striving like Fichte, actually fought his way—as I have often stressed—to a very deep conception of Christianity, even to a very deep conception of the Mystery of Golgotha. This conception gradually developed into a kind of Theosophy then expressed—though without being understood by his contemporaries—in his “Philosophy of Manifestation.” It was embodied too in the treatise on human freedom and other subjects akin to it written round Jakob Boehme. It was already living in his discourse on Bruno, or on the Divine and Natural Principle of Things, and lived especially in his splendid treatise on the Mysteries of the Samothracian Divinities, where he gave a picture of what in his opinion had dwelt in those old Mysteries. Then there were such spirits as Friedrich Schlegel, who energetically applied to the different branches of human knowledge what to those more philosophically constituted natures sought to charm from the heart of the world order. Hegel had begun to formulate his philosophy. And all this had been going on around the Goethe. These men sought to penetrate beyond what is relative in the world, beyond all that controls mankind in day-to-day life, to the Absolute, to what is not merely the background of the relative. Thus, Fichte tried to penetrate beyond the ordinary, everyday ego to the absolute ego, anchored in the Godhead, and weaving its web in eternity. Thus Schelling and Hegel sought to press through to absolute Being.

All this was naturally taken at the time in various ways. Today, particularly, when Spiritual Science can penetrate our hearts, we are able to form a very clear idea of the frame of mind of men like Fichte, Schelling, Hegel, when on talking about all that was so vividly before their spiritual eye people remained apathetic—apathetic and hostile. One can understand, too, how the youthful Fichte, meeting antiquated pedants in Jena, who each in their own way of thought they knew everything, might sometimes flare up. Fichte often flared up, not only when he was banished from Jena but also when he saw that, giving of his best, it found no entrance into any heart, any soul; for they all thought themselves wiser with their old traditional knowledge and ideas. So we can understand that when such a spirit as Fichte was faced with the pundits of Jena and had to deal with them, that he was driven to declare that everyone over thirty should be put to death!—It was a spiritual struggle of the first magnitude raging at that time in Jena, and everything going on there was vilified. Kotzebue, a poetaster who nevertheless had his public, wrote a very interesting and witty dramatic pamphlet—witty because it describes a type of young graduate educated at Jena, who when he goes home to his mother speaks in the empty phrases he learnt there. These are all given word-for-word in the pamphlet that is called “Hyperborean Ass or the New Education”. All this appears no doubt, very witty but it is really nothing more than a vulgar attack on a fine effort. We must not, of course, confuse it with what Goethe sought to denounce—the caricaturing of what is great—for we must be clear from the correspondence between Goethe and Fichte and between Goethe and Shelling, that Goethe was well able to appreciate the spirit striving after the Absolute. Although we did not find Goethe elaborating into a system any occult principles, yet we can say that he was a spiritual dwelling wholly within the aura of the occult, and knowing that what lives in the progress of good in world-evolution may incline on the one hand to the ahrimanic, on the other to the luciferic. He does not use these particular expressions but that is of no importance; he knew that actually the pendulum of world-evolution is always swinging between the ahrimanic and the luciferic. And Goethe wished to work everything out from its very depths, and everywhere to show how, fundamentally, even the striving after the highest may at the same time be dangerous. What is there that may not be so? It stands to reason that all that is best may be dangerous. And how dangerous the best may be when Ahriman and Lucifer take a hand in things, was precisely the problem Goethe had so vividly in mind.

Thus he had his Faust in mind—the Faust who strove after the deepest secrets of existence, who was to be the realisation of what stood ever before Goethe's soul, namely, the direct perception of the living and spiritual in all nature and in all history. Goethe himself was striving to find again the spiritual secrets of the early Greek days. He wanted to unite himself with all that was alive and creative in a past epoch—in the fourth post-Atlantean epoch. This is what he wanted to put into form in the striving of his Faust after what was still living in Helen. Goethe sought the paths by which he could lead Faust to Helen. But he was quite conscious of the danger here. However justifiable, however high-minded, the striving might be, because it could so easily lead into luciferic channels it meant danger.

Thus Goethe first showed us Faust being drawn into the luciferic channel, paralyzed by the sudden appearance of Helen, paralyzed by association with the spiritual. Faust has called up Helen from the ‘realm of the Mothers’, at first having her before him only as a spiritual force. He is paralyzed by what he experiences spiritually. Inwardly he is filled with what he has absorbed. He lives in a living, spiritual element of ancient Greece but through it becomes paralyzed.

And in this condition we find him when Mephistopheles has brought him back to his cell, to his laboratory, paralyzed by his contact with the spiritual element of the past:

“Whom Helen paralyzes, use
Not likely to regain their reason.”

as Mephistopheles says. We see, too, how a certain rift has arisen between Faust, who has been drawn into the luciferic channel, and Mephistopheles. Whether the experience is altogether conscious or not, Faust with his soul, through luciferic impulse, has entered a different spiritual channel from that of Mephistopheles. They are now separated as if by the limits of their consciousness.

Faust is dreaming—as ordinary language would have it. He knows nothing of his old world in which he is presently living. But Mephistopheles is in it, through him everything ahrimanic also comes to life. Thus, in this sense we have essentially the two worlds clashing, and this is in accordance with truth. This collision is made clear to us, and it is remarkable how deeply Goethe, in his instinctive way, goes deeper than what is Spiritual Science. This collision is made clear to us through the unsuspecting Famulus now introduced, who imperturbably swings like a pendulum between the tremendous dangers surrounding him.

We may regard him as representing the type of man who is the victim of an unimaginative, unobservant nature, from which, often, he cannot escape. He sees nothing of what goes on around him. It is in the sense that we must understand all he says.

The whole milieu in which we now find ourselves is changed by Mephistopheles meeting with his former pupil who has now taken his degree. It looks as if he were right outside the picture I have just given you; however, he represents a caricature of it. He has been infused with all that the Kant-Fichte-Schelling-Hegel philosophy was able to give, and by Schlegel's interpretation of it all; but he takes this in a very narrow, egoistic sense. We may ask why he does so? This is indeed a pertinent question. Why has the graduate become what we now see? Is it possible that in him Goethe was wishing perhaps to make fun of the Jena philosophy he so much appreciated? Most certainly not! But in his opinion the student who had received from Mephistopheles the precept Eritus sicut Deus, scientes bonum et malum, would have been on this philosophical channel:

“Follow the ancient saw, follow the snake, my cousin,
God's image as thou art, thou'lt rue the way thou'st chosen.”

This impulse of the one-time student received from the Mephistopheles himself. Mephistopheles cannot complain if this old student gives him occasion to say: “How crude thou art, my friend, thou scarcely know'st” for he himself has planted all that in his soul, it is a seed of his sowing. This matured scholar has indeed taken the advice and followed Mephistopheles' cousin, the famous snake. And to begin with he has no qualms; they will come later. He is not made uneasy by the thought of his affinity with God, that he clearly refers to when announcing that he has created the world, it is he who has fashioned it.—This indeed has been accepted as the Kantian philosophy by many caricature-lovers, and even today it is still widely accepted.

Yes, my dear friends, we may indeed get to know people who take the philosophy of Kant even more egoistically than this scholar. We once knew a man who was so infected with this philosophy of Kant and Fichte that he did actually believe he had created the whole world. It had become an idée fixe with him that he had created it. I said to him at the time: Why, yes, certainly an an idea, as your idea, you have created the world, but there is something to be added to the idea. You created the idea of your own boots, but it was the shoemaker who made those boots of yours. You cannot say you made your own boots, though you may have created the idea of them.—Fundamentally, every genuine refutation, even Schopenhauer's philosophy of The World as Idea, is based on this problem of the shoemaker. Those things, however, are not always seen in the right light.

Thus the scholar meeting Mephistopheles in this way, is to some extent his victim. Philosophers have striven after the Absolute. In this man the striving after the Absolute has become a caricature. Mephistopheles has to caution him:

“Pray don't go home quite absolute.”

We see the connection with the spiritual culture of that time represented by Goethe in a very witty way. It is because the scenes are based on living reality that they are so vivid and so extraordinarily dramatic. Goethe strove again and again lead men beyond the ideas that savour rather of the tavern, ideas so often heard, such as: Ah, we should like to keep to what is good and to flee from Lucifer and Ahriman, have nothing to do with them.—It is because Goethe does not like these notions that he sometimes makes Mephistopheles quite sympathetic and kindly. For how pleasant it all is when the scholar, becoming altogether too absolute, the good Mephistopheles turns his chair round from this one scholar to the general public, to the younger pit-goers, looking there, as Goethe imagined it, for sympathy. And he makes Mephistopheles speak not merely like a devil but in a very apt way, because he knows how much of what belongs to Mephistopheles must be mixed with life for life to thrive at all, and how unwholesome are the ideas which, in the way we have shown, smell of the tavern. It is quite worth-while for once to reflect how Goethe himself did not remain cold with the coldness of the apathetic crowd. For this reason he makes his Mephistopheles expressed itself rather heatedly about the people who, as he observes, receive his wise maxims so indifferently. Goethe even then wanted to point out this coldness, though it was a long way from being as cold as the usual opinions and mood of soul today towards all that can penetrate to man from the spiritual life.

And now we see a genuine ahrimanic activity developing in the creation of Homunculus. It was not easy for Goethe to write a particular part of his Faust we have had before us here. Poets of a lesser degree can accomplish anything; circumstances permitting, such a poet would easily solve the problem of bringing Faust and Helen together. But Goethe was not a poet of that calibre; poetical creation was to him difficult and harassing. He had to find a way to bring Faust with all reality together with talent, with whom, as we have seen, he lived in another state of consciousness. He had to find some way, but was by no means clear how to find it. Faust had first to be taken down to the underworld, there to beg the help of Persephone in procuring him Helen in bodily form. But when Goethe wish to show Helen being fetched by Persephone, he felt that no ideas or concepts from the scene were forthcoming. For just think what was involved. Faust has got as far as reaching Helen imaginatively, in his soul's subconscious; he had, however, to reach her with those faculties natural to him in life. For that, Helen had to enter this sphere of consciousness. Therefore Goethe had to bring about, to a certain degree, Helen's embodiment. To this end he had recourse to what he knew from Paracelsus, whose works he had really studied, the treatise De Generatione Rerum being especially useful to him. There Paracelsus shows how homunculi may be produced by means of certain processes. It is easy, of course, for the modern man to say: Yes, but that was merely a mediaeval pre-possession of Paracelsus'. It is also easy for him to say: surely no one is asked to believe this phantasy of Paracelsus'.—True, as far as I'm concerned nobody need believe it. But it is well to consider that in this treatise De Generatione Rerum Paracelsus expressly assures us that by means of certain processes it is possible to produce something having indeed no body—mark that, please. Paracelsus expressly says that it has nobody, but faculties similar to those of the human soul, and rising to clairvoyance. Thus, Paracelsus was of the opinion that there were certain devices enabling men to produce a being that, without a physical body, develop a kind of understanding, a kind of intellectuality like human beings, and even something higher. It was of this that Goethe made use. Perhaps he thought to himself: Helen has entered the sphere of Faust's consciousness in a purely spiritual sense, but she must become more substantial.

This substantiality he brought about through the kind of being we have in Homunculus, who is as it were a bridge between the purely spiritual and the physical; for he himself has no physical body but a favorable moment originates from physical devices. So that we may say: The presence of Homunculus makes it possible to bring a quite spiritual Helen into the corporeal world where Faust has his home.

Now for all this Goethe naturally needed some kind of error, and this error is brought about in a roundabout way through Wagner. Through his materialistic mind Wagner is misled into the belief that Homunculus is entirely a material production. He could not have brought a real homunculus into being; for that, there would be required spiritual forces not at his disposal. These spiritual forces are supplied when Mephistopheles, the ahrimanic element, appears. For the ahrimanic impulse is given when something actually comes into being out of what Wagner has compounded. Had Wagner—either alone or perhaps with the help of the everywhere latent forces—succeeded in his experiment, it might have happened to him as it did to a man who wrote me some time ago saying that, at last, after endless effort, he had really brought little men to life in his room, but then could not get rid of them, he could not escape them. He wanted advice as to how he could save himself from these creatures, these living mechanisms, he had produced. They have since pursued him everywhere. One can well imagine what happens to the mind of such a man. There are, of course, still men today who have these adventures, just as there are still those who scoff at such things.

Through a coincidence, but only coincidence, at the time Goethe was writing the scene Johann Jakob Wagner, in Wurzburg, was maintaining that homunculi could be produced, and he gave the method for doing this. But it goes without saying that it is not true that Goethe took the name from him; for the name Wagner come from the old “Faust” then still in existence. This scene was first written down when Johann Jakob Wagner was still an infant.

It is due to Mephistopheles that, out of what Wagner has achieved, the Homunculus comes into being. But he does come into being, and is represented in the way Goethe had learnt from Paracelsus' instructions. And Homunculus does in fact immediately become clairvoyant, for he is able to see Faust's dream. he describes what Faust—more or less under the influence of Lucifer—is experiencing in another state of consciousness—how he has actually gained access to the Grecian world. In the description Homunculus we recognise the meeting of Zeus with Leda, the mother of Helen.

Thus we see how Goethe places a close juxtaposition the spiritual that lives in Faust, and Homunculus who knows how to grasp and interpret it. We see how Goethe works round to the ordinary physical world so that Helen can then enter it. And for all that is pictured later in the “Classical Walpurgis-night”, we see how Goethe tries to form the physical out of the eternal spiritual in Helen, with whom Faust has lived, while Homunculus traverses all the kingdoms of nature, and now taking to himself a physical body unites with Helen's spiritual element. By dint of Homunculus traversing the rounds of nature Helen becomes, externally on the physical plane, all that we find her in the third Act of the second Part of “Faust”. Thus Helen is born anew through Homunculus, through the metamorphosis is able to bring about in conjunction with all Faust is living through spiritually. This is what Goethe had in mind. This is why he introduces Homunculus and why he shows the relation between what Faust is, in a way, is dreaming, and what Homunculus sees.

With all this, Goethe comes very near true Occultism, that through Occultism of which I have often spoken, from which we are led away by abstract thinking and the desire to live in abstract concepts. I have often called attention to the way a certain one-sided cultivation of the principles of Christianity leads to the maturing of unreal, shadowy concepts as world-outlook, that are powerless to come to any understanding of real-life. And men stands to-day at the mercy of such concepts. On the one hand they have a purely mechanical knowledge of nature that, however, is no knowledge but merely a system out of which all life has been driven.

“Encheiresis naturae, Chemistry calls it,
Mocking itself, not knowing what befalls it.”

says Mephistopheles. This on the one hand that wants merely to copy down what happens outwardly, and on the other hand concepts drawn from any kind of spiritual source, either represented pantheistically or existing in some cloud-cuckoo-land of shadowy concepts, neither capable of entering right into life, nor of grasping its reality.

It is for this reason I have been pointing out how Spiritual Science is able to understand once again the real, actual, human being, for example, and to say: This human head is, from one point of view, only what the anatomist makes of it by describing it purely externally, but it is not merely what is outwardly the body for an abstract concept of a soul floating in cloud-cuckoo-land; this head must be understood as having undergone a transformation, a metamorphosis, from the body of a previous incarnation and is formed, as I have explained in recent lectures, out of the spheres of the entire cosmos. The essential thing for which concrete spiritual science must strive is to fit what is thus formed into the material world by means of concepts—concepts that do not float in the general and abstract. For what is most feared today by many bigotted Christian pastors, and people of that kind, with their unsubstantial abstractions of God and eternity, is precisely this living comprehension of the world, this concrete grasping of the material that is, indeed, at the same time a revelation of the spiritual. This diving into the real world with concepts is what man today will not have. And it is just this to which Goethe wants so vigorously to point. Hence he contrasts the spirit of Homunculus, the real, genuine spiritual that then lives on, though in a different way, in the consciousness of Faust, this way of beholding, he contrasts with the world as Mephistopheles would have it—a world derived from the association-forming tendency of the Christian middle-ages, in which is extinguished everything spiritual that approaches man's soul. Therefore Homunculus sees what is visible neither to Wagner not to Mephistopheles. Hence because Mephistopheles says:

“Marry, what moonshine dost thou not narrate!
Small as thou art, thou art a dreamer great.
Naught see I—”

Homunculus answers:

“No! The North thy heritage is,
Thy birth was in the misty ages,
The waste of priesthood and of chivalry.
And how should there thine eye be free?
In murkiness thou art at home.”

Goethe is consciously striving for a concrete grasp of reality.

I have drawn attention to the fact that here, in the passage of course where Homunculus is speaking to Mephistopheles, by some mischance a line has been left out. For in all the editions we read:

“No! The North thy heritage is,
Thy birth was in the misty ages,
The waste of priesthood and of chivalry.
And how should there thine eye be free?
In murkiness thou art at home.”

The rhyme to ‘home’ is missing.

“Dingy-brown stone-work, mouldered, horrid,
And Gothic-arched, ignoble, florid.”

Now there is no reason why the rhyme here should be missing; it must have happened therefore by some accident in the dictation that a line was missed that must perhaps have run like this:

“But what we make of this gloom?”

Thus Homunculus, having seen that Mephistopheles does not understand him, shows him clearly how by living in abstractions men have separated themselves from the concrete, spiritual world. This has arisen through the misty concepts that have been developed and have led to the narrowness in all the affairs of life in which Faust grew up, from which, however, he grew away. But the devil in Mephistopheles feels at home there. This is perhaps why Homunculus says:

“No! The North thy heritage is,
Thy birth was in the misty ages,”

By the ‘misty ages’ he means the Middle Ages, but with a play upon the old German name Nivelheim. (The line in German runs Im Nebelalter jung geworden.) Jung geworden (grown young) is an old expression—and a very good one. Just as one grows old in the physical world, so one grows young when one is born into the spiritual world. Thus, in the old German expression, to ‘become young’ meant to ‘be born,’ and is clear evidence that in language there was an understanding of the spiritual.

And now he looks about him in the gloom and sees all that is there:

“Dingy-brown stone-work, mouldered, horrid,
And Gothic-arched, ignoble, florid.”

Then:

“Awakens he here, new cares we've got.”

for he must be brought into a life that is fully living if he has no wish for merely abstract concepts. Faust has no desire, for example, to have ancient Greece pictured according to the humanists or philologists; he wants to live, really live, within ancient Greece, by having Helen, as its representative, appearing bodily before him.

Thus throughout this scent we see Goethe's wonderful feeling for the concrete. We may say indeed that every word of the poetry Goethe wrote in his old age came out of a profound experience of the world. And that gives weight to these words, enormous weight, and gives them also immortality. For how fine in this respect are the words here spoken by Mephistopheles—words acquiring their special colouring from this fact:

“Alack! Away! Forbear of yonder squabble
'Twixt tyranny and slavery to babble!
It irks me. Scarce 'tis ended when de novo
With the whole farce they start again ab ovo,
Yet none doth mark he is but made a fool
By Asmodeus who the strings doth pull.”

(By the devil of discord, with whom Mephistopheles feels himself thoroughly akin.)

“They fight for freedom—so themselves they flatter.” We feel ourselves transported almost into the present, for now too we fight for freedom. But Goethe retorts:

“Slaves against slaves, if you but sift the matter.”

To sum up, my dear friends, we might say: If only the time might come when all the striving of such a poem, as we find it revealed in Goethe by this scene, might be continued on into what should arise through present-day Spiritual Science, if only what lies in such a story of endeavour might take more hold on men, might find a haven in their souls—then we might indeed go forward as real men.

But instead, since the days of Goethe, the abstraction of all endeavour has made infinitely greater progress. Here is the point where the striver after Spiritual Science—whether or not he rises to Goethe's level—should try to become clear as to the difference between concrete spiritual endeavor and the spiritual endeavor that is abstract. You see, the study of Spiritual Science gives us concepts by means of which we can really immerse ourselves in reality and learn to understand it. Materialism gives no real concepts only the shadows of them. So how can materialism understand the difference we have made clear between the human head and the rest of the body? Or how can it understand the following, for example. Let us take a concept that is infinitely important.

We know that man has his physical body, his etheric body, his astral body and his ego. The animal has its physical body, etheric body and astral body. Let us look at the animal. It is interesting to watch animals when, having eaten their fill in the meadow, they lie down to digest. It is very interesting to watch this—and why? Because the animal with its astral being has withdrawn entirely into the etheric body. What then is its soul doing while the animal is digesting? The soul is taking part with infinity satisfaction in what is happening to the body. It lies there and watches itself digesting and this gives the animal immense satisfaction. It is interesting to see a cow, for instance, digesting spiritually as she lies there, to see how all the processes involved when foodstuffs are received into the stomach and utilised in the other parts of the body are inwardly visible to her. The animal looks on at these processes with inner satisfaction, because of the intimate correspondence between her astral and ether bodies. The astral is living in what the etheric body reflects of the physico-chemical processes whereby the foodstuffs are introduced into the organism. It is a whole world that the cow sees! True, this world consists only of the cow and the processes taking place within her, but truly, though all that this astral body perceives in the etheric body of the cow consist sonly of the processes within her own horizon, within her sphere, everything is so magnified that it is as large in the consciousness of the cow as our human consciousness when it reaches to the firmament. I should have to draw the processes taking place between the stomach and the rest of the cow's organism as a large sphere growing and expanding to a vast area, since at this moment for the cow there is nothing beyond the cow-cosmos—and this is of a gigantic size.

This is no jest but a fact. And the cow has a feeling of exaltation when seeing her cosmos thus, seeing herself as cosmos. Here we have an insight into the concrete nature of animals. For, man having an ego, the astral body is torn by it from that intimate union with the etheric body existing, for example, in the cow. Astral body and etheric body are torn asunder. Hence, when man digests after a meal he is deprived of the capacity to survey the whole digestive process of the cosmos. He remains unconscious of it all. Against that, the ego by its activities so restricts the impulses of the etheric body that they are only grasped by the astral body in the region of the sense organs. So that what in the animal forms a whole with the astral body is in men concentrated in the sense organs. That is why the sense-process in man is as great as in certain moments the animal process is for the animal.

It is in a measure a defect in man that, when he begins his afternoon nap, he cannot as he dreams look on at his digestion, for he would then see a whole world. But the ego tears man's astral body away from that world, and only allows him to see as cosmos what is going on in his sense organs.

I wanted to refer to this merely as an example, for from it we see that concrete Spiritual Science mut enter into the very essence of things with concepts that are not shadowy but go deep into reality. All concepts of Spiritual Science should be such that they go deep into reality. It is a characteristic phenomenon, however, of the materialistic age that it despises concepts of this nature; it will have nothing to do with them. Where knowledge of nature is concerned this leads in reality to lack of any knowledge at all. In life it leads to a much greater lack. It makes it impossible for man to have any sense of concrete concepts, concepts full of content. Hence, materialistic education is at the same time an education in shadowy concepts, empty of content. The two things run absolutely parallel—not to be able to understand reality in a spiritual way, to lack upon everything as a mechanism; and to be incapableof forming any concepts that can really enter into the connections of the world or of humanity.

And it is from this point of view that the present time must be understood, for that is precisely where the difficulties today arise. There are now, certainly, people with idealistic natures, but they are the idealists of a materialistic age, and for that reason talk in shadowy, general concepts, unable to gras reality, or at best grasping it only indirectly through emotion, and these idealists blow their own trumpets in the world as loudly as possible. While on the other hand as regards knowledge of nature the capacity to understand her is lacking, on the other hand we have the inevitable parallel phenomenon—the holding forth of shadowy concepts. And when men talk so, they are indeed not talking of anything that is unreal in itself but of what is connected in the worst possible way with the painful events of the present time.

In Goethe's day things had not gone so far, but today we are confronted with a wide-spread lack of power to see any difference at all between a shadowy and a real concept. Wagner, as pictured by Goethe, lives entirely in shadowy concepts, and Homunculus even tries to prove to him that he does so. For instance, when Wagner has anxiously asked:

“And I pray
What becomes of me when you all go away?”

Homunculus answers:

“Oh
Thou'llt stay at home, most weighty work to do.
The ancient parchments thou'llt unroll, no doubt,
The elements of life by precept single out,
And each to other fit with foresight due. Ponder
The what, more to the how thy thoughts apply.
Whillst through a portion of the world I'll wander
Belike I'll find the dot upon the i.”

When I read this passage it always makes me realise anew how it is taken straight from life, particularly the life of the pundits. For I know of a medical examination in which a young student came up before a very learned man, a historian, and as such pre-eminently an authority on old documents, and a professor of Historical Science. It was chiefly under him that the young medical student had studied. Among the questions he asked was this: Now, tell me, Mr X, in which papal Bull was the dot over the i first used? The student knew that at once and answered: Innocent IV's. Now another historian, of a different kind, was present. He wanted to play the part of Mephistopheles a little, so he said: Look here, my dear colleague, as I am the other examiner let me now ask the candidate a question. Tell me, Mr. X, when did this Innocent IV ascend the Papal Chair? The student did not know. Then when did Innocent IV die? The student did not know. Well then, tell me anything else at all you know about Innocent IV beyond the fact that in his Bulls the i was first dotted. But the candidate again could give no answer. Then the Professor who had to do with ancient documents and parchments said: But Mr. X, you seem to be a complete blockhead today. Then the other, still wishing to play Mephistopheles, replied: But, my dear colleague, is not this your favourite pupil? What can have turned him into a blockhead?

So then, the good Wagner, being different from Homunculus, was able to discover the dot over the i in his parchment. But since that time, thought that is abstract and purely conceptual has become universal and historic. Thus it has become possible for us to see the spectacle playing a profound part in the whole world-history—that, in an important affair, there appears before the world a document living entirely in shadow concepts. Nothing more unreal and less in conformity with the actual can be imagined thatn the note recently sent by Woodrow Wilson to the Senate of the United States of America. Today when it is only of use to understand the realities of the world, weakness is found in high places. Something different is needed from shadowy concepts, concepts that are mere shadows.

And here we may well ask ourselves whether suffering is to continue endlessly because in high places men of a materialistic civilisation flee reality, and can only grasp shadows instead of concepts? I know, my dear friends, that when we are comng up against events of such sadness as those of the present, there is little understanding to be found, for today there are very few men who can grasp the difference between shadowy concepts and reality. For the pure idealist—naturally idealism is always worthy of recognition—not understanding spiritual reality, will think it fine, infinitely fine, when people speak beautifully of Freedom and the Rights of Man, of International Federation and things of the kind. They do not see where the harm lies in these things; the lack of such insight is wide-spread.

So little understanding is there, that it makes us see the meaning of what Mephistophleles says after leaving Nicodemus. For, after all, many who rank today as people of importance speak as the scholar spoke, and even if they do not claim to have created the whole world, at any rate wish to govern it according to their dreary shadow concepts. Men have no wish to make progress in such things. They remain children forever, children who can believe that it is possible to rule the world with dummy concepts. Hence we can appreciate the meaning of those words of Mephistopheles:

“I see my word hath left you cold,
Ye artless bairns. Yet I'll not take it evil.
Think though, the Devil is old; grow old
If ye would understand the Devil.”

Those who believe the world can be governed by shadow concepts, do not understand anything of what Goethe is saying through the mouth of the Devil when the Devil speaks the truth.

We may take the Homunculus scene in the second Part of Goethe's Faust as a lecture on the understanding of the real, the actual, in our age that is dominated by dummy concepts. But these matters must really be taken very seriously. And for us in particular, my dear friends, it is most important to form really clear concepts about all the various pronouncements so plentiful in the world today and during many past decades, which have finally brought us to the present situation.

My dear friends,

What I am going to speak about this evening I should like to link on to the scenes we have just witnessed. And what can be said in this regard will fit in well with the whole course of our present considerations.

Now I have often spoken here before about the importance of the ‘Mothers scene’ in the second part of Goethe's “Faust”; this scene, however, is of such a nature that one can repeatedly return to it because through its significant content, apart from the aesthetic value of the way in which it is introduced into the poem, it really contains a kind of culminating point of all that is spiritual in present day life. And if this ‘Mothers scene’ is allowed to work upon us, we shall well be able to say that it contains a very great deal of all that Goethe is wishing to indicate. It comes indeed out of Goethe's immediate soul experiences just as on the other it throws light on the significant, deep knowledge that we are obliged to recognise in him if we are to have any notion at all of what is meant by this scene where Faust is offered by Mephistopeles the possibility of descending to the Mothers. If we notice how, on Faust's reappearing and coming forth from the Mothers, the Astrologer refers to him as ‘priest’, and that Faust henceforward refers to himself as ‘priest’, we have to realise that there is something of deep import in this conversion of what Faust has been before into the priest. He has descended to the Mothers: he has gone through some kind of transformation. Leaving aside what one otherwise knows of the matter and what has been said by us in the course of years, we need reflect only upon how the Greek poets, in speaking of the Mysteries, refer to those who were initiated as having learnt to know the three world-Mothers—Rhea, Demeter and Proserpina. These three Mothers, their being, what they essentially are—all this was said to be learnt through direct perception by those initiated into the Mysteries in Greece.

When we dwell upon the significant manner in which Goethe speaks in this scene, and also upon what takes place in the next, we shall no longer be in any doubt that in reality Faust has been led into regions, into kingdoms, that Goethe thought to be like that kingdom of the Mothers into which the initiate into the Greek Mysteries was led. By this we are shown how full of import Goethe's meaning is.

And now remind yourselves of how the moment Mephistopheles mentions the word ‘Mothers’ Faust shudders, saying what is so full of meaning: “Mothers, Mothers! How strange that sounds!” And this is all introduced by Mephistopheles' words “It is with reluctance that I disclose the higher mystery.” Thus it is really a matter here of something hidden, a mystery, that Goethe, in this half secret way, found necessary to impart to the world in connection with the development of his Faust.

We must now ask, and are able to do so on the basis of what we have been considering during these past years, what is supposed to happen to Faust in the moment that this higher mystery is unveiled before him? Into what world is he led? The world, into which he is led, the world he now enters, is the spiritual world immediately bordering on our physical one.

Please remember clearly how I have already said that the crossing of the threshold into this world beyond the border must be approached in thought with great caution. As I said, this is because between the world that we observe with our senses and understand with our intellect, and that world from which the -physical one arises, there is a borderland as it were, a sphere where one may easily fall into deception and illusion when not sufficiently developed and prepared. It might be said that only in the world comprehended by the senses are there definite forms, definite outlines and boundaries. These do not exist in the world that is on other side of the border. This is something that it is very difficult to get the modern materialistic intellect to grasp—that in the moment that the threshold is passed everything is in constant movement, and the world of the senses rises out of all this continual movement like petrified forms.

It is into this world so penetrated by movement—the imaginative world—that Faust is now transplanted; transplanted, however, by an external cause end not by gradual painstaking meditation. The cause comes from without. It is Mephistopheles, the force of evil working into the physical, who takes him over to the other world.

And now there is something to which we must be very much alive to if we are not to develop errornous opinions in this sphere. We, in anthroposophical circles, are seeking knowledge of the spiritual world. And everything said in the book “Knowledge of the Higher Worlds,” and other books of that nature, about the exercises for gaining admittance into those worlds, goes no farther than the means by which this knowledge may be obtained. And here, as far as the present time and necessity are concerned in the giving out of these things to the world, it goes without saying that a halt must be made. Anyone wishing to advance beyond this, will come to the sphere that can be called the sphere of action in the supersensible world. This must be left to each individual. When he has once found the security of knowledge, he himself must undertake the action. But in what is meant to proceed between Faust and Mephistopheles this is not the case. Faust has actually to produce the departed Paris and Helen; therefore he does not only have to look into the spiritual world, he does not have to be an initiate only, but a magician, and must accomplish magical actions. It very clearly shown here in the way this scene is handled by Goethe how deeply familiar he was with certain hidden things in the human soul. The state of Faust's consciousness has to be changed. But at the same time he has to be given power to act out of supersensible impulses.

In his connection with Faust, Mephistopheles, in his capacity as an ahrimanic force, belongs to our world of the senses, but as a supersensible being. He has been transplanted. He has no power over the worlds into which Faust is now to be transplanted. They really do not exist for him. Faust has to pass over into a different state of consciousness that perceives, beneath the foundation of our world of the senses, the never-ceasing weaving and living, surging and becoming, from which our sense-world is drawn. And Faust is to become acquainted with the forces that are there below.

The ‘Mothers’ is a name not without significance for entering this world. Think of the connection of the word ‘Mothers’ with everything that is growing, becoming. In the attributes of the mother is the union of what is physical and material with what is not. Picture to yourselves the coming into physical existence of the human creature, his incarnation. You must picture a certain process that takes place through the interworking of the cosmos with the mother-principle, before the union of the male and female is consummated. The man who is about to become physical prepares himself beforehand in the female element. And we must now make a picture of this preparation that is confined to what goes on up to the moment when impregnation takes place—all therefore that takes place before impregnation. One has a quite wrong and materialistically biased notion if one imagines that there lie already formed in the woman all the forces that lead to the physical human embryo. That is not so. A working of the cosmic forces of the spheres takes place; into the woman work cosmic forces. The human embryo is always a result of cosmic activity. What is described in materialistic natural science as the germ-cell is in a certain measure produced out of the mother alone, but it is a counterpart of the great cosmic germ-cell.

Let us hold this picture in mind—this becoming of the human germ-cell before impregnation, and let us ask ourselves what the Greeks looked for in their three mothers, Rhea, Demeter and Proserpina. In these three Mothers they saw a picture of those forces that, working down out of the cosmos, prepare the human cell. These forces however do not come from the part of the cosmos that belongs to the physical but to the supersensible. The Mothers Demeter, Rhea and Proserpina belong to the supersensible world. No wonder then that Faust has the feeling that an unknown kingdom is making its presence felt when the word ‘Mothers’ is spoken.

Now think, my dear friends, what Faust really has to experience. If it were purely a matter of imaginative knowledge he would only need to be led into the normal state of meditation but, as has been said, he has to accomplish magical actions. For that it is necessary that the ordinary understanding, the ordinary intellect, with which men perceives the world of the senses, should cease to function. This intellect begins with incarnation into a physical body and ends with physical death. And it is this intellect in Faust that must be damped-down, clouded. He has to recognise that his intellect should cease to work. He must be taken up with his soul into a different region. This naturally should be understood as a significant factor in Faust is development.

Now how does the matter appear from Mephistopheles' point of view? We must understand that there is danger in the fact that it is Mephistopheles who has to transform Faust's state of consciousness. And it gives the former himself a sense of uneasiness; in a certain way it becomes dangerous for him also. What then are the possibilities? They are twofold. Faust may acquire the new state of consciousness, learn to know the other world from which he can draw upon miraculous forces, and go to and fro from one world to the other, thus emancipating himself from Mephistopheles for he would then learn to know a world where the latter had no place. With that he would, become free from Mephistopheles. The other possibility would be that all might go very badly and Faust's intellect become clouded. Mephistopheles really puts himself in a very awkward situation. However, he has to do something. He has to give Faust the possibility of fulfilling his promise. He hopes that in some way or another the matter may arrange itself, for he wants neither of the alternatives. He does not want Faust to grow away from him nor does he wish him to be completely paralysed.

I ask you to think over this and then to remember that it is all this that Goethe wants to indicate. In this scene of Faust he wishes to point out to the world that there is a spiritual kingdom, and that here he is showing the way in which man can relate himself to it. This is how things are connected.

Since the beginning of the fifth post-Atlantean epoch the knowledge of these things has to a great extent been lost. I have told you that Goethe applied the knowledge he had personally received through great spiritual vision. The whole connection with the Mothers had entered into Goethe's soul when he read Plutarch. For Plutarch, the Roman story-teller whom Goethe read, speaks of the Mothers; and the following particular scene in Plutarch seems to have made a deep impression on Goethe. The Romans were at war with Carthage. Nicias is in favour of the Romans and wishes to seize the town of Engyon from the Carthaginians; he is therefore to be given over to the Carthaginians. So he feigns madness and runs through the streets crying “The Mothers—the Mothers are pursuing me!” From this you may see that in the time of which Plutarch writes this relation of the Mothers is brought into connection not with the normal understanding of the senses, but with a condition of man when this normal understanding is not present. It is beyond all doubt that what Goethe read in Plutarch stirred him to bring to expression in his “Faust” this idea of the Mothers.

We also find mention in Plutarch of how the world has a triangular form. Now naturally these words ‘the world has a triangular form’ must not be taken in a heavy literal sense, for the spatial is but a symbol of what has neither time nor space. Since we live in space, spatial images must be used for what is nevertheless beyond image, time or space.

Thus Plutarch gives the picture of a triangular world. This the whole world (see diagram). According to Plutarch in the centre of this triangle that is the world, the field of truth is found. Now out of this whole world Plutarch differentiates 183 worlds. 183 worlds, so he says, are in the whole circumference; they move around, and in the middle is this resting field of truth. This resting field of truth Plutarch describes as being separated by time from the surrounding 183 worlds—sixty on each of the three sides of the triangle and one at each angle makes 183. When, therefore, you take this imagination of Plutarch's, you have a world considered as consisting of three parts and in the cloud formation around it the 183 worlds welling and surging. That is at the same time the imagination for the “Mothers.” The number 183 is given by Plutarch.

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Thus Plutarch, who in a certain sense held sway over the mystery wisdom, quoted the remarkable number 183. Let us now reckon how many worlds we get if we make a correct calculation up to the time of Plutarch's world. We must do so in the following way:

You see how when we apply our own way of reckoning and correctly calculate the separate divisions and the whole world, as they have made their evolutions up to the time of the fourth Post-Atlantean epoch when Plutarch lived, we can truthfully say that we get 183 worlds.

Moreover, when we take our Earth upon which we are still evolving, and about which we cannot speak as of something completed, and when we look from this Earth to Saturn, Sun and Moon, there we find the “Mothers” that figure in another form in the Greek Mysteries under names Proserpina, Demeter and Rhea. For all the forces that are in Saturn, Sun and Moon are still working—working on into our own time. And those forces that are physical are but the shadow, the image, of what is spiritual. Everything physical is a mere picture of the spiritual.

Consider this. If you do not take simply its outward, gross physical body, but its forces, its impulses, the Moon with its forces is at the same time in the Earth. The being of the Moon belongs to the being of the Earth. If you only want a realistic picture, you need to imagine it thus. Here is the Earth (see diagram); here you have a shaft connected with the Moon, and the Moon is turned round on it The shaft, however, has no physical existence. And all that is Moon-impulse is not only here in the Moon but this sphere penetrates the Earth.

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We now ask whether these forces thus related to the Moon have a real existence anywhere. The Greeks looked upon them as mysterious, as very full of mystery. And our modern destiny is connected with the fact that these forces no longer retain their character as mysteries but have been made available for all. If we only concentrate on this one thing, on these forces that are connected with the Moon—then we have one of the Mothers. What is this one Mother? We shall best approach the answer to this question in the following way.

In order to have a picture let us take any river—say the Rhine. What is the actual Rhine? On reflection—I have already spoken of this here—no one is really able to say what the Rhine is. It is called the Rhine. But what actually is it when we look into the matter? Is it the water? But in the next moment that has flowed away water has water has taken its place. It flows into the North Sea and other water and follows it, and that goes on continuously. Then what is the Rhine? Is the Rhine the trough, the bed? But no one believes that, for were the water not there no one would think of the bed as the Rhine. When you use the word ‘Rhine’ you are not referring to anything really there but to something in a constant state of metamorphosis—which, however, in certain sense does not change. If we picture this diagrammatically (see diagram) and assume that this is the Rhine and this the water that flows into it—well, now, this water is always evaporating and descending again.

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If you consider that all rivers belong to one another, you will have to take into your calculations that the water evaporates and then falls again. To a certain extent the water that flows from its source down to its mouth always comes over again from the same reservoir in its rising and flowing down. The water completes its circulation here. But this water is divided up an extended over the surroundings; naturally you cannot follow the course of each drop. All the water that belongs to the earth, however, must be considered as a whole. The question of rejuvenating water does not come into consideration here, This is what happens where the water is concerned.

Something the same happens with the air, and in yet another case. If you have a telegraph station here and here another, you know that it is only a wire that connects them. The other connection is set up by means of the whole earth, the current goes down into the earth. Here is the place where it is earthed. The whole goes through the earth.

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Now if you make a picture of these two things you have the water, the running water that spreads itself out and sets itself in circulation; and if on the other hand you imagine the electricity spreading itself out down in the earth, then you have two things at different poles—two opposed realities. I am only indicating here, for you can piece it together yourselves out of any elementary book on physics. But we are led to the conclusion that in electricity you have under the earth the opposite of what goes on above the earth in the circulation of the water.

What is there under the earth ruling as the being of electricity is Moon-impulse that has been left behind. It definitely does not belong to the earth. It is impulse remaining over from the Moon and was spoken of as such by the Greeks. And the Greeks still had knowledge of the relation between this force, distributed throughout the whole earth, and the reproductive forces. And there is this relation with the forces of growth and of increase. This was one of the ‘Mothers.’

Now you can imagine that all these premonitions of mighty connections did not arise before Faust merely as theories, but he felt himself obliged to seek out—to enter right into these impulses. Knowledge of this force was first of all given to those being initiated into the Greek Mysteries, this force together with the two other Mothers. The Greeks held all that was connected with electricity in secret in the Mysteries. And herein is where lies the decadence of the future of the earth—of which I have already spoken from another point of view—that these forces will be made public. One of these forces has already become so during the fifth post-Atlantean epoch—electricity. The others will be known about in the decadence of the sixth and seventh epochs.

All this, even in the decadent new secret societies, is still among the things about which their conservative members will not speak. Goethe quite rightly judged it fit to give out knowledge of these things in the only way possible for him in that age. At the same time, however, you have one of the passages from which you can see how the great poet Goethe did not simply write as other poets write, but that each word of his bore its special impress and had its appointed place.

Take for example the relation of the Mothers to electricity. Goethe belongs to those who treat of such things out of a thoroughly expert knowledge.

“Do you now see what one possesses in it?
The key will ferret out the proper place.
Follow it up, it leads you to the Mothers.”

And Faust:

“To the ‘Mothers’. That strikes me always like a shock!”

as if he had received an electric shock. This is written with intention—not haphazardly. In this scene nothing in connection with the matter in question is haphazard.

Mephistopheles gives Faust a picture of what he is to find as the impulses of the 183 worlds. This picture works in Faust's soul as it should work, for Faust has gone through many things that bring him near the spiritual worlds. On that account these things already affect him.

This is what I wanted chiefly to dwell upon, my dear friends, hew Goethe is wishing to set forth the most significant matters in this 'Mothers' scene. And by all this you can see from what worlds—what worlds of different consciousness—Faust has to bring Paris and Helen. Because Goethe is dealing with something of such supreme significance, what is spoken in this scene is actually different from what it appears at first sight. What Faust brings with him from these worlds—what I have already referred to—is recognised by the others who have assembled for a kind of drama. What makes them see it? It is half suggested: but by whom? By the Astrologer; and for that he has been chosen as astrologer. His words possess suggestive power. This is clearly expressed. These astrologers had an inherent art of influencing through suggestion, not the best kind of suggestion but an ahrimanic one. What then is our Astrologer actually doing as he stands among these courtiers, who really are not pictured as being particularly bright,—what is he doing? He is putting into them by suggestion what is necessary for all that has arisen as a special world through Faust's changed consciousness to become present in their minds. Remember what I showed you, what I once said to you, that nowadays it can be actually proved that spoken words produce a trembling in certain substances. You will surely find it in one or another of the lectures I have previously given here. I have wanted to remark upon this to show you how today the real nature of the conjuration scene can be demonstrated by experiment. Out of the smoke of the incense and the appropriate accompanying word is really developed what Faust brings for his consciousness out of quite another world. But this must be brought to the minds of the courtiers and made fully clear to them through the suggestive power of the Astrologer. What then does he do? He insinuates. He has the task of insinuating all this into the courtiers' ears. But insinuation is devil's rhetoric. So that through the words ‘insinuation is devil's rhetoric’ the devilish nature of the astrologer's art is brought home to us. That is the one meaning of the sentence. The other is connected with what actually happens on the stage. The devil sits in the prompter's box making his insinuations from there.

Here you have a very prototype of a sentence signifying two different things. You have the purely scenic significance of the devil himself sitting, insinuation from the prompter's box, and the reality of this—the Astrologer insinuating to the Court. In the way he does this it is a devilish art. Thus, if you go to work in the right way, you will find many sentences here with double meaning. Goethe employs this ambiguity because he wishes to represent something that actually happened but did not do so purely in a course-grained, material fashion. It can be performed thus, but its reality has nothing to do with the physical. Goethe, however, wanted to portray something that actually happened and was moreover an impulse in modern history and played a part there. He did not intend that something of this kind was simply to be performed, he meant to show that these impulses had already flowed into modern history, were already there, were working. He wanted to represent a reality, and to say that, in what has been developing since the sixteenth century, the devil has definitely played a part. If you take this scene seriously you will got the two sides of the matter, and you will realise how Goethe knew that spiritual beings were playing into historic processes. And at the end you come to what I have so often indicated, namely, that Faust is not yet sufficiently developed to bring the matter to a conclusion, that he has not derived the possibility of entering other worlds from the right source but from the power of Mephistopheles. All this is what forms the last part of the scene.

I shall add more to this tomorrow and bring our considerations further. But you have seen enough to know that in what Goethe wishes to say much of what we have been studying lately receives new light.

In the evolution of mankind, as I have recently been showing, inner spiritual connections prevail, which send their influences through the soul of man. I showed this in relation to Goethe's endeavours in his Faust, where he relates Faust to the impulse of the fifth post-Atlantean age by associating him with Mephistopheles, an Ahrimanic power. I then tried to show how Faust had to dive down into the impulses of the fourth post-Atlantean age, which I tried to describe in their real essence. All this is necessary, so that there takes place in the soul of Faust a conscious interpenetration of that which prevails unconsciously in human souls by virtue of the laws of evolution.

I said that the fifth post-Atlantean epoch—our epoch—will have to do with the great and significant life-question of Evil,—the mastery of Evil in all directions. Human beings will have to learn to know all that the soul must rouse and bring forth within itself in order partly to overcome the powers of Evil, partly to transmute them into impulses of Good. All this has arisen on the foundation of the impulses of the fourth post-Atlantean epoch, which had to do especially with the problem of Birth and Death,—a problem which it had received as heritage from Atlantean time. We need only turn our gaze to the Christ-Impulse itself, entering in as it did in the first third of the fourth post-Atlantean period. This period began with the founding of Rome in the year 747 before the Birth of Christ. Thus, of the 2160 years of the fourth post-Atlantean epoch, 747 years had to run their course before the main impulse—the Christ-Impulse could enter in, as indeed it did precisely in this fourth post-Atlantean epoch. Has not the Christ-Impulse to do with the great and important question that summons into the evolution of mankind problems of Birth and Death in their supersensible significance? How much discussion, how much thought and feeling has there not been on Christian soil about the Birth of Christ! How infinitely significant a part is played by the Death of Christ! In the Birth and Death of Christ we see most pregnantly this wrestling of the soul of man with the problem of Birth and Death. It was a wrestling in the soul, because the same struggle had already been there in a more elemental, in a more physical form in the great Atlantean epoch. Notably in the fourth civilisation-epoch of Atiantis-in the middle of Atlantean time, and as an after-effect in the fifth period also,—forces connected with Birth and Death were subject to the power of individual human beings. I have already described some aspects of this fact. Forces there were in the Atlanteans—forces that could be developed and that had influence on Birth and Death in a far more than merely natural degree. The good and evil forces in the human being had a far-reaching influence upon the health and sickness of their fellowmen, and thereby also upon Birth and Death. In Atlantean time one saw an actual connection between the things one did as human being and what took place in the so-called “course of Nature,” as Birth and Death.

In post-Atlantean time—in the fourth civilisation-epoch of post-Atlantean time—this problem of Birth and Death was transplanted more into the region of the soul. But in our epoch, in the fifth, human beings will have to grapple with the forces of Evil in an elemental way, just as they did with Birth and Death in Atlantean time. Notably through the quite different mastery over the forces of Nature, the impulses of Evil will work into the world on a grand scale, in a gigantic way. In the resistance which human beings will have to summon forth from spiritual depths, the opposite forces—the forces of Good—will have to grow. And in particular, already during the fifth epoch it will be possible for men to bring Evil over the Earth, by exploiting the force of Electricity, which will assume far greater dimensions than hitherto. Even directly out of the force of Electricity itself, Evil comes over the Earth.

We need to place these things before our consciousness. He who desires to receive the spiritual impulses will then find points of resistance; he will find the starting-points for those impulses which must evolve by the very resistance of Evil. It is difficult as yet to speak in any detail in this connection; for in the widest spheres as yet, these details touch on interests of human beings which they do not wish to have molested. In this respect, human beings are divided. On the one hand are those who suffer greatly, because they cannot clearly realise how they are interwoven with World-Karma; how they simply must take part in this thing or that, and cannot become abstractly pious all at once. On the other hand are those who in many ways are caught up in this World-Karma of the fifth post-Atlantean epoch. They would rather not hear of what is really contained in the impusles that are going through the world, for it is often to their interest to represent as constructive the very impulses that are destructive. We have described, how since the last third of the nineteenth century there have been working among human beings those Beings whom I characterised as fallen Spirits of Darkness—Beings of the hierarchy of Angeloi. In the fourth post-Atlantean period, these Beings were still ministering members of the good, progressive Powers. They served in the creation of those orders which, as I told you, are derived out of the blood-relationship of men. Now they are in the realm of men, and as Angel-beings who have remained behind, they work into the inner impulses of human beings, to make effective in a retrogressive way—and thereby in an Ahrimanic way—all that which is connected with relationships of blood and clan, nation and race. Thereby they work to mar and to hinder those other social structures of mankind which should now arise out of quite other foundations than for example the bonds of blood, of family and race, clan and nation. To-day a very serious beginning of the work of these Spirits consists precisely in the abstract emphasis that is laid on the principle of Nationality. This abstract emphasis on Nationality, this setting up of programmes on the foundations of a national principle, is among those endeavours which we must attribute to the Spirits of Darkness who will stand far nearer to man—who will approach man in a far more intimate way—than did the backward Spirits of the fourth post-Atlantean period. The latter belong to the hierarchy of Archangeloi. Precisely this will be the significant aspect of the fifth post-Atlantean epoch. These Beings who stand immediately above the hierarchy of Man—these Angel-beings—are able to approach the individual human being very nearly and intimately. They do not merely approach the groups. The individual will believe that he is representing things out of his own personal impulse, where in reality—for we can truly put it so—he is possessed by the kind of Angel-being of whom we have been speaking.

Let us once more make clear to ourselves, what was the nature of the efforts of the backward retrogressive Spirits of Darkness of the fourth post-Atlantean epoch. For we shall then be more able to understand what is the nature of their efforts in our present, fifth post-Atlantean epoch. In the fourth post-Atlantean epoch, as I have told you, it was the normal thing to build all the social structure of humanity upon the bonds of blood—blood-relationship. During that time—that is, during the Graeco-Latin civilisation-epoch—the Ahrimanic-Luciferic backward Beings rebelled precisely against the bonds of blood. They were the inspirers of that rebellion which wanted to loosen human beings from blood-kinship. You can derive it even from the general teachings of Spiritual Science. And above all, it was in a sense the descendants of individualities who in the Atlantean time had still been working in a magical way,—it was the descendants of these, who as rebelling individualities, became the “Heroes” in the recapitulation of Atlantean time, in the fourth post-Atlantean epoch. I beg you now to observe how the Graeco-Latin epoch met these rebel-beings. For in that time, after all, there was still the wise guidance of mankind out of the Mysteries. They did not say to human beings: “Avoid these rebel natures! Avoid the Ahrimanic, Luciferic spiritual Beings!” They did not say this to them; they knew that it lay in the wise plan of cosmic evolution to place these Beings where they were and to use them. It is a weakness of many people to-day, when they hear of Lucifer and Ahriman, to explain: “For Heaven's sake, let us avoid them!” As though they could avoid them! I have often spoken of this. Knowledge was brought to the human beings of the fourth post-Atlantean time in the form in which it had to be at that time. The influence of the good Gods was there in the bonds of blood. Human beings gave themselves up to it, in the mutual love which was founded in the blood-relationships (for so it was at that time; to-day it must be more purely spiritual.) Yet, for the sake of progress, rebellions always had to take place. This way of cosmic evolution had to be explained to the people in myths and legends. To the Initiates they were communicated in another form—in a way more similar to the way in which these truths are being taught to us to-day. But in the widest circles, human beings of that time would not have been ready to receive the explanations of the myths. Therefore the exoteric myths were told to them. In these, however, deep significant truths of evolution lay concealed.

Let us consider an outstanding myth, connected with the very thing I have just been placing before you. It tells how an oracle prophesied to Laius of Thebes at his betrothal with Jocaste. It prophesied that from this union a son would be born who would become his father's murderer and live in incest with his mother. Laius did not let this deter him from the contemplated union; but when the son was born, he pierced his heels and had him exposed on Mount Cithaeron. To a shepherd the boy became entrusted. The shepherd's wife called him Oedipus on account of his pierced heels. You know how the story goes on. The boy Oedipus grew up; his talents developed. At an early age his soul was beset by doubts concerning his descent, for his companions drew his attention to many things. Then the Delphic Oracle pronounced an important saying, painful to study nowadays, if you can study it in its whole context. The saying is: “Avoid thy home-country; otherwise thou wilt become thy father's murderer, thy mother's husband.” This was said to Oedipus.

Now he was under a complete illusion. He did not know who his father and his mother really were. He could not but think Corinth, where he had grown up, his home. At last he wandered from Corinth in order not to bring about disaster there by killing his father and marrying his mother. But the very fact that he set out and took the way to Thebes became his doom. On the way he met a chariot in which his father Laius was travelling with a companion. A conflict arose; he killed his father and continued on his way to Thebes, and his first deed was, as you know, to solve the Riddle of the Sphinx. So we hay e Oedipus placed in the very fullest way into the evolutionary nexus of the fourth post-Atlantean age. For in a certain sense the Riddle of the Sphinx—the Riddle of Man—belonged to the fourth epoch. Oedipus was one of those who knew. Far from replying to the Sphinx: “I am reluctant to unveil a higher secret”; he solved the secret. Something was thereby implanted in the fourth post-Atlantean epoch. It was an impulse that worked on and on, and in which Oedipus played an essential part. For we Wright speak for many hours about the solving of the Riddle of the Sphinx by Oedipus; but we need not do so to-day. To-day we will only make clear that this deed reveals him as a characteristic Hero of the fourth post-Atlantean epoch.

Now he went on to Thebes, married his mother, whom of course he did not hold to be his mother, and was comparatively happy—till a plague arose. At length it was the seer Tiresias who revealed the truth. Jocaste, suddenly knowing herself tobe the wife of her son, killed herself by suffocation. Oedipus blinded himself and was driven away by his own sons. Another one, Theseus, then protected him in the Grove of Attica until his death, and he was buried in Attic soil. We need only call to mind the Oedipus-drama up to this point.

What does it represent? It represents an individuality—the Oedipus individuality—taken out of the blood connection, growing up outside the bonds of blood and then transplanted back again into the blood-connection, to his own detriment. We have before us no mere subjective rebel against the bonds of blood, but one who by the very laws of Nature becomes a rebel against the bonds of blood and thereby kindles and enflames them even against himself.

Look through the Greek mythology, and you will often find such human beings—Heroes who are placed into the blood-relationship in such and such a way, but who are then exposed so that they undergo their evolution outside the blood-relationship. Through the very fact that they are removed from the old order, from the normal order, they then bring in quite other impulses of evolution. Such an Hero is Oedipus; such too is Theseus who protects him in the wood of Attica.

No wonder if in ancient Greece they could not tell the people who was really behind these Heroes! They could not tell them that they were the great rebels, who were none the less necessary in the wise course of World-evolution. Think, for example, of Theseus himself. Here, too, it was an oracular saying that reached the ears of his father, so that he had his son educated far away. The mother, who had given birth to Theseus far from his father's home, was told: When the youth grows up so that he can wield a certain sword, then and then only let him return. Here again, Theseus is removed, transplanted away from the blood-connection. He too has to solve important riddles of the fourth post-Atlantean time. You know the legend of how he liberated Athens from the tribute of the youths who had to be sacrificed to the Minotaur, and of how he saved himself by means of Ariadne's thread. Theseus became the protector of Oedipus; yet Theseus is the very one who carries Helena away when she is ten years old, and keeps her in hiding. Theseus is brought into close connection with Helena.

Deep evolutionary riddles of the fourth post-Atlantean age are concealed beneath these things. The Court lady of the sixteenth century naturally had no more inkling of them than to exclaim: “From her tenth year onward she was nothing worth.” Yet in this line again, Goethe is hinting at sometning deeply significant. Goethe was well aware that that which stands behind Helena is in reality worthy of reverence, even as Faust revered her. But with regard to Helena of all people, the worst forces of calumny have been at work. Mankind might learn from such things; it can very easily happen that that which is worthy of true recognition—that which perhaps is highest—can be the most calumniated!

I only wished to point this out, to show how Helena herself stands in mysterious connection with those individualities who were the rebels of the fourth post-Atlantean epoch, and who at that time had the task—for the wise guidance of the Universe—to break through the blood-relationship.

How does it stand with Paris, who is presented to us by Goethe in the Invocation Scene—forgive the trite expression, I do not mean it trivially—as Faust's competitor or rival? How does it stand with Paris? Here too we are told; he was the son of Priam and of Hecuba, and his mother had a dream when she was pregnant with him. In this case it began not with an oracle but with a dream—albeit a dream containing deeper wisdom. It prophesied to Paris' mother that she would give birth to a burning torch that would set fire to the city of Troy. Therefore the parallel legend tells also of an oracle which announced to the father that this his son would serve in Troy's destruction. Whether for the one reason or the other, the father had Paris exposed. Paris, therefore, was also among those who were put outside the blood community. He was brought up in Parion, far from the bonds of blood; and it was there that there took place what the legend tells: how Eris assigned the apple to the most beautiful, and how Paris was called upon by the Goddesses, Hera, Pallas and Aphrodite, to determine which of them was the fairest. It was even said that Hera promised Paris Asia, that is the ruler- ship over the Earth, for ‘Asia’ at that time signified the rulership of the entire Earth. Pallas Athene promised him fame in battle; Aphrodite the fairest of women. Paris gave Aphrodite the prize of beauty.

Nov the great Song of Homer describes how significantly Paris thereby entered into the whole course of the affairs of Greece. In Paris himself we have an individuality rebelling against the bonds of blood. He takes Helena out of the Grecian bonds,of blood and tries to transplant her to Troy. He wants to break the bonds of blood. These things are always connected in this way; in the Greek Hero-legends we always see how there is placed into the midst of evolution that which is meant to break the bonds of blood. For the bonds of blood—in themselves strong, mighty and powerful—they are the thing that really brings about the social structure in that time.

There is one question which can come before us very clearly in this field, and it shall occupy us now for a few minutes. Someone might easily raise the following question: How does it stand with human freedom if such important deeds as the rape of Helena by Paris are accomplished by something taking place in the Spiritual World above, as in this case the rivalry of the three Goddesses? The human being then appears as the mere tool to execute what is not only prepared, but actually worked-out, in spiritual realms above. Now in a certain sense we must truly say: That which takes place through human beings here below is the reflected image of what happens in the Spiritual World. This is a point where the great riddle of freedom mightily knocks upon the doors of human knowledge. Are we really automata, who by their actions reveal the mere reflected image of what happens in the Spiritual World above? And again, how would the Spiritual World, which is the guide and leader in all that happens,—how would the Spiritual World stand there if, so to speak, it had nothing to do, if it were actionless? Two things must be understood: First, the universal course is really led and guided by spiritual forces, spiritual Powers; and nothing happens that does not happen down from the Spiritual World. And the second is, that the human being has Free Will. The two things seem diametrically opposite. We are here touching a great riddle, a problem that gives men very much to do, and they can never get beyond it lightly. For it is truly so: If we look up into the Spiritual World, what the Gods do there represents the deeds of Gods; and the human beings here below carry out the impulses of Gods. So indeed it is. How then can human beings be free?

Let me now place these problems before you with a few brief strokes. Of course one can only indicate a little of this problem at a time. Let us assume therefore: Up yonder are the three Goddesses with the conflict that is taking place among them. As a result of their conflict, there comes clown on to the Earth the impulse that proceeds from these their actions. We need not consider for our present purpose how these actions are in turn connected with still higher Hierarchies. That which takes place up yonder takes place with absolute Necessity; and as to that which Paris does, this also happens because the three Goddesses above have had this conflict with one another. How then is any freedom possible for Paris? It is practically out of the question, you will say. Yet it is not. For the ray falls down, as it were, on to the Earth; and here on Earth there is not one whom it can reach, but there are many. Assume, for example, that there are an hundred. Ninety and nine do not do the deed; the hundredth does it. Here in effect once more the Mystery of Number plays its part. These things are always confused. Paris does the deed, it is true, but the point is that Paris only becomes fully Paris inasmuch as he finds himself prepared to put himself in the very place where this impulse was able to he fulfilled. In short, the Gods would have found another one if Paris had not done it; and in that case the legend would be told of another.

It is through Number that you will come to the solution of this Riddle of Freedom. And if so be, at any given point of time, among the hundreds who stand here below no one is found, then the Gods wait till one arrives. He then accomplishes what the Gods place before him. Be that as it may, Paris it is who has accomplished the deed. It does not mar his freedom in the very least, for he could perfectly well have left the deed undone. Think of this aspect of the problem of Number, and you will find that the divinely necessary, wisdom-filled guidance of the Universe stands not in contradiction to human Freedom. Needless, to say, this does not exhaust the problem of freedom; this again is only a part.

You see, therefore, how in the total evolution of mankind the Heroes of ancient Greece, of whom we are told that they were exposed in childhood, are of great significance. And you may also call to mind (you will find it in one of my lectures; I do not know, I may even have said it several times) there is a similar legend of exposure in connection with Judas. Of Judas Iscariot we are also told that he was put out in his youth. This is a typical feature; it signifies in the language of myth and legend the entry of the rebel Powers, who rebel against the bonds of blood of the fourth post-Atlantean epoch.

Now the region out of which these impulses proceeded in the fourth post-Atlantean epoch is the region wherein the Archangel-Beings rule. Therefore the narratives are always such that the human being stands rather remote from the influences that take place out of the Spiritual World. Either it is an oracle that brings the message from the Spiritual World, or else it is the direct intervention of the World of the Gods Themselves. Helena, you know, is a daughter of Leda and Zeus; here too the Spiritual World works in directly. In our time it is the dark and backward Angel-Beings, and they naturally work through a far more intimate intercourse with human beings. I have already told you, if one would discuss or even only hint at many things that are connected with this working of the Dark Powers since the last third of the nineteenth century, one treads on very thin ice indeed! But you can tell from the whole context; the seeking of social structure through the bonds of blood, which was the right and normal evolution for the fourth post-Atlantean epoch, represents, where it remains behind in the fifth epoch, one of those impulses with which the human beings of this epoch will have to battle. We must however add another thing which I have also told you. Something entirely new is now occurring. The fourth post-Atlantean epoch—its wrestling with Birth and Death—was a repetition of Atlantean time. Now something new makes it appearance—something created directly out of Maya or Illusion. Yet this Illusion we must also understand; we must only understand it rightly. It goes without saying, Maya was always there. As I explained in the essay which you will shortly be able to read in the Reich, in relation to the Chymical Wedding of Christian Rosenkreuz, all consciousness originates out of Illusion. Yet since the fifth post-Atlantean epoch began, Illusion is present in a more than usual degree. Illusion will appear increasingly in this form:—Human beings will give themselves up to illusions. Illusions there always were, but they were always connected with other powers in the third post-Atlantean epoch, with the forces of “elective affinity”; in the fourth post-Atlantean epoch with the forces of Birth and Death; in the fifth post-Atlantean epoch with the forces of Evil. Illusion, Maya itself, will be seized upon by Evil. Moreover, it will all be permeated by that element of which I have also told you—by cleverness, intelligence.

It sounds paradoxical when one asserts that it is good for men that they can learn to know all these things. But the fact is, the human being can only come to spiritual freedom by growing strong against resistance. This, one can readily see.

Moreover, precisely that which is connected with the number Five is always connected in this way with the unfolding of Evil. Human beings will have to accustom themselves to one thing: to regard the inrush of the forces of Evil as an inrush of very laws of Nature, forces of Nature. Then they will learn to know them, and they will know what lives and moves in the very depths of things. We must not regard Evil from the outset as one would, who in the fulness of his egoism merely wanted to get away, to flee from it. We cannot do so. But we must penetrate it with consciousness; we must learn to know it,—really learn to know it. Above all, in our time already a force is preparing in the realm of human beings,—a force which tends to create illusions that are harmful and destructive. I will give you a little example of one such illusion. In giving this example, once again I do not wish in any way or in the very least to take sides in one direction or the other; I simply wish to give you an example of this entry of Illusion.

Assume that a politician appears upon the scenes to-day, wishing to speak out of his inmost impulse of his own attitude to the wheel of the world—to the various things that are being said and done to-day, from one quarter or another. Suppose that this politician found occasion to express himself about the part that is being played in the events of our time by the British State system (I say the State system; for with the nations themselves we are not concerned in this connection) and by the hidden powers that are behind it,—powers of which we have often spoken. Assume that a politican feels called upon to speak of this. He wishes to make plain how he considers that a right relationship to the British impulses can be established.

Suppose now that such a politician were to say the following. Suppose he were to say: It would be an unfriendly action against the Power that rules the Sea, to paralyse or lessen its superiority. What would you say? This politician notes the fact that there is a Power that rules over the Sea. One must take some attitude towards it. Since, after all, this Power rules the Sea, it would be an unfriendly act, he says, to hinder its development. Therefore one should refrain from such unfriendly action.

What could one say of such a politician? I think the very least that one could say would be that he stands for a policy of Power—Machtpolitik. Is is not so? Wherever the Power is, in that direction let us turn. This, at the least, seems to emerge from his words. But to-day one does not say so. One does not take one's stand in such a case and frankly say: “I stand for a policy of Power; I will attach myself to the Power which happens to have power.” But on the contrary one says, one defines it thus: “I stand for Right and Freedom and for the Independece of Nations.”

One says these two things side by side. One says that one stands for Right and Freedom of the Nations, and directly side by side with this, one says: “Let us above all attach ourselves to the particular Power which has the power, and commit no unfriendly act in relation to it.”

You see from this how human beings involve themselves in illusions. For I have here put before you the case of the Swedish politician Branting. He, a neutral politician, is the man who spoke in this way. That is the way one carries on a neutral policy, of course. I do not say it as a reproach or to take sides with one or another party. I say it as a pure description of how such things must take their course to-day. One is enthusiastic, needless to say, for Right and Freedom of the Nations, and yet—one stands for a such a policy. One does not confess that one stands for it for the simple reason that one can do no other,—that would be the truth,—but on the contrary one says that one stands for it inspired by the impulses of Right and Freedom for all Nations.

With such things as these we must indeed concern ourselves. It is not enough for anyone to give himself up to the fairy-tales that are going through the world to-day; we must take these things into our consciousness. Only by this means is it possible to attach oneself to the real impulses of evolution which I have described. No age was ever so little enlightened about itself as is the present. No other age stands in such dire need of enlightenment about itself. Think only how proud it was of its great progress in every kind of human thought. Why, they had even succeeded in finding impulses for Social Science, out of Natural Science! I have often spoken to you of the science of social life.

Think for a moment, what is so often said in official quarters to this day on educational and social questions, questions of right and justice and so forth. Try to transplant yourself into the frame of mind in which these people bring forward their supposed infallible truths, while at the same time they would suppress absolutely everything that resounds from any other quarter. Part of what modern humanity believed thus fondly, has led to the event that through the impulses of this humanity,—impulses of Illusion upon the one hand, of Nationality upon the other—five million human beings have been consigned to death during two years and three to three-and-a-half million have been permanently wounded. It was so after two years, and now, considerably more than three years have elapsed. This is only the consequence of the false thoughts that were entertained,—thoughts in which illusion was allied with destructive power. From many another thing that is spoken nowadays about education or questions of right and justice, similar consequences will evolve if it goes on in this way, uninfluenced by spiritual life and being. For in the last resort everything depends on this. To kindle the spiritual forces in the consciousness of mankind is an absolute need for the fifth post-Atlantean epoch. Our criticism of the opposite, materialistic opinion is but a part of the zeal with which we call to life the spiritual impulses within us. This is the thing that matters. Whatever has to happen among men must also be undertaken by men. If we have made ourselves ready to take our stand where the ray falls, the ray will come in good time; of that you may be certain. This preparation, this making-ready, can, however, only take place through the community. It will be for the individual human beings, in the fifth post-Atlantean epoch, only so far as the ideas are concerned; but it will depend on the understanding with which communities will receive these ideas.

Hold to this thought, my dear friends.

My dear Friends,

I had intended to make a few remarks from the artistic point of view about the scenes from “Faust” which were to have been performed today. Since, however, on account of illness, the performance is not taking place and the lecture can therefore be independent of it, I shall arrange matters rather differently. My lecture will have to do with the scene to be given next Sunday, but I wish to stress the fact that I shall not be speaking from the standpoint of art, but from quite another point of view. It is more that to the presentation of the scene as Goethean achievement I shall add some Spiritual-Scientific observations that will also in some respect link up with what has already been said here during the autumn.

Anyone allowing this scene—“On the Upper Peneus as Before” to pass before his soul, has an opportunity to look deeply into Goethe's soul, in that this scene—as also the following one which leads to the phantasmagoria of Helen—specially shows how Goethe divined and felt the truths of Spiritual Science even though these truths did not yet come to him in clearly defined ideas. A poet whose understanding did not reach up to the truths of Spiritual Science would certainly never have created these scenes in the way Goethe has done. It would lead us too far even to speak briefly of the path by which Goethe arrived at his insight into Spiritual Science. I can do this some other time. I shall only say enough to make it clear to you that Goethe must have seen certain things in the spiritual world to be able to give this scene the form it has. It is true that what I was explaining to you a few days ago about the evolution of man as a physical-temporal being could not have been known to Goethe in definite ideas. Nor can it be said that there is anything in the course of Goethe's development pointing to definite knowledge that not until the middle of life man first gains, through his bodily organism, the capacity for self-knowledge. From our studies during the past weeks we know that it is only at about the end of his twenties that man, through the forces he develops out of his own bodily organisation, becomes capable of achieving self knowledge. If we wish to learn the truth about these matters, we have to bear in mind that man is really a complicated being. We only understand man by first becoming clear to what extent he is a creature—if I may use a term much assailed by modern science—and that this creature points us back to his creators, his spiritual creators.

Now, by a kind of spiritual chemistry, so to say, we can extract from man what he is solely by virtue of his dependence on his own particular spiritual creators, on those beings among the hierarchies of the cosmic order whose special mission in the universe reaches its culmination in the creation of man, on those beings with whom man, as man, must therefore feel himself quite specially connected. If we separate man out in this way—(we wish our understanding of these things to be exact) we can show him diagrammatically as follows:

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Let us suppose that this circle represents man at a given point in his evolution; if we then trace the human being indicated by this circle backyards in the line of his emergence from his spiritual creators we have this stream which I will colour orange. Were we to go back and examine now man has evolved through Moon, Sun and Saturn ages and later through the Earth age, we should find the special characteristics of the several beings of the higher hierarchies, as they are made known to you in my book “Occult Science”. We should discover the working-together, the mutual relations, of these hierarchies; and were we to look deeply enough into this connection of man with the hierarchies, we should perceive how he is, in a sense, the goal of divine creation. I have shown how this is so in a conversation between Capesius and the Hierophant, in the first scene of the second Mystery Play, “The Soul's Probation.” I have also pointed out there the hazardous side of such knowledge for those who are insufficiently prepared.

But suppose we go on to ask what man would be like in the course of his physical development between birth and death if he were only subjected to the influence of these creators of his? He would then be the being who only becomes ripe for self-knowledge in the physical world at the end of his twenties. For these creative beings set themselves the task of so forming man that in the course of his earthly development he should attain what is to be attained on the basis of his bodily organisation, that organisation that is itself derived from the earthly and thus is akin to earthly substances and to the interplay of earthly forces. I mean that these divine beings intended to give man the opportunity through his bodily organisation to go through a period of sound, all-round preparation for self-knowledge and for the knowledge of the world derived from self-knowledge right up to the end of his twenties. Then, in the second half of his life, they intended to give him the opportunity to pursue this self-knowledge in a very different measure from that in which man, as he now is as earthly man, can pursue it. If man had only first awakened to self-knowledge at the time that the spirits of the hierarchies concerned with him intended, at the end of his twenties, it would admittedly have been late, but he would have attained self-knowledge and the world-knowledge bound up with it in enhanced splendour. He would have been able from his innermost being to give a solution to the question: What am I as man? This under ordinary conditions at the present time he cannot do. e would have had this self-knowledge as insight, as vision, he would not have had to acquire it through abstract concepts.

Neither of these things has come about. In the first half of life we do not find that state of subdued consciousness. If he had it, man, rayed through by higher intelligences and not by his own, in a life not of sleep but of twilight, would build up his bodily organisation in a very different way, in order then to awaken to self-knowledge. But such a twilight condition does not exist. On the contrary, a certain self-knowledge appears comparatively early in man, though not with the radiance originally intended by his creators. Again, the self-knowledge that arises after the middle of life is not the self-knowledge that man's creators intended. And when we ask where the blame lies for this, we come to the other currents influencing man. We come to a stream that does not actually belong to man's nature, but which is, so to say, for the time being associated with him; we come to the Luciferic stream (yellow in diagram), we come to that stream which makes it possible for man to have a certain self-knowledge in the first half of his life, although it is not the luminous self-knowledge just described.

As you know, there is another current which unites for a time with man somewhat later; it is the Ahrimanic stream (blue). This stream prevents man, as he is on earth at present, from attaining in the second half of his life that luminous self-knowledge to which his creators had destined him. According to their intentions, the consciousness of man should have been in a much more enlightened state than the one he actually enters upon during the second half of his life, which is dimmed by ahrimanic influences. Naturally we need not think that luciferic influences are present only in the first half, ahrimanic influences only in the second half of life; they both persist throughout the whole of life. But these two influences are respectively concerned at the times in human life I have mentioned, with what I have just been describing. At other periods they have to do with something else. It is very important that no wrong conclusions should be drawn from what has been said. For instance, no one ought to say he has been told here that in the first half of his life man is luciferic, in the second half, ahrimanic. That would be completely untrue. Such misunderstandings often arise and it is important that no one should be misled by them. That is why over and over again I emphasise that in Spiritual Science we shall strive to speak accurately. Much harm is done by the way in which accurately given information about Spiritual Science is then repeated in public in another form, changed through preference or carelessness.

Thus, man stands in a threefold stream, to only one of which he really belongs. The other two were not originally in human evolution but have united themselves with it for a time. We can even say exactly when these influences entered in; you will find it in my “Occult Science”—the luciferic influence in the Lemurian age, the ahrimanic in the Atlantean age.

Now we cannot say that Goethe definitely knew anything of that phase of development, peculiar to man, beginning in the middle of his life. But he felt, he divined—divined very clearly—that through impulses inherent in the world-order man is a different being in the second half of his life from what he is in the first. And if we look into Goethe's soul-life more deeply than modern superficiality generally desires to do, we see his intense longing to gain something quite exceptional for his own life from the culture of the south—the culture of Italy. And if we follow up what he himself records of the benefits he reaped from the Italian tour, for himself, for his knowledge, for his art, we begin to feel hoe Goethe wished to make the transition into the second half of his life fruitful for himself through a deeply penetrating influence which he believed it impossible to experience by always remaining in his old surroundings. Goethe was conscious that in the forties something takes responsibility for the human soul which throws a very different light upon the nature of man than a man can gain through the human forces of the first half of life. And this knowledge, so clearly divined, flowed into the creation of the second part of his “Faust”. It was always particularly difficult for Goethe to approach the question: How does one acquire self-knowledge? If we follow his development aright, we may see his struggle for self-knowledge in a most interesting, most significant light. And little by little—not in the beginning, when he was still writing the youthful part of Faust, but later, gradually—the creation of Goethe's Faust-figure, and the whole poem, acquired such a stamp that the struggle for human self-knowledge may be said to find in “Faust” its most outstanding expression.

It was in this connection that Goethe thought out the figure of Homunculus, As I said before, I am not speaking to-night from the artistic standpoint but am relating to “Faust” a few remarks out of the essence of Spiritual Science. Thus Goethe thought out the figure of Homunculus in connection with his endeavour to depict in Faust man struggling towards self-knowledge. And what did the Homunculus-figure become under the influence of this preoccupation? The answer is that it came to represent all that man knows about man. What can we know about man by collecting together that knowledge which we have about the substances and forces of the earth? How can anyone imagine that those ingredients of earth-existence surrounding us in the kingdoms of nature can combine to form man? How is it possible to think that? For Goethe this became a burning question.

Remember how, when Schiller made friends with Goethe, he wrote him a most significant letter. I have often quoted this letter because it is characteristic both of the friendship between Goethe and Schiller and of the whole character of Goethe's soul. Schiller writes

“Though from some distance, I have for a long time been watching, with ever increasing admiration, the nature and course of your spiritual life. And I have seen that you are striving, so to say, to gather together all that is offered by the rest of nature, in order at length in your mind to put together man out of the sum-total of nature's works. This is a heroic undertaking before which any other intellect would have quailed. Had you been born a Greek, or even an Italian, an imaginative force enabling you to think of man as made up of the various ingredients of nature would have lived within you from your earliest youth. Since, however, you were born as a Northerner, you have been obliged to produce a spiritual Greece in your soul, and to supply by means of your imagination what did not exist in your surroundings.”

Thus Schiller attributes to Goethe this striving to obtain a knowledge of man by piecing together all the details to be gleaned from a knowledge of the kingdoms of nature. And that is actually the ideal which Goethe had before him. What can man know about man? But then there came to him at certain times the thought that the knowledge of man possible to acquire by earthly science is in truth small, that'll is no scan that comes into being through,this knowledge—only a manikin, a Homunculus. And Goethe was often assailed by the burning, tormenting thought: “We are in the world as men, feeling, thinking and willing as men, but we really only know something about Homunculus, not about Homo. The ideas we form concerning man bear as little relation to what man is in truth as does a little manikin in a glass test-tube”.

And for Goethe this burning question was associated with another: How can that element in knowledge which does not correspond to nature, to cosmic existence, be quickened so that it may, in knowledge at least, grow near to what in reality man is—of which he knows so little that actually it only amounts to knowledge of a Homunculus. That is why Goethe makes Wagner produce this manikin, Homunculus. Then, in the further development of his poem, he undertakes to show what sort of experience a man can have whereby his knowledge of man is widened, so that out of Homunculus there may grow something at least approaching Homo.

Now it was a belief of Goethe's that the only ideas which could be acquired in his day, the ideas which could be acquired from the culture of the North, were not sufficiently pliant and flexible to carry the Homunculus-knowledge further. Goethe believed that one could do better by endeavouring to clothe the knowledge of man that it,was still possible to acquire in one's soul life in such ideas as existed in an age that was nearer nature—such as the Greek age. It, was Goethe's firm belief that, by entering into the style and the form of Greek thought, one receives a deep, significant and vivifying impression, one's ideas acquire an added truth. This feeling lies at the root of his taking Faust to Greece, of his wanting to take him to Greece, to live there as a human being and to acquire Greek culture. Had Goethe been asked to state on his honour—I put it thus strongly on purpose—what he believed the men of his circle actually thought and felt, or had thought and felt, about the Greeks, he would probably have answered: “Oh, I should think more rubbish! They talk of Greek life, but have no ideas with which to grasp it. All that our pundits”—this is the sort of thing Goethe would have said—“all that our pundits think, write and print about Helen of Greece in modern times is just philistine trash, for in spite of it all they know nothing of Helen, nor of any other Greek, man or woman, as the Greeks really were”. But that was precisely what Goethe was striving after—to get nearer Greece in his soul. Hence his Faust had to get nearer Greece and had to live as a man among Greek men. Helen—as a Greek and the most beautiful of Greek women, as an outstanding Greek about whom so much strife and discord had arisen—Helen only supplied the point of contact for this. It the heightening, widening, strengthening of the knowledge of man, of the conception of man, that Goethe wants to accomplish in Faust.

Now in that Goethe kept all this clearly before him, (but as a kind of dim apprehension that became at the same time a torment for him) he was conscious that the abstract, philosophical path to knowledge, the path of science, regarded by many as the only right one, is all the same only one way of knowledge, and he dimly felt that there are many ways,. And whoever believes that Goethe was a rationalistic philistine—as really all upholders of modern science must be, otherwise they would not be genuine scientists, for science in the modern sense is itself pedantic, philistine, and rationalistic—whoever believes that Goethe was this kind of pedantic, rationalistic, philistine, understands nothing of him. He understands nothing at all of Goethe, my dear friends, who believes that he could for a single instant have supposed that, through ordinary scientific reflection any real knowledge could be acquired of the nature of man in his fulness. Goethe knew well that the human soul cannot discover truth merely on the path of thought or even on the path of that activity which takes place on the physical place; he knew that the soul of man has to find its way into reality and truth by several paths. Goethe was well acquainted with that approach to truth which takes a deeper course than the ordinary life of waking consciousness. This conscious, waking life in which our bright ideas run round, this life so highly valued by all the pedants, lies fundamentally very far from all that lives and weaves in the world as the basis of existence. In a certain respect man approaches nearer what lives and weaves below the surface of existence if—but this must not be misunderstood—out of his subconscious he sees and feels the arising, however chaotically, however sporadically, of significant dreams. In former years I have often told you that the content of dreams is of little importance; what is of importance is the inner drama, the connection between dream-life and deep human reality.

In a pamphlet, called “Dream-Fantasy”, a philosopher, Johannes Volkelt, in the seventies of last century, ventured timidly to suggest that man in his dreams comes near the riddle of the worlds. If only he had not later rectified this terrible professorial error by respectable pedantic works on the theory of knowledge! But then he never would have become Professor Johannes Volkelt, nor been allowed to teach philosophy in Basle, Würzburg, Jena, Leipzig. For it is a heinous sin against modern science to hint such a thing as that during his sleep-life man sinks into a real, cosmic stream, and that out of this experience things emerge which to be sure show themselves only in pictures, chaotically, and are therefore not to be accepted in their immediate form, but which nevertheless reveal how man, in the weaving of his sleep, is in a sphere that brings him nearer to the fulness of the living and weaving from which the physically visible springs than do his waking moments.

Now when a man plunges into this world—a world that the man of today only comes to know through his dreams, which do interpret it for him, even if badly—his situation within the entire world-order is different from what it is in ordinary waking consciousness. Of course the dream-life alone does not enable us to perceive the difference between the life in waking consciousness and the life we live down there in the sphere whence the dreams arise. But spiritual science can guide us into this sphere. Down there even language ceases to have its correct significance. That is why it is so difficult to come to an understanding. Down there in that sphere the words which we have formed for use in the sense-world cannot be properly applied to what takes place down there. Take for instance what used to be called the elements. Today we call them physical conditions describing them rather differently, But we can quite well understand if the old names earth, water, air, fire or warmth are used. We know these things from “Occult Science”; we can call what is solid, a solid physical condition, the earthly; what has a fluid physical condition, water; what has such a physical condition that, when it is not enclosed, it expands, we call air; whereas what permeates these three substances we call warmth or fire. Yes, my dear friends, we may call them so when, from the point of view of our waking consciousness, we speak here about our surroundings, because, if I may so express it, the things we denote by these words—earth, air, fire, water—are present with us. But if we plunge into the world out of which dreams are working, there are no such things as earth, air, fire, water, they do not exist; these words applied in the same way as for the world in which we are with our waking consciousness, no longer have meaning. As soon as we enter a different sphere of existence, a sphere that has to be grasped by a different consciousness, we see at once the relativity of these things. There—the things regarded by the ordinary materialistic consciousness as absolute—no longer exist. There earth is not earth. It has no meaning at all to talk of such things when we immerse ourselves in the world that, although also a reality, must be grasped by a quite different consciousness. To be sure, there is something there which may be said to stand midway between air and water; it is experienced in this different consciousness, through quite different forms of thought. Air is not air, water is not water, but there is something midway between air, and water; we might call it a sort of watery vapour, (German – Rauch) still called Ruach in the old Hebrew language. It does not mean the physical vapour or the mist we have now, but this intermediary something between water and air.

And another intermediary thing is there between earth and fire. This you must picture as though our metals were gradually to become so glowing and fiery that at last they become actually nothing but fire, fire through and through. And these things—intermediary between earth and fire and between air and water—are down there in the world out of which dreams come whirling. As you will easily understand we could not exist in that world in our physical body, we could not breathe in that world; we have to enter it with our souls, between falling asleep and waking. With our physical body we could not breathe in that world for there is no air. I have pictured in one of my Mystery Plays (“The Guardian of the Threshold”) a being who can breathe in this world, a being having no need of air, for he breathes light. Such beings may indeed be pictured by one who knows them. But no man may take his physical body into this world, for he could not breathe there and would be consumed by the fire. Nevertheless, man is united with this world, from falling asleep to waking, and out of it spring dreams.

Now this world that man encounters beneath the threshold of his consciousness is quite unlike the world we see today during our waking hours but it is not so unlike those worlds from which the present one has evolved. Former worlds, certainly the Sun-world—and this you can gather from the description in my “Occult Science”the Sun-world was even so formed as a physical world that in it fire-earth, earth-fire and water-air whirled and simmered together, not conveniently separated as they are today. Thus, if we are to grasp world-evolution cosmically and historically, we must picture earlier conditions of our evolution as similar to what we find today when we dive down into the world to which we belong between falling asleep and waking.

These worlds, however, that were formerly physically present, just as now our world is physically present, can only be experienced today in sleep, and no one can penetrate to them unless he imagines what is no longer visible in our present world to be visible and manifest. You cannot think of water-air in the same way as today you have to think of water and air as existing side-by-side. Today you think of water and air as separate. That has come about because the water-air, substantially one in former times, has now been differentiated. Water-air is now separated into the two polaric opposites—water and air. Formerly it was a unity, water-air, but was permeated instead by another pole. Today, man has so to say descended, and has completely lost the other pole of the water-air, instead the water-air has itself separated into the two poles—water and air. If we want to get an idea of what the other pole of the water-air was, we must imagine something having reality also experienced in the world where man is between falling asleep and waking, the world from which dreams arise. But too if we go back to the old Sun-existence, we have to think of the water-air as having had side by side with it something of a spiritual nature, something of the essence of the elemental spirits. You still find the elemental spirits belonging to the water-air in mythology, where echoes of ancient truths still remain. And among the beings associated with the water-air are those that in Greek mythology—or indeed in any ancient mythology—are called Sirens. So that when out of real knowledge we say of the world we are referring to that there are in it water-air and Sirens—that it is composed of water-air and Sirens—we are speaking with as much truth as when we say of our external world that it contains water and air. Thus the Sirens belong to those elemental beings who are the other pole of water-air.

The other thing in the old Sun existence was earth-fire or fire-earth, Whereas today we have earth that has been pushed down below the level of the water, with fire or heat above it, formerly these two were one. And among those beings who were related polarically to the earth-fire as are fire or warmth to earth today, is that being whom Goethe, following the Greeks, called Seismos. By bringing Sirens into the relevant scene, Goethe points at the same time very clearly to their connection with water; not however with water as it is today, for that has grown denser and is only one pole of the old water-air. The Sirens feel themselves related to water only in a spiritual way. If we think of water as the old water-air, the Sirens belong to that water as air belongs to the water of today. And as the air produces chaotic sounds in the wind, so the spiritual element in the Sirens produces what belongs to water or water-air; the spiritual element is combined with water-air as air is with our water. And the activity of the Seismos, regarded as cosmic force, is the part played by fire in nature's economy. This is what the myth means, this is what Goethe means. And his presentation of the matter makes everyone acquainted with the reality feel that Goethe had a dim apprehension of these things. He knew that things are thus in the world we enter between falling asleep and waking, the world we find again if with understanding we turn our gaze back to the primal sources of our present existence.

But consider, my dear friends, what a shock you would have if you were suddenly in full consciousness—not as in dreams but quite consciously—transported into an element, into a sphere, where you had no solid earth beneath your feet, a sphere where everything that should be earth was fire, and where there was no earth! There you could even melt if you wished, and become hot or cold in the element of fire. And in the water-air, where you could not breathe but only experience alternations of light and darkness—think how alarmed you would necessarily be at first by the insecurity into which you had plunged, in all this surging and whirling. What then entered into man in those cosmic epochs when the earth solidified (as must once have happened, for at one time men had been living in this surging and weaving element I have described) so that he too could stand firm? What was it that took hold of man? The Sphinx-nature! This gives the firm centre of gravity in the surging element. The same force that gave to the earth the form whereby it has become this solid planet on which man can stand, at the same time wove into man what can be described, pictured, as the nature of the Sphinx.

Now in this scene Goethe introduces what can actually only be experienced between falling asleep and waking. And he believed this can best be presented not in the concepts of our modern waking consciousness, but in Greek concepts. He finds them more flexible and more suitable. Therefore he transfers the whole scene to Greece, thinking that with ideas taken from Greek nature he will be better able to characterise all that man experiences today between falling asleep and waking, all that he experienced in ancient times when air was not opposed to water, nor fire to earth, but when the Sirens formed the opposite pole to water-air, and some being like the Seismos formed the opposite pole to earth-fire or fire-earth.

So now he allows this world to make its appearance in his “Faust”. And why does he do this? It is all a question of proceeding from Homunculus to Homo, the point is that Homunculus should be given a prospect of not remaining merely Homunculus but of becoming Homo—of understanding enough to become man. Therefore his experience of the world has to be enlarged. And so aptly does Goethe bring this about that when he introduces Homunculus to this ancient cosmic world he at once places Sphinxes in it. “The Sphinxes have taken their seat”, and these form the solid element. There is a surging all around that, in these days, could not be suffered, for mortal terror would assail mankind. Everything is surging. But though the whole of hell break loose when the spirits behave as the Sirens and Seismos are doing it is pointed out that man has found his foothold—his centre of gravity:

“What a sickening thrill hereunder!”

Here is pictured the world of which I have been speaking,

“What a dire and dreadful thunder!
What a heaving, what a quaking,
Rocking to and fro and shaking,”

Were you to plunge into this world you would soon experience the ‘rocking to and fro’.

“What unbearable annoy.”

But now comes the reflection:

“Yet we” (the the Sphinxes) “budge not, though the nether
Hell should all burst forth together.”

Into the ideas of men something of such a conception perpetually flows. Men do not know it, but their ideas are influenced by what dwells at the foundations of existence. And this is the cause of many fanciful theories. The theory that the mountain ranges were formed by fire, is quite right for more ancient epochs of cosmic evolution, but this was earth-fire, fire-earth, not fire as we know it. This has introduced an element of confusion into modern ideas. And from a higher point of view, most modern ideas are confused. They can only be understood—however strange this may sound, my dear friends, it is true—these ideas, these theories can often only be understood if they are translated. They are heard in the ordinary, common-place, philistine language of men; they first begin to have meaning when translated into the language that must have been used between falling asleep and waking, for then it becomes clear that these theories bear within them faint indications of earlier earth-epochs. And the only way to understand the scene beginning here, is to realise that Goethe wanted to show the experience man would have were he conscious from falling asleep to waking, an experience that would develop in him a consciousness of a former cosmic condition of the earth.

Think how clearly Goethe must have foreseen the knowledge of Spiritual Science, to have presented these things so correctly. And that is not all. Homunculus is to be introduced to this world. Goethe seems to say—if once more I may be permitted to express it rather strongly—“Now when I turn to the ideas of philistine science, I naturally find nothing able to make a Homo of Homunculus; I can get nothing from that quarter. But if I make use of such ideas as can be acquired when a man consciously experiences the world he enters between falling asleep and waking, and, absorbing them into my soul, embody them into the scene of ‘Faust’, then perhaps I shall be more successful in acquiring, a wider knowledge of man, so that Homunculus may become Homo.”—Therefore Goethe makes Homunculus plunge, not into the philistine, scientific world experienced by man today, but into another world, introduced here, the world man experiences from the time he falls asleep to the time he wakes. In that world a man experiences so many things; curiously enough, he experiences something of how unequal in their evolutionary stages are the beings who live close to us in the cosmos. We understand nothing, literally nothing, of this world, when we consider these beings side-by-side, giving them all an equal value. When we observe ants or bees, or the whole unique insect-world in general, then, my dear friends, we arrive at the conclusion (I have put this before you at other times, in other places, as the view of Spiritual Science) that these are either forms left behind from former epochs, or forms anticipating what is to come later—like the bees, the hive of bees; they are beings projected into our epoch, though by their form they actually belong to another.

You see, when scientific nit-wits describe the world—as for instance Forel who made such a study of ants, then one finds most amazing things said. For if these people cling to their crude scientific methods, and never come to Spiritual Science, of course they are unable to give any explanation of what is really to be wondered at in this world—this world permeated everywhere by reason; not over the single ant, but over the ant-hill as a whole, over the whole ant-world, over the whole bee-world, cosmic reason, so much wiser than brain reason, is outpoured. And, in a certain respect these all really belong to a former world. Just think how aptly Goethe describes it when he brings in the ants, the emmets; and when he makes a mountain arise, as it was in an earlier cosmic evolution, and as one sees it in another sphere of reality, during the time between falling asleep and waking, he makes ants appear and begin to busy themselves with what the mountain has brought into existence. But, as companions for these ants, he makes other strange beings. For in fact the ants together with pretty well the whole of the insect-world constitute a race that does not properly belong to the earth as it is at present. This world of the ants feels itself as an anachronism in the present world. The ants have not much in common with it and have no real companions. The other animals are of quite another kind. There are tremendous differences between the soul-spiritual quality of the insect-race, for example, the ants, and that of other animals. The companions of the ants are actually not the physical animal-forms of today, but spiritual elemental beings that Goethe introduces as Pygmies, as dwarfs, as Dactyls; though the ants have succeeded in acquiring a physical nature on earth, the pygmies and the dactyls are more closely akin to them than to the beings of the present day. Thus, Goethe knows of this ant-race belonging to an ancient cosmic epoch, and introduces it covertly into this scene.

Now how has this world of ours arisen? As you know, its present condition has developed out of the old. We have now spoken of the old condition, and the present one only needs to be mentioned, for it is all that surrounds us on the physical earth. But this present earth has not come about without a struggle. It was through a mighty cosmic conflict that the old developed into the new. And the question arises: Can one observe this struggle? The answer is that we observe it when we can become conscious of waking from a very vivid dream to a condition of half-wakefulness; when we are aroused from a state of deep sleep to one less deep, and though not quite awake, are on the way to being so. We are approaching the sense-world but have not completely left the world below, and we find ourselves in a struggle closely resembling the conflict that went on when the old world was changing into the new. Again Goethe presents it all so faithfully that, while to express the old world-order he makes a dream arise, he also represents the waking from the dream by describing a struggle in the cosmos. The present comes into conflict with all that belongs to the past. The pygmies belonging to the old world come into conflict with the herons belonging to the waters of the present. The sight of this conflict as it takes place is at the same time an awakening. And Goethe makes it so clear that we are concerned with an awakening that he even alludes to what often happens on waking: one hears something that appears to be still in the dream spiritually, in imaginative picture form, and which then passes over into external reality—the coming of the cranes of Ibycus that appear in this scene. In the first part of the scene, Goethe shows us what can be experienced in dream-consciousness when it is fully developed, something which points to earlier earth-conditions; and this he believed he could more easily accomplish with Greek ideas than with those of the present day.

And now, for Homunculus. He has not yet got so far as this, for the man of today is not able to become fully conscious of what takes place in that lower sphere. Goethe intimates this quite clearly. Man today is hampered by fear, by anxiety, even though these may be unconscious. I have often spoken of this. Homunculus will not venture into that world and says so quite clearly. When he makes his re-appearance in the scene, he declares that he will not go in; he wishes to rise, that is, he wishes to become Homo, but into that world he refuses to enter.

“From place to place I flit and hover,
And fain would I in the best sense exist.
Impatiently I long my glass to shiver.
To risk me though I do not list
in aught I yet have seen. ...”

Thus it is a dangerous world into which Homunculus will not plunge. He would like to take the step from Homunculus to Homo in a less perilous world.

Now, had someone asked Goethe “Then you don't think much use can be made of the dream-world, the sleep-world, in changing Homunculus to Homo in the human head; but what about philosophy? Philosophers reflect upon the riddle of the world. What about philosophy? How would it be if Leibnitz or Kant were asked about true manhood?” Then Goethe would have put on a very sceptical expression—very sceptical indeed. He ascribed all kinds of good qualities to modern philosophers, but he did not believe them capable of penetrating into the being of man, of contributing anything to enable Homunculus to become Homo in a human life-time. Here too he thought one would get nearer by using Greek ideas. Goethe was well acquainted with the life of ancient Greece, with the times in which Anaxagoras and Thales lived. Their ideas came nearer the old Mystery outlook, they still retained some knowledge of those spiritual worlds from which for man only dreams arise. For this reason he makes Homunculus meet two ancient Greek philosophers, of whom the one, Anaxagoras, still knew a great deal of the old Mystery-wisdom, especially of the secrets of the fire-earth. Into the thinking, into the wise philosophy of Anaxagoras, ideas still rose up of the ancient Mysteries connected with what happened in the fire-earth.

With Thales, too, there were still recollections of old ideas, associated with the secrets of the water-air; but at the same time Goethe makes it clear that the conceptions of Anaxagoras though loftier, are becoming superseded, and that with Thales the new age is beginning. The history of the new philosophy, the history of philosophy in general, begins rightly with Thales. I have mentioned this in my “Riddles of Philosophy”. He is, it may be said, the original philistine, as Goethe's shows him here; he has to introduce the philistine outlook of the fifth post-Atlantean epoch that indeed in a certain, but only shadowy, way is connected with the secrets of the water-air.

Thus, in the first part of this scene in which he is describing things out of experiences of the dream-world,the world of Seismos, to which the pygmies belong, Goethe is describing all that is associated with the creative forces of Seismos. And the element of water that he uses to make the transition to the present time, describing it not as water-air, but as water, with herons and so on—this element of water he places in contrast to fire; water versus fire, actually water-air versus fire-earth. And water and fire come into conflict—pygmies versus herons. And it is the same battle, only in another sphere, transferred into the sphere of reason, that takes place between Anaxagoras, the philosopher of fire, and Thales, the philosopher of water, as has previously taken place between the pygmies as representing the earth or earth-fire, and the herons, as representing the water or water-air.

So good is the parallelism that, in this second stage of his representation, Goethe correctly shows how Homunculus, who has not ventured himself below into the subconscious element with a view to becoming man now takes refuge above in the conscious. He wants to learn how to become Homo from the philosophers, from those who would still preserve in consciousness much that should be experienced in the subconscious. But it turns out that, because the philosophers derive their impulses from different spheres of experience, they do not agree, and themselves come into conflict, the same conflict of ideas as those that lie at the foundation of cosmic conflicts. There is the same conflict between the views of Anaxagoras and those of Thales as between the pygmies and the herons—the very same.

And what is Goethe doing? He first pictures what goes, on down in the unconscious world, and then leads up to the world of consciousness but associates this world with the recollections arising from the unconscious, recollections specially clear in Anaxagoras. This is why Thales looks upon Anaxagoras as a visionary.

But we have already had to do with a second stratum, with the sphere in which the waking consciousness too is intermingled, albeit in a more or less spiritual fashion, or as I have described it, half-asleep and half awake. This is the second layer of experience that Goethe has shown. And it is very significant that he gives what is experienced in this sphere in a different form from that in which he gave the first. He makes the scene open with the Sirens. We are in the world of sleep, the world of dreams; to be in this world, there is no necessity to do anything; Goethe, therefore, simply places it before us. Then we wake up out of this world, and in waking come to our ordinary-consciousness. For a special reason Goethe has combined Lucifer and Ahriman into the one Mephistopheles. This waking he shows in the experience of Mephistopheles, and it is interesting that, as long as Mephistopheles represents the condition of being but half-awake, he is still down below, experiencing it through the Greek Lamiae. Then the scene rises into conscious life, But if Homunculus-Mephistopheles is now to enter fully conscious life, the life of reason, the man must rouse himself, he must pull himself together, and wake out of dreams to reality. Hence, when he wakes, Mephistopheles meets the Oread, who indicates very clearly in Goethe's language that this is so,

“Up hither,up; My mount is old,
And still loth keep its primal mould,
Honour the rude cliff-stair ascending,
Last-spur of Pindus, far extending.
Already thus firm-stablished
I stood as Pompey o'er me fled.
That fabric of a dream will fade
At cockcrow with the nightly shade.”

While sleep-consciousness is being shaken into waking consciousness, the Oread points out that a transition is now taking place from the world called the world of illusion—though in one way it is, as I have shown, a world of reality—a transition to the world where mountains stand firm, and everything does not rock up and down. And Goethe does not hesitate to indicate quite clearly how one wakes out of this world. Think how often we are wakened out of the world from which dreams surge by the crowing of a cock. Goethe makes it perfectly clear that we are coming up into the waking world where philosophers have to hold forth, where through what they have to say it is expected that Homunculus will become man.

There is much I could add, perhaps tomorrow. In the meantime I shall only draw your attention to the fact that, after we have done with this world, Goethe still points us to a third. And just as it was the mountain nymph, the Oread, who gave the first indication of this waking world, so now it is another nymph, that is, an elemental being, who does the arousing. The tree nymph, the Dryad, leads Mephistopheles to a third layer of consciousness, in which understanding and clairvoyance are united: unconscious, conscious, super-conscious. And, in a certain respect, Goethe already points to the world we also would point to through Spiritual Science. Only, he does so in a quite unique way. The beings whom Mephistopheles finds next are the Phorkyads.

From our coming performance you will see what pleasant, beautiful beings these Phorkyads are, and particularly what an impressive, heart-stirring language they speak! And yet, anyone realising what experiences a man must be prepared to meet, on consciously winning through to the spiritual world, will understand this meeting of Mephistopheles with the Phorkyads.

This matter cannot be completely dealt with in one lecture; we will speak further about it tomorrow.